THE ORVILLE Soars

Article first published as TV Review: THE ORVILLE on Seat42F.

There have been rumors of a Galaxy Quest television show for years. I’d love to see that. But for now, the closest we’re going to get is THE ORVILLE, a new sci-fi dramedy coming to FOX. Though not exactly the same sense of humor as the beloved Galaxy Quest movie, THE ORVILLE does take the adventure and wonder of Star Trek, mix it with Seth MacFarlane’s trademark brand of humor, and keep it grounded and dramatic enough to actually build a cohesive story with characters you can invest in. It is no small feat to get such a thing right.

As THE ORVILLE begins, as you likely have already heard, Ed Mercer (series creator Seth MacFarlane, Family Guy) has just been given his first command: the Orville. It’s not top-of-the-line or anything too fancy, but it’s a nice little sleek exploratory starship that will leave Earth and explore the galaxy.

Ed gets to choose one crewman, his best friend Gordon Malloy (Scott Grimes, American Dad!), but most of the compliment is already set. And the last addition, which he has no control over nor prior knowledge of, is his ex-wife, Kelly Grayson (Adrianne Palicki, Agents of S.H.I.E.L.D.), who will serve as his XO. Kelly cheated on him, and Ed is predictably not eager to have her back.

That in of itself is a humorous concept, but thankfully THE ORVILLE doesn’t go too far into sitcom territory with it. There is tension between the couple, yes, and that drives their interaction. Equal side-by-side seats on the bridge of the ship probably don’t help Ed feel any more in control. But their chemistry, while not entirely new, does seem fresh in the performances, and they seem to be a pair audiences will root to get back together. They could bicker just as effectively in a relationship, and there are clearly still feelings between them. Palicki and MacFarlane are great together.

The diverse crew include a robot, Isaac (Mark Jackson), a member of a single-gender species, Bortus (Peter Macon, Shameless), and a young woman named Alara who is out to prove herself (Halston Sage, Neighbors). It is a solid mix of varied personalities, with several species represented, and while many of the actors are not well-known, they all handle themselves well. The show doesn’t hesitate to explore the differences, and delights in the alien characteristics that humans will not understand, something sometimes minimized in other science-fiction or reserved for ‘special’ episodes.

Lest you worry about cred, Penny Johnson Jerald (Star Trek: Deep Space 9, 24) is the wise Dr. Claire Finn, chief medical officer, and producers and directors also carry over from Star Trek. Toss in some stellar guest stars like Jeffrey Tambor and Victor Garber, and this show has unexpected gravitas. It is far more than just a dumb comedy, and while it could not exist in the Star Trek universe, it also wouldn’t fit in the realm of Family Guy or American Dad! either. THE ORVILLE is its own brand.

The humor comes in the authentic moments. Crewmen talk to one another the way people do now, not as some high-minded advanced society, but as relatable folks. THE ORVILLE stops short of going full-out MacFarlane, and instead drapes the jokes over a serious plot with actual drama and danger. The humor bolsters, rather than distracts, and I would not classify this anywhere near a strict comedy. And Gordon’s introduction is one of the funniest bits.

THE ORVILLE is imaginative, clever, and darn fun to watch. I went straight into the second episode, and will definitely be tuning in weekly. This show, at least in the first two hours, deftly sticks a complicated landing.

THE ORVILLE premieres September 10^th on FOX.

The Legends Continue

Article first published as Blu-ray Review: 'DC's Legends of Tomorrow: The Complete Second Season' on Blogcritics.

New to Blu-ray, DVD, and digital is DC’s Legends of Tomorrow: The Complete Second Season. A spin-off of fellow CW series The Flash and Arrow, Legends finds a group of misfits, both heroes and villains, who are not notable to history banding together to protect all of time. The Complete Second Season is basically a continuation of the first year, but with several of the team members swapped out. A new set of villains, pulled once again from the two parent shows, helps make the adventure fresh.

I loved the premise of DC’s Legends of Tomorrow from the start, and appreciated many of the characters in the ensemble, but was underwhelmed with season one. Thankfully, season two does much to correct that right away. The first year was saddled with an uninteresting story arc that weighed things down. The Complete Second Season does have an ongoing plot thread, but it travels to many more time periods, takes itself less seriously when it’s appropriate to do so, and deepens the characters, making the show into the fun romp it should have always been.

Not every episode is gold, and sometimes the effects and scale of action have to be lesser than they should be for budgetary reasons. But even some of the duller ones, like “Abominations,” have exciting elements that make the most of the money, like Confederate zombies! Yes, the show plays fast and loose with the premise; plenty of things the characters do or see should change history seriously and they don’t, while minor changes have large impacts. However, the season starts and ends strong, with swashbuckling and adventure, and overall, it’s a pretty entertaining run.

A big part of how much enjoyment The Complete Second Season has to offer are the antagonists. The Legion of Doom is comprised of three previously seen villains: speedster Eobard Thawne (Matt Letscher), who has a very powerful motivation in these episodes; incredibly dangerous magic master Damien Darhk (Neal McDonough); and the always charming Malcolm Meryln (John Barrowman). Even before they are joined late in the game by former Legend Captain Cold (Wentworth Miller), they have engaging chemistry that makes one gleefully anticipate every scene they’re in as a group. They set a high bar for season three to live up to.

Less successful is the way the team has changed. While the Hawks were good characters to jettison, Captain Cold’s presence is missed, and too different when he returns on the other side to be comforting. Neither Nate (Nick Zano) nor Amaya (Maisie Richardson-Sellers) are that gripping. The former would have been much more interesting had he not eventually gotten powers. The season suffers from the decreased presence of Rip Hunter (Arthur Darvill), though the benefit of his absence is the welcome increased importance of Sara Lance (Caity Lotz). I’d say this mostly makes the makeup of the group a wash, though the chemistry between those around for both years has strengthened delightfully, with Mick Rory (Dominic Purcell) having an especially compelling arc in how he relates to everyone else.

As far as bonus features go, I’d say this release has the minimum needed to be decent, but nothing particularly special. There are a handful of deleted scenes and a fun gag reel. The Comic-Con panel included is from 2016, so not a terrible way to get excited before watching the season, but far less valuable after you’ve seen the episodes, and since its on the last disc, that’s likely when people will view it. It would be far wiser to include the 2017 panel instead, but they did not.

There’s also a featurette on the “Invasion!” crossover between all four CW DC shows, Arrow, The Flash, DC’s Legends of Tomorrow, and Supergirl. The Legends contribution to the miniseries is the finale, and the episode itself is pretty good. But the featurette itself seems to be talking about ideas that aren’t fully communicated on screen, and I found the full story to be relatively disappointing. It didn’t quite living up to what I’d hoped for, changing course too much between parts and shifting the makeup of the combined group hourly without satisfying explanation as to why.

