PRODIGAL SON Sets

Article first published as TV Review: PRODIGAL SON on Seat42F.

This week, FOX launched the new drama series PRODIGAL SON. The titular child, actually a grown man, is a mentally unstable profiler of serial killers. Fired from the FBI in the opening sequence, he returns home. But rather than leave the business behind, he is recruited by the local cops to catch a copycat murderer. The slayer the copycat is copying is the PRODIGAL SON’s dad, who helps our hero expose the bad guy. But did genius daddy orchestrate the whole thing?

That all sounds convoluted, a mix of a bunch of other television shows, and it is. Part Silence of the Lambs, part Blacklist, part every crime procedural on the air, PRODIGAL SON puts in a bit more mythology and serial story than most case-of-the-week series, but the main focus will still be that easy criminal caught in sixty minutes or less. And the extra stuff layered in is weird, doesn’t entirely make sense, and seems over the top, at best.

PRODIGAL SON has a stellar cast. The lead is Tom Payne (The Walking Dead), playing Malcolm Bright, whose last name is exactly as on the nose as one would expect from the rest of the program. Daddy dearest, Dr. Martin Whitly, is Good Omens’ Michael Sheen. Rounding out the family is Bellamy Young (Scandal) as controlling mother Jessica and Halston Sage (The Orville) as reporter sister Ainsley. Lou Diamond Phillips (Longmire) is the cop whose life young Malcolm saved and who now is depending on the grown lad. Other law enforcement officers are played by lesser knowns Frank Harts (The Path), Aurora Perrineau (Jem and the Holograms), and Keiko Agena (Gilmore Girls). Michael Cerveris (Fringe) is wasted in a one-episode role, appearing only in the pilot.

Frankly, this cast is far too good for this show. Yes, many fine actors are staying with the small screen these days for high quality programs, but PRODIGAL SON does not qualify. While there might be some interesting concept buried in this that could be teased out were it on FX or AMC or Netflix, the mix of unbelievability and caricature render it less than the some of its parts. Payne and Sheen, especially, are playing crazy wonderfully. But they’re practically begging for a complex story that is worthy of their performances.

We’ve seen cops. We’ve seen good guys working with the bad. Several very popular current and past shows fit into the category. If you’re going to go down that road again, you’d better have a very good reason for doing so. Or at least a solid story. This series has neither.

I get what FOX is doing here. The broadcast networks are slowly dying and they’re trying to hold onto their audience by thinking short-term. Crime procedurals still make money, and adding the serial element could possibly make it binge-worthy when it hits a streaming service. It sounds good in theory, even though it’s been seen to fail over and over again when not going enough into the serial.

If that were the only thing PRODIGAL SON had wrong with it, the cast alone might be enough to let the flaws be overlooked. But the flimsy story-telling full of connections that shouldn’t be and characters that feel one-note seals the deal that this is one to skip. Might it garner enough of an audience to run for half a dozen seasons? Sure, I’ve seen worse shows make it. But will it be a beloved classic folks remember and want to re-watch? Unless it changes significantly, definitely not.

My recommendation is to not tune in. Let PRODIGAL SON die quickly and release the performers to go onto better things. Most of them will bounce back with something better.

PRODIGAL SON airs Mondays on FOX.

Rescue 9-1-1

Article first published as TV Review: 9-1-1 on Seat42F.

Before watching, one can be forgiven for dismissing the new FOX series, 9-1-1, as a typical procedural. After all, it stars firemen, police women, and EMTs, and the people they help don’t carry over from week to week. But there is a lot more to it than that, even if it’s hard to define exactly what the quality is that it exudes. Let’s try to break it down, shall we?

First, there’re the brains behind 9-1-1: Ryan Murphy, Brad Fulchuk, and Tim Minear. These guys are known for a variety of high-quality cable shows in recent years, most notably American Horror Story, American Crime Story, and Feud. Given those credits, it’s hard to believe they would deliver anything at all close to a run-of-the-mill, case-of-the-week series. And they do not.

