FLAKED Actually Solid

Article first published as FLAKED Review on Seat42F.

WARNING: Spoilers ahead.

It seems like Netflix has a new series practically every Friday these days! This week’s entry is FLAKED, an indie-style dramedy about an alcoholic living in Venice and the bad decisions he makes. I would say it has a similar tone and feel to Love, which Netflix released a few weeks ago, but is a heck of a lot more depressing, without the possibility for a happy ending anytime soon.

FLAKED stars Will Arnett (Arrested Development, BoJack Horseman, The Lego Movie) as Chip, the protagonist. The role is perfect for Arnett, who deserves a starring vehicle. Chip is self-centered without being egotistical, and tries to be a good friend, even though he doesn’t quite know how to be one. Or if he does know how, he doesn’t understand how to make himself follow through on it. He’s deeply in pain but doesn’t show it much. It’s a complex role with layers in every scene and themes of addiction suffusing it. Arnett communicates a lot more than the dialogue alone would indicate every time he’s on screen, which is pretty much the entire running time.

Arnett is joined by David Sullivan (Argo) as Dennis and George Basil (CollegeHumor) as Cooler, Chip’s best buddies. Both actors are good enough that they don’t pale by comparison to Arnett, but neither steal his spotlight, either, a rare fete that shows real talent. Both characters are screwed up in their own ways, and seem to be Chip’s friends by default, existing in his world, convenient to his geographical location.

Cooler and Dennis like Chip, but I can’t tell if he likes them. He certainly wants them to like him, but is that because he genuinely enjoys having the two around, or because he has no one else? Certainly this isn’t the type of friendship a person seeks out, but everyone needs someone in their lives to provide them some emotional stability, and unless Chip does something really horrible (which is often a possibility), he has them.

There’s also a girl in FLAKED, because there’s always a girl. Actually, there are two. Kara (Lina Esco, Kingdom) is Chip’s current special someone, and she is as messed up as he is. I think there is real affection between the two of them, but they are both too damaged to make it work correctly, she perhaps more so than he.

Enter London (Ruth Kearney, The Following), whom Dennis is interested in. But she may be more interested in Chip, who might not give her a second look if Kara were being warmer, but she isn’t. So Chip is trapped in a bad situation, having chemistry with the woman he isn’t sleeping with and whom one of his closest buddies is interested in. There is no way this is going to end well for all three of them, and quite possibly, not for any of them.

It’s this type of situation that FLAKED excels at, and that Arnett does so well. One in which everything is crappy, but the viewer is still compelled to watch and root for success in. Chip desperately needs something to go well in his life, but there is no clear way to get that outcome from the current circumstances.

From what I can tell, it looks like London is a main character and Kara is not. Dennis is also a main character. So the drama to me is whether Chip will find a way to help Dennis be with London, sacrificing his own possible romantic happiness, or if his friendship will fall apart. Neither one will likely contribute to his sobriety.

FLAKED’s first season will be available on Netflix starting this Friday.

THE MILLERS A Modern, But Not Happy, Family

Article first published as THE MILLERS Review on Seat42F.

Will Arnett (Arrested Development) didn’t have to worry about getting worry about getting work after the fiasco of Up All Night’s second season; he immediately bounced back with THE MILLERS on CBS. Buoyed by an extremely talented ensemble cast, the show is yet another family sitcom, but because of the players on it, has a chance to do well.

Arnett plays Nathan, a local news reporter who has been hiding his split with his wife from his mom, Carol (Margo Martindale, Justified, The Americans), and dad, Tom (Beau Bridges, The Goodwin Games, Franklin & Bash). Carol and Tom come to visit after Tom floods their basement, and upset with their daughter, Debbie (Jayma Mays, Glee), for painting a room in the house they to rent her, they head to Nathan’s place. Obviously, once in the house, it’s hard for Nathan to keep up his lie of a marriage, so he comes clean, prompting Tom to ask for a divorce from Carol.

The scene in which Tom and Carol fight, in front of Nathan, is probably the single funniest scene I’ve watched this fall yet. They tell of a bad situation, and keep upping the ante with each barb back and forth, with poor Nathan forced to hear about something he would rather stay ignorant concerning. These three beloved actors sell the moment with earnestness, and I had to stop and rewind to immediately see it again.

Just because Tom and Carol don’t get along doesn’t mean they don’t love each other. Tom needs a break from Carol’s overbearing nature, but they definitely have a lot of history. Somehow, they convey in this scene that there is still some of bond here, and while it isn’t confirmed in the “Pilot,” I suspect their break up will not be permanent.

If only the entire half hour were that good. Don’t get me wrong, there are some other wonderful bits. The highlights include Debbie and her husband, Adam (Nelson Franklin, Veep, New Girl), watching Tom try to figure out their television remotes, as well as Debbie and Nathan’s interactions early in the “Pilot.” The family dynamics are terrific, and the writers should stick to those.

The problem is any scene that is not a private family moment. Nathan’s reporting on a filled-in sinkhole and public embarrassment of a child is dumb. Carol’s introduction to Nathan’s friend, Ray (J.B. Smoove, Curb Your Enthusiasm), is one big, long, unfunny fart joke. And Carol’s embarrassment at Nathan’s party, as sweet and amusing as the creepy moment between mother and son touches on and could be if done alone, is ridiculous.

Martindale deserve better. She doesn’t act like she’s better than the material, fully in the moment, which is a testament to what a professional she is. However, I don’t want to see her the butt of fart jokes, excuse the pun. Her role as a strong, smothering mother and wife is much more suited to her because at least it allows her to retain her dignity and play some layers.

Keeping things in the family might be difficult because Debbie and Adam are only recurring players. I assume this is because Mays will still be on FOX’s Glee, though I do not have confirmation of that. Until THE MILLERS locks in those other family members, keeping the focus only on Nathan, Tom, and Carol is going to force them to bring in outside players, as that just isn’t working.

This is not a slam against Smoove. He is funny in his own right, though it doesn’t really come through in the “Pilot.” Perhaps he can be worked into the family dynamic in time. But the work and party scenes fall flat.