Yes, this is a mixed review, but overall, I would recommend DC’s Legends of Tomorrow: The Complete Second Season. I’d say that just for Victor Garber’s performance alone, but he’s far from the only redeeming quality. This batch was better than the first, and I’m optimistic about where the show will go from here.

DC’s Legends of Tomorrow: The Complete Second Season is available now.

Own DC'S LEGENDS OF TOMORROW Today

Article first published as Blu-ray Review: 'DC's Legends of Tomorrow - The Complete First Season' on Blogcritics.

Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.

Once upon a time, two successful television shows, Arrow and The Flash, had a wealth of great, fun recurring characters between them. Unable to devote as much time as the writers would like to these personalities, given that they had lots of main characters to serve, too, it seemed that fans would have to wait impatiently for little snippets of them when they fit into the stories.

A solution presented itself, though. What if a whole bunch of the supporting players were lumped together and given their own team spin-off? And to sweeten the pot, how about add time travel into the mix, opening up a lot more possibilities and setting the story apart so it didn’t run into the continuity of the other series every week? Thus, DC’s Legends of Tomorrow was born, an Avengers-style team-up of heroes and villains.

Those chosen are a pretty strong crew. There’s Sara Lance / White Canary (Caity Lotz), Ray Palmer / The Atom (Brandon Routh), Leonard Snart / Captain Cold (Wentworth Miller), Mick Rory / Heat Wave (Dominic Purcell), Dr. Martin Stein (Victor Garber) and Jefferson Jackson (Franz Drameh), who together become Firestorm, and a couple of Hawk people that aren’t all that interesting, but are essential to the first Big Bad’s plot. Toss in Doctor Who’s Arthur Darvill as Rip Hunter, the man who as seeks their help, and it’s an incredibly ensemble right off the bat.

Barely has the season began when (SPOILER ALERT) the premise is blown apart. Originally, Rip tells these people that they are Legends in his time, and that’s why he’s sought their help. Instead, it turns out that they are forgotten footnotes who won’t be missed if something happens to them. This is a painful twist, but one that makes the following proceedings all the more emotionally moving, as each player suddenly has something to prove to both themselves and the word. It’s a really neat idea.

The season itself, comprised of sixteen episodes on this two-disc set, is a tad uneven. For every really cool event, there’s also a snoozer that no one will care about. But for me, already a fan of the six players and newbie mentioned above, I found the run to be overall quite engaging. There are some heroic sacrifices and emotional moments that make the occasional hokey action sequence or repetitive Hawk flashback worth it. Add in fun crossover cameos and a cool cliffhanger featuring Hourman (Patrick J. Adams, Suits), and this show is definitely worth watching. I am very excited to see where it goes when it returns for a second season.

The extras in this release are good. I like the tour of the Waverider, the ship the troupe travels on, which is a pretty spectacular set that begs for further examination. The history major in me also appreciates the featurette on real-life events, even if I wish it were a little more in-depth. The Comic Con panel is, like on most home releases, shortened considerably, which is pretty disappointing, considering most of us will never get the opportunity to travel to San Diego. Still, it’s nice that some of it is here. There’s also a bit on the character of Jonah Hill, who is much cooler in this show than in the recent film flop, and a gag reel, which many people like.

This means I’m pretty happy with the whole thing, and appreciate that the also-ran of the CW’s DC-lineup (which didn’t quite hit as strongly as the two shows that spawned it) isn’t also the black sheep of the Blu-ray market. I look forward to an even better second season, and if you skipped this one, give it a chance. It’s probably better than you think, superior to most broadcast network television.

DC’s Legends of Tomorrow – The Complete First Season is available now.

DC'S LEGENDS OF TOMORROW Aired A Couple Days Ago

Article first published as DC'S LEGENDS OF TOMORROW Review on Seat42F.

 

Thursday, January 21^st brings one of, if not the, most anticipated mid-season premiere on the broadcast networks. DC’S LEGENDS OF TOMORROW, a spin-off combining characters from the popular shows The Flash and Arrow, launches, expanding the comic book universe on the network, and making three simultaneously running series set in the same universe. It’s the culmination of the crossovers that have worked very well for the two shows, and a chance to see some fan favorite characters a lot more often. While Marvel is winning at the box office, DC is dominating the small screen.

The premise of DC’S LEGENDS OF TOMORROW is well publicized, so I don’t mind recapping it here. Rip Hunter (Arthur Darvill, Doctor Who, Broadchurch) comes back in time from a bleak future in which Vandal Savage (Casper Crump) is destroying the world. To prevent catastrophe, Rip assembles eight people remembered in history as legends to team up and stop Vandal before his rise to power. These include: Professor Martin Stein (Victor Garber) and Jefferson Jackson (Franz Drameh), who together become Firestorm; the resurrected Sara Lance (Caity Lotz), now the White Canary; Ray Palmer (Brandon Routh), a.k.a. The Atom; the immortal Hawkman (Falk Hentschel) and Hawkgirl (Ciara Renee), also known as Chay-Ara and Khufu, who have their own history with Vandal; and the villainous Leonard Snart (Wentworth Miller) and Mick Rory (Dominic Purcell), dubbed Captain Cold and Heat Wave because of their weapons.

The group is undeniably fun. By including antagonists alongside protagonists, there is natural conflict and varied motivations. The spectrum runs from the idealistic (Ray) to the in-it-for-themselves (Leonard and Mick), from those seeking redemption (Sara) to those just out for adventure (Martin). Some have a personal stake in the outcome, while others want to prove something to themselves. None stand out as “the” star, all coming from second-fiddle status on Arrow and / or The Flash, making DC’S LEGENDS OF TOMORROW one of the truest, most balanced ensembles assembled.

While not all of the actors are on the level of Garber or Darvill, both fantastic actors, they are well used in these roles. The writers have smartly figured out the characters, and played to the strengths of the individual performers as much as possible. Miller and Purcell are delightfully re-teamed after their stint on Prison Break as brothers, albeit with a totally different chemistry. Overall, it’s a nice assembly.

I wouldn’t say my review of the pilot is quite as glowing as how excited I am about the premise. With expectations high, DC’S LEGENDS OF TOMORROW has a lot to live up to, and while it gets off to a decent start, it still has some way to go.

The main flaw I see is that this series was created when a group of people thought “Wouldn’t it be fun to see ____ together with ____.” It’s a hodgepodge of characters, not at all like an Avengers best-of-their-class team up. This is a great concept, but it takes a lot of skill and finesse to make it work. The first two hours fall just a bit short of that, at times having some really good interactions, particularly between Sara and Leonard, but at other times, feeling more like the idea is better than the execution.

There is hope, however. While the premise seems a bit weak at the start, there is a twist late in the first hour that does a lot to righting the course of the story and making things that seem off make more sense. I can’t reveal what I mean by that, but if you can get through that rocky beginning, it will result in a good pay off. The second half of the pilot, which will air a week later, is much better because of it.