The next clue that this will be better than usual are the actors who signed up. Angela Bassett (American Horror Story, Olympus Has Fallen) is Athena Grant, the main police person we see in the cast. Peter Krause (Parenthood) is Bobby Nash, the fire captain. Kenneth Choi (Sons of Anarchy, Last Man on Earth), Aisha Hinds (Underground, Dollhouse), and Oliver Stark (Into the Badlands) all play characters who work for Bobby. Connie Britton (Friday Night Lights, Nashville) is a 9-1-1 operator named Abby Clark serving as go-between for all of these people, making it a rounded series. While it’s true that none of them have spotless resumes, to have so many great performers in one series says something.

The premise itself does feel a bit formulaic when described. In the pilot alone, the characters respond to several calls for help, and deal with the issues. One of the ensemble gets in trouble at work for acting inappropriately, one is a recovering alcoholic, and Athena is dealing with marital issues with husband Michael (Rockmond Dunbar, Prison Break). None of these things sound like they belong to a new, promising show.

However, there is something more to 9-1-1 that transcends the formula. It’s an ineffable element that is hard to define completely. The best way I can describe it is that there is an urgency, a pacing and tone, that belongs on a high-quality cable show, and feels very out of place on a broadcast network. No scene comes across as cheesy, everything is done with sincerity, and when paired with the performing talent, it rises above the sum of its parts.

The primary thing I can say is that numerous bits of the pilot moved me deep in my gut. I welled up, but not in the way This Is Us makes me. I experienced adrenaline rushes, but not as I do when watching 24. I was scared, but not like a bad slasher flick evokes. I really felt the emotions the characters were feeling, and I have to say, that is quite a feat to do in an hour procedural, let alone multiple times. Maybe it was the mood I was in, but having just reviewed a terrible show right before it, I don’t think so.

Some will dismiss this assertion and find it ridiculous. Everyone is entitled to their own opinions, and I’ve already seen some negative reviews of 9-1-1. But I loathe crime procedurals and watch far too much TV to think I haven’t become desensitized. What I can tell you is that this one feels different. This one makes me eager to watch more. It might be the best show FOX has aired in years, and I don’t think that’s making a questionable boast. This is what a procedural should be, the best of its genre.

9-1-1 airs Wednesdays at 9/8c on FOX.

THE GIFTED Is Special

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

With the glut of superhero programming, do we need another series featuring people with powers? DC is dominating on the CW, less so on FOX, while Marvel has solid offerings on Netflix and inferior ones on ABC. The newest entry, THE GIFTED, is the second X-Men show in a year (technically Marvel via the comics, but not part of Marvel Studios), and proves that mutants still have something interesting and fresh to say. It’s not as trippy and unique as Legion, FX’s X-Men program, but it is still very worthwhile.

THE GIFTED is centered on the Strucker family. Patriarch Reed (Stephen Moyer, True Blood) helps capture mutants, though he insists only those who have broken the law. But when his own children, Lauren (Natalie Alyn Lind, The Goldbergs) and Andy (Percy Hynes White, The Grand Seduction), violently exhibit abilities, he doesn’t hesitate to join with wife Kate (Amy Acker, Person of Interest) in taking the clan on the run.

Separately, we meet a group of mutants in hiding led by Lorna Dane / Polaris (Emma Dumont, Bunheads). The daughter of Magneto, she has stepped up when both the X-Men and the Brotherhood disappeared. (Where they went is a mystery.) She is joined by Marcos Diaz / Eclipse (Sean Teale, Reign), John Proudstar / Thunderbird (Blair Redford, Satisfaction), and Clarice Fong / Blink (Jamie Chung, Once Upon a Time) in helping others who manifest more-than-human traits stay ahead of the evil Sentinel Service that pursues them, personified in Jace Turner (Coby Bell, The Game).