Yet, as I said, the family stuff is solid. The Millers feel fully formed, familiar enough for most viewers, but with their own quirkiness and foibles. I could absolutely sign up to watch them week after week, and I think the tensions and relationships between the various relations can avoid getting stale or seeming too much like a retread of other shows, despite the crowded family-comedy genre. If THE MILLERS chooses to make that the center of the show, ignoring the other stuff.

THE MILLERS premieres Thursday, October 3^rd at 8:30 p.m. ET on CBS.

ARRESTED DEVELOPMENT Gets "Off the Hook" (Season 4 Episodes 11-15)

Article first published as ARRESTED DEVELOPMENT Gets "Off the Hook" (Season 4 Episodes 11-15) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting this week, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each, and this review is for the final five installments.

I was surprised by the lack of finality at the end of the season. Yes, season four was always talked about as a "first act" for either a film or another season. There is more story to tell, and we will presumably get it. But leaving so many things open-ended, from Lucille 2's (Liza Minnelli) disappearance, to George Michael's (Michael Cera) app, to Rebel (Isla Fisher) being torn between father and son, to Gob's (Will Arnett) relationship with Tony Wonder (Ben Stiller), to Linday's (Portia de Rossi) run for office, is unexpected.

Lucille 2's apparent murder or kidnapping is the most enticing unanswered question. She is a memorable character, and considering her increased presence and involvement in season four, it makes it even harder to lose her now. I hope, whatever has happened to her, she's all right, and will survive to get into more wacky situations with the Bluth family in the future.

That's not to say some arcs haven't run their course. While we may get some more milk out of them, Tobias's (David Cross) return to show business with the Fantastic Four musical seems doomed, Michael's (Jason Bateman) movie may be done, the wall Lucille (Jessica Walter) wants to build could be finished, and Maeby's (Alia Shawkat) run as a CEO seems a failure. Yet, based on the way Arrested Development breathes new life into old running gags frequently, these things might not be over with yet, either.

Overall, the final five installments feel much the same as the first ten, partially owing to the fact that they tell the tales of different characters than the early ones. Episode eleven, "A New Attitude," completes Gob's story, but the other four all have new characters at their center, whom were not featured until now. It's a little strange that all of the characters who have two episodes this year have their installments set close together, but it seems to work.

Part of why the flow is not interrupted is because the earliest episodes begin with Michael, and the latest end with George Michael, which may be Michael's most connected-to character in this season. Michael and George Michael have a bit of a falling out, which is finally addressed, but not resolved, in George Michael's episodes, number 13 "It Gets Better" and number 15 "Blockheads." It's this father-son through line that makes the year feel somewhat complete. Plus, Michael appears in almost all fifteen episodes, so he is the thread that keeps everything together.

George Michael's episodes are important because it finally feels like he joins the adult members of the Bluth family in all their craziness. He has his own eccentricities, but his have always seemed tamer and separate from his father, aunt, uncles, and grandparents. Now, though, dating the same girl as Michael, much as Gob and Michael once did, and letting a lie create an entire company, raises him up to their level. I'm not sure this is a good thing, but it does feel like he has a bigger part to contribute.

It's interesting that George Michael finally gets over Maeby at the same time Maeby might actually be interested in him. She won't like him any longer when she realizes he's a big liar, probably, though who knows? However, it's nice to see their dynamic change, and character growth for them.

Maeby's development isn't so much arrested, as moving into a new chapter. In "Señoritis," her episode, the twelfth, she is getting a lifetime achievement award in the film industry, a sure sign that her career is over. She's way too young to be done working and has a bit of an identity crisis, which is what pushes her into trying to run George Michael's non-existent company. This is a Maeby more desperate and insecure than we've seen her before, which is a fascinating direction to take her in.

Buster's (Tony Hale) turn, the fourteenth installment, "Off the Hook," isn't particularly notable. Of all the Arrested Development stars, Buster gets the least to do in this fourth season, rarely seen in other installments. His feature is a very typical, predictable Buster story, with the episode title alluding to the hilarious new attachment on Buster's wrist when he gets rid of his hook. But it doesn't break any fresh ground for him, basically repeating past arcs.

Gob's arc with Tony is one of my favorite Arrested Development bits ever. I adore the way Arnett and Stiller play these roles so sincerely, showing vulnerable men who don't like themselves and love themselves at the same time, unsure what friendship feels like. I doubt they will become a full-fledged couple, as neither really seems gay, but their stunted emotional maturity makes their dealings both awkward and very funny at the same time.

The supporting character I want to see more of in the next Arrested Development incarnation is Steve Holt (Justin Grant Wade). We glimpse him a couple of times, but it's more of a reminder of his existence, than any actual plot. Biological father Gob is wrapped up in his own stuff, so there is no time for Steve, but I'd really like to see the two of them forced to work things out in some manner. Ah, well.

In the end, it feels really good to have Arrested Development back, and I'm grateful for these fifteen episodes, but at the risk of sounding spoiled, it isn't enough. Because of the lack of closure, there absolutely has to be more. It's almost guaranteed to happen, but until production begins, it leaves me a little on edge. The season three finale was more conclusive.

All fifteen episodes of Arrested Development's fourth season are available on Netflix now.

ARRESTED DEVELOPMENT Same "Double Crossers" As Always (Season 4 Episodes 6-10)

Article first published as ARRESTED DEVELOPMENT Same "Double Crossers" As Always (Season 4 Episodes 6-10) on TheTVKing.

Netflix has resurrected Arrested Development, seven years after its cancellation on FOX, and now, starting yesterday, presents fifteen brand new episodes. For ease of review purposes, I am breaking down my coverage into three articles covering five episodes each, with this article focusing on episodes 6-10.

The thing that strikes me about the first four of this grouping of five is how much they seem like "typical" Arrested Development episodes. Sure, each one still centers on a single character, technically, but these middle installments include a lot more of the rest of the cast than the earliest episodes do, with more scenes and plot where the featured actor doesn't appear. As such, it allows the multiple story lines to be served and continue.