At the end of the day, I remain excited about this show. It has a bit of maturing to do, not hitting the ground running as strong as The Flash did, but with a better start than Arrow’s. The sheer adventure element is so much fun, and I do look forward to the character growth that will surely emerge, as well as the larger scale story that this series is tailor-made to tackle. The CW has very valuable property on their hands with their DC partnership, and I hope they continue to make good use of it.

DC’S LEGENDS OF TOMORROW premieres Thursday, January 21^st on the CW with the first half of the two-hour pilot.

Back in THE FLASH

Article originally published as THE FLASH Review "The Man Who Saved Central City" on Seat42F.

The Flash -- "The Man Who Saved Central City" Pictured: Grant Gustin as Barry Allen/ The Flash -- Photo: Cate Cameron /The CW

Last night’s season premiere of THE FLASH on CW picks up six months after the spring finale. The metropolis wants to honor “The Man Who Saved Central City,” meaning the titular superhero, but Barry (Grant Gustin) doesn’t feel like he’s the one who deserves the credit. After all, both Eddie (Rick Cosnett) and Ronnie (Robbie Amell) gave their lives in the fight, so Barry understandably is reluctant to receive praise. But the problem goes much further when he won’t allow anyone to help him be The Flash anymore and he encounters a villain, Atom-Smasher (wrestler Adam Copeland), whom he cannot defeat himself.

“The Man Who Saved Central City” is a great character-driven hour for Barry. His despair and urge to pull away in order to protect his loved ones is understandable, and one virtually every superhero goes through at one time or another. Thankfully, unlike, say, Arrow, Barry is much more accepting of the help others want to force upon him, and it only takes him a single hour to change his mind. Not that Iris (Candice Patton) and Joe (Jesse L. Martin) give him a choice in the matter.

Barry isn’t the only one who has split off from the group. Caitlin (Danielle Panabaker) now finds Star Labs too painful to be in, constantly reminded of Ronnie. She blames herself from not leaving town with him when he asked her to go. As such, she’s accepted a job with a different lab and hasn’t kept in contact with anyone. It only takes one visit and heart-to-heart from Barry, though, to make her feel better. After all, the whole team needs to stick together, and she’s soon back where she belongs.

These elements show us how different THE FLASH is from Arrow and other superhero ventures. It has become in fashion to have our heroes be moody loners, and in many cases, that’s fine. But it’s also refreshing to get a lighter touch sometimes, and Barry is the type of individual this fits well with. The show can be dark in sections, but a thread of optimism runs through it and is an essential part of this series.

“The Man Who Saved Central City” is pretty cool overall. I like that it waits to show us Ronnie’s death, doling out details sparingly at first, but not to the point where it gets annoying. I enjoy very much Barry’s dream sequence at the beginning where he’s stopping Captain Cold (Wentworth Miller) and Heat Wave (Dominic Purcell) with the help of his full team, making good use of recurring players. Cisco’s (Carlos Valdes) new job with the force is fun, and it’s gratifying to have Dr. Stein (Victor Garber) join the team. The idea that Barry is secretly rebuilding the city at night is neat, too, something most superheroes wouldn’t think to do.

Dr. Wells’ (Tom Cavanagh) presence hangs heavy over the season premiere. We see him in Barry’s dream, and in a video will. Both times he seems kinder, not the evil villain from the end of the season. Is THE FLASH seeking to redeem him? The video he leaves, which provides evidence that frees Henry (John Wesley Shipp) from prison, reaffirms this. I’m not opposed to such a reverse course as long as it’s handled well, giving reason to forgive him before his memory is improved upon. Will he still be around this season to keep the rebranding going, or was his name only in the opening credits for this one last hour?

Despite everything great about “The Man Who Saved Central City,” though, there are two glaring flaws that hurt the episode. One occurs when Joe, Cisco, and Iris openly discuss Barry being The Flash in the middle of the precinct. Aren’t they concerned about blowing his secret identity? Other officers have to hear them, and the last time I checked, only a small circle of people know that Barry is The Flash and it should stay that way. The second is that, right after getting out of prison, Henry leaves town with no explanation.

Henry’s excuse that he’ll get in Barry’s way of becoming who he’s meant to be is crap. Sure, he might be a distraction for a bit, but how does Henry being around impede Barry’s mission? Barry has lots of help, and none of them get in the way. Why doesn’t Barry push for further explanation? And where is Henry going? What else does he have to go to after fourteen years in jail? How is he going to start a new life elsewhere with nothing to his name?

Still, even with these missteps, THE FLASH is generally strong. It’s an entertaining show that has good story and characters. That makes it a show I look forward to each week.

THE FLASH airs Tuesdays at 8 p.m. ET on the CW.

THE SLAP Stings

Article first published as THE SLAP Review on Seat42F.

Zachary Quinto as Harry, Thomas Sadoski as Gary | THE SLAP | Photo : Virginia Sherwood/NBC

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NBC’s new mini-series, THE SLAP, premiered last night. Based on the book of the same name, and following a successful Australian adaptation, this drama tells the story of a man slapping a child who is not his own at a party and the fallout from the incident. It will unfold over eight weeks, presumably showing us the varied lives of the group gathered who witness the encounter, as well as what happens to the man who slaps.

THE SLAP starts out interestingly enough. Narrated by the great Victor Garber (Alias, Titanic, Eli Stone), viewers are introduced to Hector (Peter Sarsgaard, The Killing, Jarhead), a man just turning 40 who is passed over for a major promotion at work. Hector is also frustrated with his wife, Aisha (Thandie Newton, Rogue), the type of woman who passes up a free vacation to Greece because she’s busy with her job, which leads to him fantasizing about the babysitter, Connie (Makenzie Leigh, Gotham). Hector is able to resist those fantasies until he finds out that Connie shares them, but even then, he’s not willingly to all-out cheat on his wife. Yet, anyway.

The first twenty minutes of the show, painting the portrait above, are actually interesting. They’re not wholly original, of course, a restless man in a mid-life crisis being a familiar archetype, as is the ingénue that catches his attention. But because Sarsgaard and Garber are involved, I liken it to a weaker version of The Affair playing out, and it’s good.

Unfortunately, the show goes downhill fast when everyone else arrives at Peter’s house for his birthday party. Suddenly, there are lots of people whom the show does a poor job of explaining the relationships between, mentioning a few connections, but mainly just tossing everyone together. There are also some very flat roles, and tons (and I do mean tons) of foreshadowing for the upcoming conflict. The party sequence takes what seems like a higher-quality, quiet drama and turns it into a predictable cartoon.