It also brings back a lot of the family dynamics fans of the show are used to. Beginning in the sixth episode, "Double Crossers," George Sr. (Jeffrey Tambor) manipulates his children against one another, especially Gob (Will Arnett) and Michael (Jason Bateman), who may possible now be dating the same woman, again. This is classic Bluth shenanigans, and eventually the Bluth children talk and compare notes. While family togetherness is the stated purpose of the Bluth parents, they are happy to chuck it out the door to serve their own purposes, which usually works for a time on their children.

Which is not to say that the kids don't follow in the footsteps of their parents. George Sr. may need Michael's help with his business deal, but Michael is also making agreements in order to get his film made. Soon, many bargains are being struck between the various sides, each Bluth worried only about their own selfish needs, no one helping the others out. Which will likely lead to the failing of everyone, per usual.

Why can't the Bluths just support one another? Why do they have to back stab and bicker? It makes for great, entertaining television, but sometimes it becomes a little sad, even when viewers are laughing.

We also get a return of many more recurring players and subplots. The mysterious Mister F. theme comes back in episode nine, "Smashed," when Tobias works at Lucielle 2's (Liza Minnelli) rehab clinic with her brother (Tommy Tune). Steve Holt (Justin Grant Wade) resurfaces in episode seven, "Colony Collapse," wanting to reconnect with his dad, Gob. Also in the same episode, Gob is finally forced to figure out what to do about his relationship with Anne (Mae Whitman), turning to magic to escape, much to chagrin of her father, Pastor Veal (Alan Tudyk).

Add in the new arcs, which feature new players, and this all begins to come together in the cohesive tale we are accustomed to, with each Bluth's plot running through each other Bluth's plot. Edited differently, these four episodes could easily serve most of the main cast (or at least the ones featured in them) with connected stories and situations, rather than being so concerned with just one Bluth.

In fact, although Michael is not the lead of any of the five, he bickers with Gob in "Double Crossers" and "Colony Collapse," and goes on a double date with Lindsay (Portia di Rossi) in her installment, episode eight's "Red Hairing," which we then again see in Tobias's (David Cross) "Smashed." Then, Michael finishes up his Ron Howard (himself) / Rebel (Isla Fisher) confusion. So the stories are getting more expansive and inclusive.

Episode ten, "Queen B.," though, follows Lucielle (Jessica Walter) and feels like the beginning of the end. This installment seems to finish off the boat chase plot begun in season three's finale, go through Lucille's trial, and takes her all the way up to the Cinco de Cuatro night we've seen so much of. The various threads begin to really tie together, bringing things back around and paying off bits started earlier in season four. I cannot say for sure, but it seems like season four might have a clear beginning, middle, and end, and we're moving into the end now.

Knowing season four can't go on forever, I'm hesitant to rush through the final five. It has been so satisfying returning to these characters, and I don't wish to let them go. For every old story that somewhat concludes, like Anne's involvement with the family and Lucille's long-running feud Lucille 2, we get another continuation, like Gob and Steve Holt's unfinished business, as well as another story just starting, like George Sr. and Oscar's (also Tambor) personality switch, Lucille 2's disappearance, Lindsay's run for office in Love's (Terry Crews) place, and George Michael's (Michael Cera) continuing avoidance of Michael, which seems to be carefully planned. This so much rich material to mine, and it's being handled very well.

That being said, I look forward to learning the fate of some of the newbies that may be near the end of their run, and I'm anxious for Maeby (Alia Shawkat), George Michael, and Buster's (Tony Hale) turns in the pole position, as well a second outing for Gob. Time to watch more Arrested Development!

All fifteen episodes of season four are currently available for Netflix streaming video subscribers.

ARRESTED DEVELOPMENT Season 4 Takes Flight

Article first published as ARRESTED DEVELOPMENT Season 4 Premiere Review on Seat42F.

Grade: 100%

Today is a glorious day for fans of high-quality comedy series, as Netflix revives ARRESTED DEVELOPMENT. Canceled by FOX after just three short seasons, it now returns today with fifteen brand-new episodes, released all at once through the company’s streaming service.

It is immediately apparent from the start of the premiere, “Flight of the Phoenix,” that this is the same show that fans love and miss. Ron Howard’s narration remains, as does a tweaked version of the theme song, the entire cast, and a host of recurring bits and characters. In the first episode, we get such classic gags as the Peanuts sad walk and a revisit to Michael’s turn as a lawyer in an Elementary school play, and see familiar guests  like Barry Zuckerkorn (Henry Winkler), Lucille 2 (Liza Minnelli), and Sally Sitwell (Christine Taylor).

Not that ARRESTED DEVELOPMENT is going to rest on its laurels and just give us the same story again. There are fresh jokes that are set up to be recurring, such as Michael’s (Jason Bateman) prayer pose and his enrollment in the University of Phoenix. Which means that, going forward, the series should continue to build upon itself as it always has, keeping what works, and enriching the tapestry further.

The character development continues, too. When last the series aired, Michael had been spiraling dowwardn. He is originally introduced as the character that has it all together, but over the course of the episodes, slowly loses it, proving he is just as screwed up as the rest of his family. Now, he has reached a very low point, and is at his worst, a logical step forward based on the past.

“Flight of the Phoenix,” flashbacks aside, covers two main time periods, six months apart. In the first, Michael is living in his son, George Michael’s (Michael Cera), dorm room. In the second, lest anyone hope that he improves himself in the interim, as the ending of the episode seems to hint might happen, we see Michael willing to sleep with Lucille 2 for money. So no matter what happens to Michael in Phoenix, which has yet to be revealed, it won’t be a happy ending for him.

Other elements have also advanced. It’s really cool to see the neighborhood around the model house finally get built, especially because that is still only the beginning of the company and the family’s problems. The Bluths will never be successful in business, and one will always wonder how they’ve stayed afloat this long. But their foibles are hilarious, and a lot of why we tune in.

We don’t learn a lot about where the rest of the characters are in “Flight of the Phoenix,” set years after the season three finale, but with enough connecting threads to jump back in on without feeling like we’ve missed anything. This is because of scheduling conflicts. During the many years between seasons three and four, most of the cast moved on professionally and obtained other work. In order to put together these fifteen half hours, accommodations have been made so that different characters will appear in different installments.

This surprisingly doesn’t feel too jarring. Some members of the Bluth clan have always been featured more than others at times, owing to the large group and limited story-telling time. While Gob (Will Arnett), George Sr. (Jeffrey Tambor), Lucille (Jessica Walter), and Buster (Tony Hale) all are briefly seen in the first episode, their stories will be told in other half hours, which is fine. Michael is the main character, if such a strong ensemble series has a main character, and putting him first feels very natural.

One assumes that the later time period we see Michael in will be where this fourth season will come together, reuniting the Bluths for their big (hopefully not permanent) ending. We’ll probably get this part of the puzzle in small pieces, doled out a little bit in each installment.

The one major element that has changed is that Lucille and George Sr. are no longer played by Tambor and Walter in long-ago flashbacks. To be fair, this always stretched the believability a little bit, and the new actors, Kristen Wiig (Saturday Night Live) and Seth Rogen (50/50, Knocked Up), are experienced and wonderful at recreating the parts. While many, myself included, are a little reticent to see someone else tackle such familiar characters, it is so well done that there should be no complaints.

In all, Netflix has done a fantastic job in resurrecting ARRESTED DEVELOPMENT, with key players both behind and in front of the camera right where they should be. I predict this will be considered a great success by fans of the show, and will likely spark at least discussion of continuation of the story after this. Now, I need to get back to my TiVo and watch more.

Not quite "Game Over" for 30 Rock, but getting close

It feels like the beginning of the end this week for NBC's 30 Rock. Jack (Alec Baldwin) engages in a final battle of the wits with Kaylie Hooper (Chloe Grace Moretz) for control of Kabletown. With the current CEO, Hank Hooper (Ken Howard), set to retire, Jack feels his chance to run the company slipping away to an evil teenage girl. Kaylie may be Jack's greatest foe yet, and the battle of wits between them becomes convoluted and full of deception.

This is a really great plot because Jack is at his best when threatened, and he has to end up a high note. Inheriting the position without having to work for it one more time would have been hugely unsatisfying. Instead, he is pushed to his breaking point, having to use all of his wit, and use the witless pawns Jenna (Jane Krakowski) and Devon (Will Arnett, somehow finding time off from Up All Night and Arrested Development) in order to come out on top.

It's interesting, because Hank is a truly good guy, one who appreciates kindness and old-school morality. Neither Jack nor Kaylie is a worthy successor, both plenty willing to splash in the muck, and more shrewd than generous. Part of me thinks that a last minute twist could keep the company from going to Jack, since that is not really what Hank Hooper would want, should he know all, even though Jack won by appearing to be the more heartfelt. But at the same time, Jack is a more important character than Hank, so this may be it.

I really liked that Devon is drawn into the game. With the end in sight (airing January 31st), 30 Rock parades through a few recurring characters in this episode, giving them one last hurrah before the curtain closes. Devon is a great recurring player, and Lenny (Steve Buscemi), Bev (Megan Mullally), and Doctor Spaceman (Chris Parnell) make appearances, too.

Jack isn't the only one heading for his endgame in "Game Over." Liz (Tina Fey) is frustrated with fertility treatments and waiting to adopt a baby, so she considers taking in an older child instead. It makes sense, since she's already spent seven years raising Tracy (Tracy Morgan), who is like an infant. Now, she can graduate to the later stage of motherhood, and be happy.

Tracy finally gets to see himself as others see him in "Game Over." On set at his new film, in which he has cast Octavia Spencer (The Help) as Harriet Tubman, he finds out just what an immature, crazy diva can do to a production, as Spencer turns out to be the female version of Tracy in a hilarious sequence of scenes. Bringing in someone with such recent acclaim as Octavia to play the outrageous role is the type of genius casting that 30 Rock is known for.

Yes, the antics of Octavia are extremely funny, and make for an entertaining episode, but more importantly, Tracy gets introspective. He has to try to understand what Liz puts up with, and how she can get things done. He isn't successful in corralling Octavia, but he gets a lesson in himself.

That's what "Game Over" is all about. On the surface, there are plenty of laugh out loud moments. But underneath that, the major players are all moving towards their finales, taking stock of their lives, and setting themselves on their next paths. Being able to do this without resorting to the sappy, staying as zany and goofy as ever, takes monumental talent. 30 Rock is killing it.

30 Rock continues Thursdays at 8 p.m. ET on NBC for just three more weeks.

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

Up All Night for new reasons

NBC's retooled Up All Night returned last night with "Friendships & Partnerships." Gone is the Ava show. Gone is the incredibly annoying character of Missy (Jennifer Hall). Gone is the family's financial security and their five year plan. With the end of the daytime talk show, gone is the familiar Up All Night, about half of which took place on set and in the offices around the set.

This resets things for the three main characters, forcing major adjustments. Reagan (Christina Applegate) gets to spend a little more time with Amy, since she's off of work. Chris (Will Arnett) considers going back to being a lawyer, but finds it doesn't fit with the daddy he is now. Ava (Maya Rudolph) has a total melt down, but with Reagan's help, she will begin building the next stage of her career.

But there's also newness abounding in "Friendships & Partnerships." Reagan's brother, Scott (Luka Jones, Best Friends Forever), comes to redo their bathroom (before learning that the income faucet is shutting off). He is dissatisfied with his bully of an employer, who happens to be his ex-father-in-law. Scott considers going out on his own, but he knows that he is a talented contractor with little business sense. Chris hatches a brilliant scheme that he will take care of the business side of Scott's company. Thus, new income is born.

Or is it? Let's hope the Brinkleys have some savings! Most small businesses fail. And even though this is a television show, where it will likely succeed, and much more quickly than is realistic, there will probably be some stories about money being tight first. It's good, then, that they have Ava, who appears to be much richer than they are, single with no children, who could help Chris and Reagan out if need be.

I honestly don't know how this new Up All Night will work. Scott is a much better character than Missy, though it bothers me that he has seemingly always been around, as seen in the theme song, even though he didn't appear or was even talked about in the first twenty-four episodes. He is less high strung, and can probably be attractive to the opposite sex, providing the show with its "necessary" romance fix. Jones seems to have decent enough chemistry to fit in with the other leads.