This is most obvious in the dynamic between fathers Harry (Zachary Qunito, American Horror Story, Star Trek) and Gary (Thomas Sadoski, The Newsroom), as well the behavior of Gary’s son, Hugo (Dylan Schombing, Girlfriends’ Guide to Divorce). Hugo is the epitome of an out-of-control, spoiled brat, making messes on purpose and endangering the other children. Gary and his wife, Rosie (Melissa George, The Good Wife, reprising the role from the Australian version), don’t punish Hugo, allowing the walking, talking kid to breast feed instead. This offends Harry, who has extreme anger issues, and Gary and Harry bicker often.

The slap itself is equally ludicrous. The kid is a brat, absolutely, and should be spanked (in my opinion) – by his parents. Instead, Harry slaps him not to stop an action being taken, but to get his attention and to punish. I know there are anger issues involved, but what kind of grown man hits a child in their face, hard, especially in those circumstances? Harry is a complete, irredeemable monster, and his lack of being apologetic is inexcusable, even among those who approval of corporal punishment.

I think all of the telegraphing of the event is worse than the slap itself because, not only is the series called THE SLAP, but promos for it heavily feature Harry smacking Hugo. I haven’t seen the Australian version and have no idea how it was marketed, so I’m judging the U.S. production purely on its own approach. I’d probably still object if I didn’t know Harry and Hugo were the two involved in the titular event because of the lack of subtlety in how the situation is presented, but if viewers weren’t aware of who slapped who, at least THE SLAP could trick us with teasing several possibilities instead of delivering something so ridiculously packaged.

I don’t blame the failure of THE SLAP’s first episode on the cast. All of those listed above are usually great performers (though Quinto seems miscast here), and they are joined by Uma Thurman (Smash, Kill Bill), Penn Badgley (Gossip Girl, Easy A), Brian Cox (Braveheart), Marin Ireland (Homeland, Masters of Sex), Maria Tucci (Law & Order), and Lucas Hedges (Moonrise Kingdom). This is a pretty strong ensemble, so if they can’t make a script work, that’s saying something, unfortunately.

Still, The Slap is not completely without promise. Like I said, I really enjoyed the first twenty minutes or so. If the other seven episodes can really focus on character development, using the actors’ strengths to tell a moving, personal drama, it could be worth watching. But the sheer shallowness and sloppiness of most of this first hour is disappointing, so while I’ll probably give the series a second chance, if it doesn’t clean up its act, it likely won’t get a third.

The Slap airs Thursdays at 8 p.m. ET on NBC.

SLEEPY HOLLOW Full Of "Indispensable" "Blood"

Article first published as SLEEPY HOLLOW Full Of "Indispensable" "Blood" on TheTVKing.

FOX's Sleepy Hollow has been an action-packed drama full of twists and turns throughout the course of its thirteen-episode freshman run. Abandoning the police procedural concept entirely, which is a surprise considering the set up of the pilot, instead it focuses on mythology and belief, bringing witches, Revolutionary soldiers, George Washington, the Masons, the Bible, including the Four Horseman of the Apocalypse and Revelations, and more together in a thrilling messy war.

The two-part season finale, "Indispensable Man" and "Bad Blood," tie a lot of the threads from past episodes into a neat bow. Little elements that didn't seem related suddenly are, and both of the main characters, also known as the Witnesses, are forced to confront their pasts. It's terrific character development, but also really cool storytelling that proves the writers had a plan going in for this tale.

Abbie (Nichole Beharie) realizes she's forgotten some of her past with the demon, Moloch (Derek Mears). Trapped in Purgatory, a fulfillment of a prophecy she tried to avoid, she wanders into a dollhouse, a safe haven where she finds her missing childhood experiences. It's clear why Moloch stole that part of Abbie, as it would have ruined one of Moloch's plots. But it's also a lot about Abbie, who turned her back on her sister, Jenny (Lyndie Greenwood), in the woods, and now faces her sins.

Abbie is a hero, one who is willing to sacrifice herself for the greater good. "Bad Blood" is the culmination of this, at least in regards to serving as redemption for the mistakes she has struggled with throughout this freshman year. Abbie will surely survive and emerge back into the real world, but this should make her a much more confident, tough person, helping to erase the self-doubt and regret that plagues her. Which is not to say she hasn't shown strength, but she does have vulnerabilities that this should help heal.

While in Purgatory, Abbie also runs into Andy (John Cho) and Sheriff Corbin (Clancy Brown). For two characters who died in the first part, they sure have been well-used in the past few months, returning again and again. It seems fitting that Abbie confronts them again now, probably the last time we'll see them (assuming Andy is crushed completely in Washington's tomb), at least for awhile. They are likely part of the first chapter, not the whole epic journey.

Ichabod (Tom Milson) also stares down his past in Purgatory when reunited with his father (the amazing Victor Garber, Alias). This is someone that Ichabod is estranged from, but someone whose approval the soldier desperately craves. Ichabod made some tough choices in his life, and when offered the chance to change things, even if it's not real, Ichabod reaffirms his stance, proving his mettle.

It is a tad too easy how Ichabod and Abbie overcome their various obstacles. They are quickly tricked, and just as quickly break the spell. But there's a lot to get through in these two hours, and it's more important that they are shown grappling with a crucial element of their past than exploring a full story on how to escape said element. So it works for the story structure laid out, and it's a minor complaint in an otherwise stellar ending.

Abbie stays stuck in Purgatory, but this allows Ichabod to bring Katrina (Katia Winter) home. The lovers are reunited, and it seems like a happy ending for Ichabod, at least in the romantic department. After all, once Katrina's out, surely they can find some way to keep her out, even while saving Abbie.

There is a scene between Ichabod and Abbie in Purgatory that makes me think Katrina may not be long for this world, despite appearing in the show's opening credits. After all, she's always been a side part. Abbie and Ichabod have a bond that could easily be developed into something more, and even Katrina looks uncomfortable at their long goodbye hug. Might Sleepy Hollow be heading for a hook-up between the unlikely partners? I can't say I saw it coming until now, but it might be a good idea, given their excellent chemistry and total opposites attract mojo.

Ichabod and Katrina's bliss is cut short when Henry Parish (Fringe's John Noble) is revealed to be their lost son, Jeremy, and a servant of Moloch and the second Horseman. It's a deep betrayal, both from Henry, who has become a fast friend and assistant to the Witnesses, and from Jeremy, who will not hear his parents' explanations. It seems especially unfair that Jeremy buried Ichabod in the ground, since Ichabod never even knew of his existence, though it makes total sense when Jeremy hands Katrina over to the Headless Horseman (Richard Cetrone), whom loved her.

Leaving all of these players in a cliffhanger in not exactly welcome, but certainly makes for a tense, exciting ending. Ichabod is buried, Abbie is trapped, Katrina is captive, and Moloch and Jeremy / Henry are free to do their evil, a seal broken. Oh, and supporting player Jenny appears like she might be dead and Captain Irving (Orlando Jones) is arrested protecting his daughter, so there is really no one left to save the day. How will they come back from this?