More worrisome is what will become of Ava. It's great to see her go through something so traumatic, and I'm anxious to see what her next venture will be. But taking away her show tossed out a huge chunk of what Up All Night was. Contracting doesn't look to provide as many rich, humorous situations as daytime TV did. It is doubtful that Ava will be involved in Chris and Scott's enterprise, and until she finds her new calling, her character is likely to become pretty aimless.

Because "Friendships & Partnerships" is such a transitional episode, I will reserve judgment about the changes for a few weeks. The fact of the matter is, Up All Night was, despite it's fantastic cast, only ever good, not great, so a shake up probably won't hurt it too much. This episode is about on par, in terms of humor, with season one. There are great moments, and then plenty of forgettable scenes, too. What remains to be seen is whether it can grow into something worthwhile, or if these are just desperate measures for a sinking ship.

Up All Night airs Thursdays at 8:30 p.m. ET on NBC.

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

'Up All Night' goes down on one knee

NBC's Up All Night brings their first season to a close with "The Proposals." Reagan (Christina Applegate) panics when she thinks that she lost her engagement ring. But Chris (Will Arnett) is actually having it resized, and hopes he can finally propose, since she ruined the first attempt, years ago. Meanwhile, Kevin (Jason Lee) comes back to town because he misses Ava (Maya Rudolph) and plans on putting a ring on her finger, but will she take him back?

Chris and Reagan are a good couple because they complement each other well, and have much in common where it counts. Most of all, they both care deeply about one another. This is evident in Chris's planning, where he sets up the perfect moment, reminiscent of the first proposal, recalling their romantic history together. It's also clear that Reagan feels the same way when she goes to great lengths to replace her missing ring, even paying off Gammy (Marion Ross, Happy Days, Gilmore Girls) for a diamond earring to use as the stone. She also stops herself from ruining this second attempt, seeing what Chris is about to do.

Most couples see the passion cool over time. This isn't necessarily a bad thing. Regan is caught up in the moment the first time around, and that's why she ruins Chris's original proposal. But in "The Proposals," she is able to slow down enough to see what is going on. People don't always need to run hot to prove their love for their spouse. Reagan and Chris show each other in little ways every day. And letting one's husband have his moment is a way that she shows her love, as much as planning and executing the second proposal is how Chris does his part.

Ava and Kevin are a wonderful couple. Jason Lee is sorely missed when Kevin disappears months ago, and many viewers long for his return. This finally happens in "The Proposals," but asking Ava to marry him is moving way too fast. While it is awesome that he is back on Up All Night, neither Ava nor Kevin are ready to marry, and so doing so just to keep the character around would have felt forced.

That being said, it would still be nice if wedding bells were in Kevin and Ava's future. There is no reason why they can't be in a couple of years. Ava is right that she did get pretty dependent on Kevin, and has to find herself after he leaves. The fact that she realizes this is a step in the right direction. They both need to grow separately before they can fully grow together. So hopefully they will just date for awhile, leaving some breathing room. Though, no one would complain if Lee became a series regular next year.

Up All Night  has not yet been renewed for a second season, but is considered a probable pick up. Should that happen, it will return to NBC next fall.
 
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'Daddy Daughter Time' for Up All Night

This week's Up All Night episode title, "Daddy Daughter Time," does not refer to Chris (Will Arnett) spending time with baby Amy, which happens most weeks. In fact, Chris begins working at the show, instead of being home during the day. He is horrible at first, but with a little coaching from Reagan (Christina Applegate), he improves markedly. Unfortunately, his popularity on screen and behind the scenes annoys Reagan, who feels as if her work space has been invaded.

"Daddy Daughter Time" actually refers to Ava's (Maya Rudolph) father, Marty (Henry Winkler, Childrens Hospital, Royal Pains), who comes to visit with his Asian wife and their children. This is much to Ava's dismay, as she is looking for some one-on-one time with Marty.

Who would have guessed that the mixed race daytime TV host would have a hippy Jewish father who writes children's books about African American youths? If that sounds like a weirdly amusing improv sketch, that's OK, because Winkler and Rudolph are veterans of comedy. Their chemistry is easy and realistic, and seconds after Winkler's first appearance on screen, any lingering questions about paternity go right out the window.

The story itself isn't particularly original. After all, how many kids, even after they grow up, feel neglected when one of their parents starts a new family? However, Ava handles the situation with less narcissism than she does many other things, and seeing the two performers together makes up for any staleness.

Chris coming to work with Regan also smacks of it's-been-done-a-million-times-before syndrome. This is a common cliché for sitcoms, though in the past it's mostly involved a stay-at-home wife going to their husband's place of employment. And maybe that's the point. In this gender reversing series, perhaps Up All Night just wanted to show that it can work the other way, too.

The problem is, using these worn out plots doesn't help Up All Night set itself apart as a series that should be watched. Fans can tune in sporadically, whenever they have time, and don't miss much. What's more, each episode does little to carve out its own niche identity, and "Daddy Daughter Time" is no exception to that rule. So what's left is a show that's enjoyable, because of the awesome trio of performers at the center, but has no hook to keep viewers coming back week after week. Somehow, enough still do.

Up All Night is a serviceable, but far from brilliant, sitcom. The actors deserve better. Sadly, a second season looks like a very real possibility, keeping the cast stuck in this world a bit longer. Though if the writing gets a little smarter, the producers ditch Missy (Jennifer Hall), and Jason Lee comes back full-time, there could be something great here. Oh, and more of Sharon Osbourne (The Talk, America's Got Talent) as a rival of Ava's wouldn't hurt, either.

If you are so inclined, catch Up All Night Thursdays at 9:30 p.m. ET on NBC.

If you like my reviews, please follow me on Twitter! To catch up on episodes of Up All Night that you missed, please click here.

Todd Margaret "Conclusion" bombs, literally

IFC's The Increasingly Poor Decisions of Todd Margaret brought its run permanently to an end this Friday after twelve episodes. The finale, entitled "Conclusion," finds Todd (David Cross) on trial for the various crimes he has committed over the show's two seasons. Brent Wilts (Will Arnett) acts as his (inept) lawyer, until things turn south, and he flees, leaving Todd alone. Alice (Sharon Horgan) finds the evidence needed to clear both her and Todd, but Todd accidentally blows her up with a truck bomb. Luckily for Todd, Dave's father (Mark Heap, Friday Night Dinner, Lark Rise to Candleford) shows up and calls off the entire scheme. Todd is allowed to leave England, but stupidly chooses North Korea, where he sets off an atomic bomb.

The end is a huge disappointment for a pretty funny series. Having written themselves into a corner, the show chooses to just blow things up, rather than try to solve or explain anything. In fact, just before the bomb goes off, the character of Doug Whitney (Spike Jonze, Being John Malkovich) muses that things don't make sense, and the story isn't tied up at all. It's a tongue in cheek joke, as if the writers, in an attempt to distract, are saying, "Yes, we know, we screwed up. Look! Explosion!"

There are not many series that would have the guts to do such a thing. And for that, The Increasingly Poor Decisions of Todd Margaret's "Conclusion" deserves some credit. Never has a television show thumbed its nose at convention and its audience in such a blatant, uncaring manner. Which totally fits the tone of the titular character, and most of the series. In that respect, it's a fitting way to finish things off. But that doesn't stop it from being ridiculous, and "Conclusion" will likely anger many fans, this reviewer included.

Yet, even before the final moments of the series, "Conclusion" isn't doing so well as an episode. Arguably the worst half hour of the show, much of the action takes place in a courtroom. The problem is, the events are completely unrealistic. While The Increasingly Poor Decisions of Todd Margaret isn't a show whose characters are much in touch with reality, there's always the feeling that the authorities will eventually catch up to those who deserve it, and things will be righted. Instead, under the watchful, controlling eye of Dave (Blake Harrison), who has orchestrated this entire thing to get even for Todd and Brent being rude to him in a bar, the judge sits back and lets the two make a mockery of the justice system. It's completely unacceptable, uncomfortable, and just plain doesn't make sense.

Worse still, the delightful Alice is killed off for no reason other than to follow up on a loose thread. And she looks perfectly fine and attractive in the morgue, rather than being a decimated, burnt, ripped apart mess, as she would be, considering the situation. Granted, at least the truck bomb is given some closure, unlike many other subplots, but how did it get from being parked at a restaurant closed down as a health hazard to being in front of the courthouse? Surely, the bomb would have been discovered and deactivated, and the truck impounded, when the department of health discover it next to The Molecule?

Not to mention, how and why is Todd recruited by North Korea, put in charge, and made to set off an atomic weapon, all in two days?

The Increasingly Poor Decisions of Todd Margaret does provide some great entertainment, such as the twist reveal that the character Jon Hamm (Mad Men) is playing in the show is himself. But because of such a faulty, lazy ending, it will not be remembered as a terrific series, if it is remembered at all. And that's a shame, because the first eleven episodes are really great. But screwing up the ending ruins the entire deal. Some may discover the show on DVD, but it will not be through recommendation or word of mouth from anyone who finishes watching it.

MORE: If you like my reviews, please follow me on Twitter! Click here to buy Todd Margaret DVDs and streaming episodes.

"Todd's Terrible Day Ends and His Next Terrible Day Begins" in The Increasingly Poor Decisions of Todd Margaret

     IFC's The Increasingly Poor Decisions of Todd Margaret returns this week for a second season. The first episode back, "Todd's Terrible Day Ends and His Next Terrible Day Begins," picks up right where season one leaves off. Alice (Sharon Horgan) angrily storms off from Todd (David Cross) and his 'rape kit.' Todd tries to fix things with Alice by confessing to some lies. But he also re-encounters the terrorists, who trick him, and he has to go on the run from the police, since they find a dead body in the Houses of Parliment where he is discovered hiding. Dave (Blake Harrison), now revealed to viewers as the secret rich mastermind behind the energy drink scheme, is only to happy to provide a destination - Leeds.

     The series is funny, and takes a bizarre new turn in season two with the Dave twist. Dave is now shown in a posh manor, attended by a very serious looking man servant (Mad Men's Jon Hamm). But what is Dave's goal? Obviously, Todd is just a lackey, as is his "boss" Brent (Will Arnett), but why is Dave using and manipulating them? And why does Dave want to go to Leeds so badly? It can't just be to expose Todd in one of his many untruths, as Dave sees right through those, and there's nothing to be gained by making Todd look worse than he already does. But Dave is also clearly enjoying the ride he is playing Todd into taking him on, so it adds a bit of fun to the show.

     Alice, meanwhile, is losing patience with Todd. Throughout season one, she frequently gets frustrated at him, and it's a little confusing that she is willing to keep Todd around. Yet, she must find something about him charming. Alice says she doesn't want to see Todd again, but of course, Todd shows up at her cafe to give her the drapes and make a fool of himself, again. At least this time he apologizes for some things, and even admits some of his claims he makes are false. As Todd justifies his fibs, one can't help but feeling a little sorry for him, which might be why Alice appears to soften slightly. However, given everything that Todd has already put her through, and the very few things he brings to the table, it is definitely time for Alice to permanently sever ties with the menace.

     Hamm is a wonderful addition to the cast. Having done 30 Rock and Childrens' Hospital previously, he is no strange to sitcom comedy. However, rather than going goofy, as he does in other shows, he keeps this new part pretty straight. Which is kind of cool, because it provides a different side altogether from his previous work. There is no telling what the writers have in store for his character, but given Hamm's talent, and the few gags in participates in this premiere episode, things look promising.

     Another face that is very welcome is that of Russ Tamblyn as Chuck Margaret, Todd's dad. Coming to England when he sees Todd in trouble on TV, he is game at tossing a sheet over his head and pretending to be a ghost, or babysitting Pam's (Sara Pascoe) brood while he crashes as her filthy excuse for an apartment. His easy going nature and willingness to do the ridiculous inform a lot about where Todd comes from. However, Chuck is also kindler and more compassionate, showing that Todd isn't solely a product of his upbringing. It's a neat insight, without being too obvious, and Tamblyn is hilarious in the role.