There aren't really any hints in "Bad Blood" at a resolution, but that's OK. It feels like everything was poured into this finale, playing all the cards they still held at once, all while seamlessly tying it back to what came before. Now, the writers have months to figure out where to go next, and given the skill they've demonstrated thus far, they leave us with confidence that they can solve the puzzle by the time filming resumes.

Sleepy Hollow has been renewed and will return to FOX next fall.

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.

Deception brings NBC into the soapy drama game

Grade: 85%

NBC's Deception is the network's foray into the genre of soapy drama. This is usually ABC's territory, as evidenced by Scandal and Desperate Housewives. Considering the field has plenty of this type of series already, with versions spreading throughout the cable landscape, can NBC provide something fresh and original enough to set itself apart?

Yes, and no. Deception benefits from the best cast assembled in awhile for such an effort. It also takes itself more seriously than the average prime-time soap, avoiding the cartoonish and over the top elements of its peers. It's an intricate murder mystery steeped in character history, meaning we get flashbacks. It feels like Revenge with a dash of Veronica Mars, so it's not wholly original.

As the "Pilot" begins, Joanna Locasto (Meagan Good, Californication, Think Like A Man) learns her childhood best friend, Vivian Bowers (Bree Wiliamson, One Life to Live), whom she knew because Joanna's mother was Vivian's family's maid, is dead. It looks like a drug overdose, which would be within Vivian's character, but the feds and police suspect murder. Most of their suspects are members of Vivian's own family, so they send Joanna in, undercover, to figure out what is going on.

While there will surely be plenty of plot twists coming up, the one who looks least guilty right now is Vivian's father, Robert (Victor Garber, Eli Stone, Alias, Web Therapy). Robert is warm and welcoming to Joanna, buying her cover story, and inviting her into their home. While Robert is involved in a pharmaceutical company that could have a drug connected to the motive, he doesn't seem the type.

Less sure is Vivian's brother, Julian (Wes Brown, True Blood, Hart of Dixie). Not only is Julian involved in the business, too, but he also has a thing for Joanna, who returns the feelings. This means that her vision may not be clear around him, as evidenced by her shutting off her wire while they cuddle on the dock, throwing her professionalism out the window. Which begs the question, even if Joanna has an in, is she the right woman for the job?

Then there's Edward (Tate Donovan, Damages), who doesn't want Joanna around, but is too grumpy and obvious to be the killer. He is having marital problems with his wife, Samantha (Marin Hinkle, Once and Again), but we don't yet know what's involved. They will probably be the initial focus of the investigation, and then, if the series is predictable, Joanna's allies.

The wild card lies in Robert's second wife, Sofia (Katherine LaNasa, The Campaign). At first, she seems a nasty piece of work who doesn't get along with Julian, Edward, and Vivian. But then we learn that the daughter thought to be hers and Robert's, Mia (Ella Rae Peck, Gossip Girl), is actually Vivian's child, so Sofia can't be all bad.

Of course, we have to have even more twists thrown in, so Joanna's ex, Will Moreno (Laz Alonso, Avatar), is the one who brings her in on the mission, and he still harbors feelings for her. And the first person to blow Joanna's cover, a reporter named Remy (Christopher Denham, Argo), is killed by two men in a black car. Also, Vivian is pregnant a second time when she dies.

There is a great set up here for the era of class warfare, with the dysfunctional, rich family, and a tangled web of clues. The actors sell their roles. But it also has too many familiar elements, which could hurt Deception if it doesn't come up with something new to toss in. And how long will it take the Bowers family to figure out what Joanna is up to? Too long, and they seem dumb, unworthy of an elaborate killing scheme. Too short, and it kills the momentum of the investigation.

Basically, the jury is still out on Deception, and if it will be a weekly viewing appointment. So, to find out, tune in Mondays at 10 p.m. ET on NBC.

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!

Article first posted on TheTVKing

Web Therapy has no trouble getting it up

Showtime's Web Therapy, which mysteriously moved to Sundays a couple of weeks ago, ended its sophomore run last night with a delightful installment entitled "Electile Dysfunction." Robin (Julie Claire), to get even with a rude Fiona (Lisa Kudrow), released the sneakily recorded sex tapes featuring Kip (Victor Garber) and Ben (Michael McDonald). The result is that Kip is forced to drop out of the race. This is fine with Fiona, who is ready to be done with politics and her gay husband so that she can fly away with Austen (Alan Cumming). Unfortunately, there is a snag in that plan, too.

I want to say poor Fiona, as she is the protagonist of the show, and her luck seems to be bad, but I can't. Kudrow makes the character so detestable that, every time there might be an inkling of sympathy for her, it's quickly quelled. This isn't a complaint, but rather an observation about the way the lead is built. Her husband is gay. That sucks. No wonder she is uptight and repressed. But then Fiona sends her possibly dangerous stalker (David Schwimmer, Friends) after her own sister (Julia Louis-Dreyfus). Does she have zero moral compass?

Many great modern television series are built on the antihero, but almost none of those are comedies. That makes what Web Therapy is doing so original and genius. If one if watching a dark drama and the main character is a baddie, that's one thing. When one is laughing at the antics of the principal person, who then takes things way too far, it's hard to keep laughing. Somehow, this show manages to make the cruel funny, and therein lies its brilliance.

Besides all of the actors mentioned above, the cast is stuffed with familiar faces like Victor Garber, Lily Tomlin, Rashida Jones, Molly Shannon, Minnie Driver, Selma Blair, Rosie O'Donnell, Conan O'Brien (as a douche-y version of himself), and even Meryl Streep. What would attract such an elite group of performers to the small screen? When is the last time Streep guest starred in any television show, other than an award-winning miniseries (Angels in America) or a couple of quick voice cameos (The Simpsons, King of the Hill) in the '90s?

But it's not just those the audience already knows that sell the work. Web Therapy boasts a wonderful supporting cast which includes Dan Bucatinsky, Jennifer Elise Cox, and Tim Bagley. They may not may as instantly recognizable, but they're every bit as good as the more famous people, which is necessary to make the show gel together the way it does.

Season one of Web Therapy ended with Fiona being selfish (unlike the actress playing her, who allows everyone a chance to shine), giving up the chance at love with Austen to stand by Kip, hoping that would bring her status and political acumen. Is Austen's betrayal with Gina (Cox) payback? Would it have happened anyway? It's hard to say, but given the way that Fiona treats Austen, it's hard to believe their union would have been a happy one.

As much as Fiona stops in a dark place, the rest of the characters are looking pretty good. Gina has a great new job and is being pampered, Kip and Ben are happily off cavorting somewhere, and Fiona's mother, Putsy (Tomlin), has launched the competing Net Therapy, stealing Fiona's formerly loyal assistant, Jerome (Bucatinsky), away, paying him a more fair salary. So it's not a bad ending, since these are all better human beings who deserve good things more than Fiona. Let's see how Fiona can wreck their happiness next.

Web Therapy has not yet been renewed for a third season, but if there is justice for good TV, it will be. And if not, season two provides some nice closure.

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

Web Therapy is "Getting It Straight"

I admit it. I wasn't a big fan of the first season of Showtime's Web Therapy. Perhaps that is because those early episodes were just shorter webisodes edited together, and didn't have as cohesive a story for each half hour. As season two begins last night, though, with "Getting It Straight," all that changes. Though the episodes are still based on web clips, a number of new characters are introduced, and the story immediately seems more comprehensive.

Season two of Web Therapy is exactly what it should have been from the beginning, and sort of was, but really hadn't come fully together yet. It's about a self-obsessed online "therapist" named Fiona (Lisa Kudrow), who alienates everyone around her, but insists on being a contributing member of society anyway, in that she wants society to revolve around her. Things usually don't go her way, of course, but through manipulation and denial, Fiona chugs along, somehow getting by at the end of the day.

Kudrow is fantastic as Fiona. She makes Fiona so easy to hate, which I imagine is hard to do, considering that Kudrow is the brains behind the show. Who would intentionally make themselves come across as a terrible person? Kudrow does it so believably, and in a very funny way. She surrounds herself with talent, and really, plays as a springing board to make others look good. The actress must be the opposite of her character.

In "Getting It Straight," Austen Clarke (Alan Cumming, The Good Wife) sends Fiona's husband, Kip (Victor Garber), to an anti-gay camp in order to "fix" him, as he is campaigning for national office. Clarke was introduced as a love interest for Fiona, and seems intent to get Kip elected so that Fiona can leave her hubby for him. His motivations may be selfish, but he sure is working earnestly to help Kip!

Of course, in 2012, most people realize that gay cannot be "cured," nor should it be. But then again, the characters appear to know this, too. Actually beginning to talk about Kip's homosexuality is nice, instead of continuing to dance around it, as it reveals that Fiona isn't completely oblivious to others, and helps explain the state of her marriage, as well as, perhaps, some of personal issues. The straight camp seems to be more for image, much like Kip's play of making up a pet named Scruffy, rather than to change his personality. Which is a very tongue in cheek and smart approach to the subject.

At the camp, Kip is treated by Camilla Bowner (Meryl Streep, The Devil Wears Prada, Doubt), NOT pronounced boner, who is sincere about helping Kip recover. Interestingly, this center does not have a specific religious affiliation, thus avoiding alienating certain viewers. However, Streep brings to life a very specific character who not only wants to help Kip, but can also see how toxic Fiona is, and would like to remove her from Kip's life. It's a sincere attitude, and one that Fiona takes umbridge to. A battle of wills has been set up, and who will win?

It's such a rare treat to Streep on television, let alone in a recurring role! Not to mention, she is talking about boners, and in an outtake, her bra comes undone. For a legendary actress such as her to commit to a sitcom in a role like this is a testament to how good Web Therapy has become. This is a serious A-list get! And Kudrow holds her own against Streep! What a fantastic set up of an antagonist!

Also rubbing Fiona the wrong way in "Getting It Straight" is Austen's right hand woman, Maxine DeMaine (Rosie O'Donnell, Drop Dead Diva, The Flintstones). Austen promises to publish Fiona's book, which she makes Jerome (Dan Bucatinsky) write for her, but Maxine is the strong arm who will have none of it. That is, until she learns about Kip's campaign, and then she agrees to fix the book and put it out. This is a delightfully awkward situation, with Maxine walking the fine line between business woman and bitch. Another fine performance to help enrich the tapestry of Web Therapy.

All of these great actors, new additions and established leads from season one, coming together in such unexpected and humorous ways really give new life to Web Therapy. It's definitely a show that should begin to garner more attention and accolades, having found its stride.

Watch Web Therapy Mondays at 11 p.m. ET on Showtime.

Check out my new website, JeromeWetzel.com  If you like my reviews, please follow me on Twitter! Article first published as Web Therapy is "Getting It Straight" on TheTVKing.com

New Charlie's Angels is an "Angel With a Broken Wing"

    ABC has rebooted Charlie's Angels. In the first episode, "Angel With a Broken Wing," one of the Angels, Gloria (Nadine Velazquez, My Name is Earl, The League) is killed. The remaining two, Abby (Rachael Taylor, Grey's Anatomy) and Kate (Annie Ilonzeh, General Hospital), must team with Gloria's childhood friend, Eve (Minka Kelly, Parenthood, Friday Night Lights), to take down the man that killed her (Carlos Bernard, 24). A man that wants Eve dead, too, and doesn't mind if other Angels end up as collateral.

     This series is a popcorn drama, pure and simple. There are plenty of action packed fight sequences, and hot girls wearing sexy outfits. Even Bosley (Ramon Rodriguez, The Wire) has been made younger and much more attractive in this newest version. Considering no incarnation of Charlie's Angels is high brow drama, this works just fine. It's an updated version that stays true to the spirit of its origins. On that level, the show works pretty well, and fans should not be disappointed.

     Too bad that's really the only level it has. Taylor, Ilonzeh, and Rodriguez are very decent actors, and Kelly is no slouch. Add to that that Victor Garber (Eli Stone, Web Therapy, Alias) is Charlie, a last minute addition, and there is potential here for something really great. Just because a show is remade doesn't mean it needs to confine itself to limits of the source material. With the ingredients present, a much more delicious, satisfying recipe could come out. But it doesn't. That's not to say that Charlie's Angels isn't worth watching. It's light fair, but it's still tasty. It's just regrettable that it doesn't go the extra mile that it could. It doesn't even keep the cheeky humor of the film versions that made them work so well.

     That being said, the pilot is pretty decent. Kudos to the show for not naming the first episode "Pilot," like almost every other series. Having a title is more interesting. Add to that a nice little origin story of how Eve gets to join the team, and a great guest villain played by Bernard, and it's an entertaining hour of television. There is a definite feel that Charlie's Angels will soon settle into a boring formula. However, given that it airs on ABC instead of CBS, hopefully the writers will embrace some ongoing arcs for the characters.

     Honestly, the best thing for Charlie's Angels would be a swift cancellation, allowing Taylor to return to Grey's Anatomy and the others to seek more worthwhile employment. It's not what's in the show that doesn't work, but what isn't.

     Charlie's Angels airs Thursdays at 8 p.m. ET on ABC.

     If you like my reviews, please follow me on Twitter

Web Therapy is "Exposed!"