     Oddly, though the series has not yet gotten to the framing story of season one, with Todd in court, there is a new opening featuring Todd as a scared prisoner. When will The Increasingly Poor Decisions of Todd Margaret reach its earlier shown scenes, and how does Todd get out of trouble, only to quickly get back into it? There's plenty to anticipate moving forward.

     Watch The Increasingly Poor Decisions of Todd Margaret Fridays at 10:30 p.m. ET on IFC.

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Up All Night giving "Birth"

     NBC's Up All Night made episode six, "Birth," very special by setting it months before the series begins. Reagan (Christina Applegate) is preparing to have Amy, and sets up a very detailed birthing plan. When she goes into labor early, things begin going wrong. First, she forgets her bag. Then, her doctor is unavailable, so the young, attractive Dr. Goddard (Sam Page, Mad Men, Shark) fills in. It doesn't help that Ava (Maya Rudolph) is still in denial about the whole situation. But luckily Chris (Will Arnett), who plans on taking just a short leave from work, keeps calm.

     It's interesting to see the characters prior to how they've been seen thus far. Of course, they are the same people viewers are already getting to know, and there aren't too many surprises. Ava still is clueless about the world, and has problems coping with things. Chris has his priorities in order, whether they be a job or a baby, and can roll with the punches. Reagan is a control freak, but can also adapt when she needs to.

     The cosmetic changes, through unimportant to the overall formula, are why "Birth" is fun. Ava has an old announcer who annoys her, and jokes that her driver, Calvin (Nick Cannon) could do a better job. Those who watch the first few episodes of Up All Night know that Calvin does, indeed, get the occupational change, and will soon be on stage alongside Ava. We also get to see that Chris is actually quite great at a career, but the moment his daughter is born, he realizes he is plenty willing to give it up out of love for his child. It highlights just what a good man he is.

     Less funny is Missy (Jennifer Hall, now a series regular) trying to get Ava to the hospital. Perhaps it's because the character of Missy is more pathetic than humorous, and she lets herself be walked all over, but it's hard to laugh at her. Hall commits fully, so it's hard to blame the actress. Yet, it just seems cruel to find her sad ways funny, and so, in feeling bad for her, it kind of ruins the jokes. Even the gag when Ava cuts Missy's hair falls flat. It's a wonder the series decides to upgrade the character, and potentially a mistake to do so.

     In all, "Birth" is less successful than other show's flashbacks, and thus, a disappointment. It has good moments, and things worth seeing, but perhaps those could have been inserted in a present day story, as stretching the plot for an entire episodes feels forced. Too bad. The "Pilot" was so promising.

     Up All Night airs Wednesdays at 8 p.m. ET on NBC.

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Up All Night - "Pilot"

     While technically NBC's new sitcom Up All Night premieres next Wednesday, the pilot aired last night at a special time. Starring Christina Applegate (Samantha Who?, Married With Children) and Will Arnett (30 Rock, Arrested Development), the series follows two brand new parents, who weren't exactly expecting a child. Reagan (Applegate) is a career woman who basically single-handedly runs the talk show Ava, while Chris (Arnett) is going to be a stay-at-home dad for their new bundle of joy. Add to the mix Reagan's best friend slash boss, Ava (Maya Rudolph, Saturday Night Live), who doesn't quite understand why the couple can't party like they used to, and there is the makings of an interesting, fresh series here.

     Rudolph is perfect, as she almost always is, as an Oprah-like host. She's larger than life, with an immaturity that makes her reckless actions somewhat endearing. Reagan is her Gayle, confidant, always by her side, and up for anything. With the arrival of baby Amy, this isn't so much the case any more. Reagan tries to make Ava happy, but eventually learns to say no, as she must to keep her sanity. Thankfully, Ava takes the news well, understanding that priorities must shift, and appears ready to adjust, too. After all, while Reagan was on maternity leave, the series practically falls apart. It's better to have some Regan than no Reagan.

     Applegate brings the same charm she has in her previous series, but with a bit more maturity. After all, she can't run around and be crazy on this show. Reagan has responsibilities. Too many, it seems, when she hears Matt Lauer (himself) talking to her from her television set. Applegate is able to convey that Reagan cares about both work and home life, and is searching for a balance that only a fully grown adult can find.

     Surprisingly, Arnett rounds out the trio well. Though the man can definitely do funny, his character are usually over the top. On an ensemble-less show, that would be far too much to take on a weekly basis. Instead, he plays Chris as a caring, loving husband and doting father. Chris can take care of the baby, and knows how to relax without burning out. Believe it or not, he actually shows better judgment than Reagan, encouraging her not to party too hard on their anniversary... though he sticks around when she doesn't listen, both of them paying the price the next morning.

     Because of Ava's obvious close relationship to the couple, Up All Night is actually about three people adjusting to a newborn who suddenly has a huge impact on all of their lives', rather than just following the parents. It's an interesting concept that might not work in lesser hands. But all three performers are completely solid, and have wonderful chemistry. As such, it's a delightful little treat of a show. Not sure where it's heading for the long-term, but for now, watching this trio just get by is enough to keep viewers interested. Bravo.

     If you missed the pilot, please click here to view it for free.

     Next week Up All Night moves to its regular time, 8 p.m. ET Wednesdays on NBC.

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The Office forms a "Search Committee"

     NBC's The Office ended its season last night with a special one-hour episode entitled "Search Committee." In it, Jim (John Krasinski), Toby (Paul Lieberstein), and Gabe (Zach Woods) interview a wide variety of candidates vying for the manager position at Dundler Mifflin Sabre. Jo (Kathy Bates, whose NBC series Harry's Law was just renewed) returns to check on the process, but gives little input on who should be chosen. Jo does send Gabe back to Florida, though, when it's clear that he has gotten too personally involved in office drama, and replaces him on the panel with Kelly (Mindy Kaling). Angela (Angela Kinsey) gets engaged to her senator boyfriend, and the staff wonders if they should tell her that he's gay. Phyllis (Phyllis Smith) wonders if she might be Erin's (Ellie Kemper) mother. Ellie makes a play to win back Andy (Ed Helms). And Pam (Jenna Fischer) tries to keep acting manager Creed (Creed Bratton) from losing all their clients.