     Things on Showtime's Web Therapy may be progressing a little slower than expected. In last week's episode, Fiona (Lisa Kudrow) discovers that her husband Kip (Victor Garber) is gay. But in the latest installment, "Exposed!," she does not actually expose him, as one might assume she might. Instead, she tries to get her mother Putsy (Lily Tomlin) to see that the son she thinks she's found after many years is an imposter. So the "exposed" of the episode title refers to the "son" and not to Kip. It's still Fiona doing the exposing, just not who viewers might expect.

     Too bad Putsy isn't willing to listen to reason (or even DNA test results). What's more conclusive than DNA testing? Perhaps whatever Putsy is smoking has something to do with her delusion, considering that she seems higher and higher in each subsequent scene.

     Thank goodness Tomlin is a comedy queen, or this silly plot might fall flat. Instead, not only does it work, but it's very easy to see where Fiona gets many of her less endearing characteristics. Hopefully Putsy will begin to see reason before Tic removes everything of value out of her house. On the other hand, if she doesn't, maybe she might move in with Fiona! That would be hilarious!

     But back to the original point: why isn't Fiona pressing Kip's secret more? True, discovering something as startling as discovering a partner's hidden homosexuality after many years of marriage is a trauma. Fiona may still be in shock.

     So why doesn't she confront Kip? The strange nature of Web Therapy, showing only scenes that take place at computers, may mean that Fiona already has already spoken with Kip before or during "Exposed!" If so, though, doesn't Kudrow owe it to the audience to discuss the effects of that conversation?

     Or maybe Fiona hasn't even brought the subject up to Kip because she's afraid that it will drive him away and ruin the one caring relationship she has in her life.

     Of course, Fiona isn't holding back because of scruples. She has few of those. Convincing Jerome (Dan Bucatinsky) to do illegal things as part of his "therapy," just so she can investigate her husband, proves that Fiona has little regard for most of those around her. While it is Jerome that takes things too far and gets not only fired, but escorted out by security, Fiona should know how fragile his psyche is, and what she is doing by manipulating him. Her behavior is unethical, at best.

     Now Jerome is actually worse off, working for Fiona. With Kamal (Maulik Pancholy) refusing to do any more of Fiona's dirty work without compensation, Fiona turns to the desperate Jerome and gives him a job. While not expressly stated, it is hinted that Fiona sabotages other interview opportunities to drive a frustrated Jerome close enough to the edge to accept such an arrangement. That she even charges him a supply fee for toiletries shows how little regard she has for him.

     Which is why Fiona doesn't really deserve a happy ending. Unlikeable main characters, who are still interesting enough to watch, are a relatively new thing on television. Kudrow seems to take things a little further than most other attempts, as Fiona is completely self-involved and has an annoying tenor to her voice, making her almost impossible to sympathize with. Yet, the actors in Web Therapy, pros, all of them, are plenty talented enough to hold a viewer's attention. It's what makes the web series version of Web Therapy so popular, and it's what will keep this television series running.

     Watch Web Therapy Tuesdays at 11 p.m. ET on Showtime.

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

     Click here to purchase Web Therapy.

Article first published as TV Review: Web Therapy - "Exposed!" on Blogcritics.

Login to Web Therapy

     Now on Showtime is Web Therapy. Web Therapy began life as a series of short webisodes available online. Now Showtime has ordered it to series, so what is airing on television is a compilation of the shorter bits, edited together with connecting scenes. In the first two episodes, we meet Fiona Wallace (Lisa Kudrow, Friends), who is starting a new "modality" for therapy - offering three minute sessions via web cam. This works for her, as she is lazy, and would rather avoid the human contact that comes with fifty minute meetings in person. To begin, Fiona calls upon some people she already knows in the "real world," hoping to establish a brand, then franchise it and become rich. Ideally, this will happen within a couple of months. The series is made up completely of web cam shots.

     Two episodes in, Kudrow has banished Phoebe from the minds of viewers. A different voice and mannerisms assure virtually no connection between the character Kudrow is most famous for, and the one she now inhabits. Fiona herself is odd, with an annoyingly lilting tone, and her own, distinct pattern of dialogue. One episode in, she is easy to despise. Two half hours, and suddenly she is incredibly enjoyable, even though it is still apparent she is a horrible human being. For instance, she tries to exploit a patient named Jerome (executive producer Dan Bucatinsky), who thinks he was unknowingly sleeping with his half sister (Rashida Jones, Parks and Recreation). Fiona takes the role of victim when it turns out the woman is not related to him. After all, she intends to use his story to get investors! How dare he be boring!

     Part of the reason Fiona may be the way she is could be the lack of affection she gets from her husband, Kip (the great Victor Garber, Eli Stone, Alias). Kips is, to keep with the show's format, only seen via web cam, too, whether he is on Fiona's computer, sitting next to her, or being called while in the bedroom on his own laptop. It makes for an odd communication style between the two, and most moments of their lives are missed by the viewers. However, there is enough insinuation to figure out that Kip wants to stay in the marriage, cares about Fiona, but avoids her sexual advances. Could he be gay?

     To compensate, Fiona acts inappropriately towards other men, but can't bring herself to go through with anything. One in particular, Richard (Tim Bagley, Monk, Will & Grace), she now counsels, and tries to interfere in his new relationship. You see, her departure from her previous job came after she made many advances, but she rejected Richard when he tried to act on them. Now she doesn't want him to be with anyone else, and he is confused. Wholly unethical, it's still a pretty funny situation, and actually exposes a vulnerable side of Fiona. Which is when she begins to be a character fans can get behind, if only slightly. What is shown most of the time is a persona, and this situation peels down into a deeper layer.

     High quality guest stars abound in the first season, including Jane Lynch (Glee), Lily Tomlin (Damages, The West Wing), Alan Cumming (The Good Wife), Courteney Cox (Cougar Town), Jennifer Elise Cox (The Brady Bunch Movie), Maulik Pancholy (30 Rock, Weeds), Julie Claire (24, Dirt), and more. It should be an exciting bunch of whackos, perfectly complimenting Fiona's insanity.

     Web Therapy is nowhere close to realistic, but it is pretty funny. Check it out Tuesdays at 11 p.m. EST on Showtime.


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

     Click here to purchase Web Therapy.

Article first published as TV Review: Web Therapy on Blogcritics.

Glee introduces the "Acafellas"

      This summer, I'll be going back to review the season one episodes of FOX's Glee. These are fresh reviews, not reposts, and I hope you will enjoy reliving the first season with me.

     FOX's Glee's third episode is "Acafellas." In it, Rachel (Lea Michele) insults Will's (Matthew Morrison) choreography skills, so he turns his attentions to forming a boy band called Acafellas. The New Directions set out to hire a new dance teacher, except Finn (Cory Monteith), who understands that Will just has bruised feelings, and they should fix things with him. Mercedes (Amber Riley) is depressed about being single, and is encouraged to seek out Kurt (Chris Colfer) as a potential boyfriend. Needless to say, this does not end well. At the same time, Sue (Jane Lynch) has her Cheerio spies pulling the strings to divide the glee club, and their actions are related to the unfortunate events above.