     The Office brings in some heavy star power to apply for the top job, though few are serious contenders. Jim Carrey (Eternal Sunshine of the Spotless Mind) is the briefest cameo, complete with funny accent, concerned with getting back to his family in the Finger Lakes. Real life Berkshire Hathaway CEO Warren Buffett is similarly quick, but surprisingly funny as he tries to negotiate a salary. Ricky Gervais (The Invention of Lying) reprises his British The Office character of David Brent for the second time this season. Will Arnett (Arrested Development) leaves surprisingly little impression, while Ray Romano (Everybody Loves Raymond, Men of a Certain Age) kills as a bumbling nervous applicant.

     Neither Carrey or Gervais, who have movie careers, Arnett, who is already starring in a new series next season, Romano, who has a show on TNT, nor Buffett, a real CEO, will be the boss. All have prior, more important commitments. They are a welcome diversion in a fantastic and memorable episode, but that is all they are. While speculation will continue to reign over who will ultimately get the job, it is not worth talking about any of those applicants in any serious manner.

     Perhaps the only two possible contenders from the guest star list are James Spader (Boston Legal) and Catherine Tate (Doctor Who). Tate's character is completely unpredictable, changing her opinions constantly, but she is a friend of Jo's, and that gives her a leg up. Spader delights as a creepy salesman who insists there are no products to sell, just sex. His time on screen is short, though longer than the other guest stars, and it reminds viewers just how good he is, and how he should be back on series television as soon as humanly possible. Either Spader or Tate could fit well with the current ensemble.

     There are also applicants from within the office vying for the position in front of the "search committee." Jim's favorite, and the frontrunner going in, is Darryl (Craig Robinson). Sadly, Darryl botches his interview, doesn't have a resume, ends up making a terrible resume, disappoints Jo, and resorts to cheap tricks with his daughter to try to win the position. Even Jim begins to look exasperated with him by the end. This likely spells the end of his efforts. Kelly fares worse, being laughed out of her interview almost as soon as it starts.

     Andy could possibly be the new front runner. He is underwhelming, but as he says, he will not make waves or changes. Dunder Mifflin Sabre has been through a lot lately, and Andy's leadership style may be just what they need. Though not an early favorite, as Gabe goes on the attack during the initial interview out of jealousy over Erin, he distinguishes himself as he decides to really go for it. He is educated and qualified, and isn't contributing much to the company as a salesman. It could be a perfect storm, or lack of other options.

     Dwight (Rainn Wilson) redoubles his efforts, determined to prove that he can do better than he did in his recent, brief stint as manager. He uses disguises and bribes to try to work his way into the top spot. Jim is dubious, and refuses to actually consider him, even after Jo asks him to. Considering Jim seems to be the decision maker, does Dwight still have a chance?

     Or could Jim reluctantly step in? Despite Spader and Tate's memorable performances, The Office has such a large cast already, it would be good to keep it in house. Dwight is risky, at best, and Andy doesn't blow anyone away. While Jim is previously reluctant to stay manager after his run as co-manager with Michael (Steve Carell), perhaps he will try again, given the lack of options, and the way a poor choice would reflect badly on him and his career.

     Pam is stuck handling Creed for much of the episode, who is every bit as bad a manager as one would expect. Pam often has to put out metaphorical fires around the office, and has the respect and affection of nearly everyone. Throughout "Search Committee," it is Pam who keeps the place running smoothly. For this reason, it is possible that Pam could be a dark horse choice for manager.

     Any way they go, it is crummy that the season ends without a choice being made. The office has been in a state of flux for awhile now, ever since Michael announced his intention to leave, and the instability leaves the viewer feeling uneasy at the end of the episode. Perhaps the choice will be stronger, given that the writers are taking time off to consider the options one last time. But it certainly does no favors to fans in the short term.

     Should the staff tell Angela that her Senator boyfriend is gay? They opt not to, out of kindness, but their patience is stretched as Angela continues to brag about her fiance and their upcoming nuptials. While the decision is made not to do so, it seems only a matter of time before the truth comes out, likely in a retort from a co-worker after Angela makes a particularly snide comment. Angela is a bit delusional, but it is doubtful she will go through with a sham marriage once that lie is exposed. And then perhaps she will revisit Dwight again.

     It is with great disappointment that Phyllis discovers she is not Erin's biological mother. In a previous episode, the clues are set up perfectly for the mystery of Erin's mother and Phyllis's daughter to be solved. The two women exhibit the same mannerisms, and the timing works out. It is not very realistic that they should be related and coincidentally end up in the same workplace. For that reason, it is good the writers did not go through with making Erin Phyllis's daughter. But considering how happy they are when they think it's a possibility, it's very sad that it doesn't work out. How long before Phyllis breaks the news to Erin, or will they continue to act like it might be true? Or perhaps they will decide tests don't matter, and they can maintain the relationship they've started, both filling a gap in the other's life.

     Equally disappointing is that Andy turns Erin down for a date. The two are so obviously perfect for each other. Andy's hurt feelings are understandable, and considering how much he put himself out there for her, and she continuously rejected him, and he does need some time to make her sweat. She deserves as much. Knowing Andy is as nice a guy as he is, he won't make her wait long. He basically says he still likes her in his camera interview. One more romantic gesture from her, and he will probably give in. As he should. Petty feelings cannot take the place of true love. Make no mistake about it, Andy and Erin have true love, and deserve to be happy together. They are the second Jim and Pam of The Office.

     Is Gabe gone for good? Added as a main member of the cast relatively recently in the show's run, he has fit well into the group. Although his immediate plots, a relationship with Erin, and severe jealousy after losing her, have run their course, that is not to say other stories could not be given to Gabe. He has acted completely unreasonably lately, but so have plenty of other characters over the years, and that has never resulted in them being kicked out. It's hard to see how Gabe may continue, and feelings are torn whether he should. It is not in doubt, though, that Woods has so far been completely satisfying on The Office, and should he be gone, it is not due to any fault of the actor's.


     The Office has been picked up for another season, and will continue with someone as the new boss next fall on NBC.

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Article first published as TV Review: The Office - "Search Committee" on Blogcritics.