     The main theme of this episode is confidence. Those that have it will achieve their dreams and be happy. Those that do not will fail. Many of the characters face various dilemmas of confidence.

     Quinn (Dianna Agron) perhaps figures it out best, telling Sue that the cheerleading coach teaches her a valuable lesson. If one is confident, they do not need to bring other people down. Does this mean Sue is deeply not at peace with herself? There's not much to indicate that that's true, however Quinn has an excellent point. It's why the Cheerios will soon stop trying to destroy the New Directions. It may also be why Sue will not be happy anytime soon. Luckily, things in the late season two episode "Funeral" hint at another path for Sue to find fulfillment.

     Finn is confident that the New Directions can succeed, while Rachel is not. This leads Rachel, and the others, to seek out legendary choreographer Dakota Stanley (Whit Hertford). But despite all the effort it takes to land Dakota, Rachel eventually realizes Finn is right, after all, and Dakota just wants to change the club. He is an angry, little man, not at all happy. Whereas the New Directions are better off without him trying to change them. Thankfully, Rachel comes to her senses, and fires Dakota, finally listening to Finn.

     Kurt is facing a serious lack of confidence, in that he can't bring himself to come out of the closet. The fact that he has no trouble airing his flamboyant tastes and wearing "fashionable" clothes, but can't bring himself to tell people that he's gay, should help the straight viewers understand just how big a deal it is to admit one is homosexual. Or so I imagine, finding myself in the straight viewer category. This is a boy who shows tremendous courage every day in being himself, but has one big "secret" he cannot find the strength to admit. There's hope, as he does come out to one person, Mercedes, in an incredibly sweet scene. The first of many for breakout star Colfer.

     Mercedes is still struggling with being confident in herself two years later. She is just finding her first boyfriend as season two ends. This is sad, because she is extremely talented, compassionate, and has a lot of offer. She proves her brass with the only solo performance in the episode, "Bust Your Windows," a fantastic demonstration of her sassy attitude. She is confident in her voice, but not with her body. Sadly, this is not an unusual problem. Having confidence in something about yourself does not automatically cover everything

     "Acafellas" is brimming with wonderful guest stars. Among the top talent are Victor Garber (Eli Stone, Alias) and Debra Monk (Damages, Grey's Anatomy) as Will's parents. Both of these two are fabulous singers, yet neither get the chance to croon on Glee. They just show up as supportive parents. While they are great in those roles, it's a little sad they never showcase their singing abilities. Will's father's decision to return to night school to become a lawyer is a decent explanation for why they have never returned, since that would keep him very busy. Yet they are now overdue for a comeback, with a song this time.

     Also appearing is Josh Groban as himself, which he later does again in this first season of Glee. The conceit to get him there in "Acafellas," with him showing up to watch the Acafellas because Sandy (Stephen Tobolowsky) invites him, but he really comes to deliver a restraining order, is thin, at best. Surely, restraining orders are not usually delivered personally. And on that errand, the victim doesn't stick around to watch a musical group perform for the PTA. It's gratuitous. But one hilarious line he utters, "Josh Groban loves a blousy alcoholic," makes it worth it, even though it adds nothing to the plot.

     Musically, this episode doesn't give anything to the New Directions, which is pretty unusual. Mercedes gets the aforementioned number, which strangely enough, she does with Cheerio backing, even though her fellow glee club members are nearby. Granted, the entire thing is in her head, but still... Why would she choose the popular kids that don't like her rather than her supportive friends?

     Vocal Adrenaline also returns with "Mercy," apparently a piece just meant to show that Dakota is a ruthless dictator with his choreography. It looks impressive, but without any characters to care about in the group, that's all it is.

     The rest of the numbers are performed by Acafellas, which originally consists of Will, Ken (Patrick Gallagher), Howard (Kent Avenido), and Henri (Tony Award Winning Broadway star John Lloyd Young). Strangely, and regrettably, Henri is only in this one episode, and does not get to be featured heavily singing. Another missed opportunity, like Garber and Monk. This first group sings "This Is How We Do It" and "Poison," as well as "For He's a Jolly Good Fellow" with Sandy.

     Then Howard and Henri quit, and Finn and Puck (Mark Salling) join, as does Sandy, and the group does "I Wanna Sex You Up." All the Acafellas songs sound great, but they are only there to let Will taste a bit of his dream, not for any larger plot point. As such, the music in this episode, while well done, is less moving than in most episodes. After all, none of these pieces even make the Volume One soundtrack, save Mercedes's number.

     In what has become a regular part of these season one reviews, random continuity notes:

     Brittany (Heather Morris) is sometimes shown hanging out with Quinn and Santana (Naya Rivera), but mostly is left out, and it even missing from at least one New Directions group scene. Funnily enough, Morris is paired with Rivera in the opening credits. At least Brittany is featured dancing in "Bust Your Windows."

     Windshields do not bust in the manner in which Kurt's does. They are comprised of two sheets of glass with an adhesive bit in the middle. It takes a lot to put a hole in it, and it would develop long cracks, too. It appears to be tempered glass, which is generally used in the side windows. I actually found usefull, applicable knowledge from my sixteen months of handling auto insurance glass claims!

     Also, how does Kurt's father afford that vehicle? He is a mechanic, and is never shown as rich. It seems extravagant for effect, not realism.

     A school car wash made $8,000? Seriously? Has any school car wash ever made that much? That's a heck of a lot of clean cars. They should just do another one in season two when they need to raise money to get to New York City.

     Emma (Jayma Mays) slams John Stamos (Full House, ER) by saying "It takes more certainity than talent to be a star; look at John Stamos." A joke? Stamos will later play Emma's husband Carl in season two. Surely the people behind the series don't think badly of him, or he would never have been cast.

     This is the first episode Will is seen longing for a performing career. He gives it up because he finds teaching is his true calling. Watching this episode, his decision in the season two finale, "New York," should be predictable.

     Dakota Stanley calls Finn "Frankenteen." This will not be the last time Finn is called that. Actor Cory Monteith must enjoy it, because it's his twitter name.

     Puck says he has a thing for moms. While his attraction is about maturity, it could possibly have something to do with having kids, or Puck wanting to have kids. Perhaps this is foreshadowing, as once Quinn reveals she is pregnant with his baby, he tries to get with her.


     I welcome all of your musings and insights in the comments section below. Join me next week as I review the fourth episode of Glee season one, and also the fifth, if I have time.

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Article first published as TV Review: Glee - "Acafellas" on Blogcritics.