THE GIFTED is very ambitious, but it also has a lot going for it. By stating up front that the X-Men and the Brotherhood are gone, viewers won’t be waiting for the more-famous characters like Professor X, Cyclops, Magneto, Wolverine, and the rest to show up. It’s clear that this cast are our heroes, and that’s how it’ll likely stay. The X-Men film franchise has always been shaky on continuity, so THE GIFTED isn’t tied to anything else going on in other mediums, designed to stand on its own. Without the restrictions of movies and super familiar personalities to adhere to (some will know these characters, but not nearly as many as who know the X-Men themselves), it has the freedom to do something different.

Some are likening this show’s premise to an Underground Railroad situation. The mutants are a persecuted class, fleeing from people who fear or hate them. They have to operate in secret, and move a lot to stay ahead of those who would do them harm. Most haven’t actually done anything wrong, attacked for who they are, not their actions. The diverse cast modernizes the story, but the parallels are still obvious.

THE GIFTED is also a family show. We see the pain and suffering of parents Reed and Kate, and their love and dedication to their children. Reed, especially, is expected to question if he should be protecting Andy and Lauren, but he doesn’t. His job as their father wins out over his profession. But without powers himself, is he up to the task of protecting them? Will he have to learn to accept that his kids can keep him safe more than the other way around? And what is his role in the family then? Kate is less developed in the pilot, but I assume she will face similar issues.

This series is smartly written, well-acted, and with pleasing special effects, among the best the usually-lazy broadcast networks have to offer, feeling more like cable programming. It embraces the comic book world it hails from, but isn’t defined by it, making a dark drama full of social commentary that stands on its own. I didn’t expect such a high quality from creator Matt Nix, formerly of Burn Notice, but he has definitely grown into his role as a respected showrunner, and I’m excited to see where he takes things from here.

THE GIFTED premieres Monday, October 2^nd at 9PM ET on FOX.

GHOSTED Thin Enough to See Through

Article first published as TV Review: GHOSTED on Seat42F.

Tonight brings the premiere of FOX’s GHOSTED. A disgraced scientist, now book store clerk, who studied the theoretical multi-verse and claims his wife has been abducted by aliens, is kidnapped and partnered with a once-great detective, who blames himself for his former partner’s death and now serves in mall security, by a top-secret organization known as the Underground Bureau. Together, they are tasked to find a top agent who has gone missing. It’s going to take all their skills and more in this paranormal twist on the buddy cop genre.

The lead characters in GHOSTED are Max Jennifer (Adam Scott, Parks & Recreation), the scientist, and Leroy Wright (Craig Robinson, The Office), the detective. Both are brilliant men who have fallen from grace, but not lost any of the things that made them so good in their chosen professions. Max is the believer, and Leroy is the skeptic. It’s sort of like The X-Files mixed with Lethal Weapon mixed Men in Black with a large dollop of I don’t even know what.

Casting Scott and Robinson is the best thing GHOSTED has going for it. Both are vastly funny, almost as if by second nature, skilled and experienced in the art of sitcom. They have terrific timing and solid chemistry. All the best moments from the pilot involve their interactions. They strike the right balance between acting the story and going for the gag, and I find no flaw in their performances.

I also really like the supporting cast. Ally Walker (Profiler, Colony) has a fantastic spirit as the hard-nosed boss, Captain Ava Lafrey. Amber Stevens West (The Carmichael Show) balances things as the sweet, technologically gifted Annie. Adeel Akhtar (The Night Manager) is just plain bizarre as co-worker Barry, a good energy for a show like this. While the focus will likely stay on the partners, these three do make things entertaining when the action shifts back to the workplace, nicely fleshing out the world of GHOSTED.

Where I have to stop heaping praise is when we get to the writing. The pilot contains numerous plot holes or unrealistic stretches. GHOSTED decides to get right into the story as early in the running time as possible, which means the characters don’t have enough time to bond before they have to start acting like a team. There’s a lazy attempt to right this with a 48-hour window Leroy and Max are initially given, but there’s no real effort to stick to that premise, tossed out as soon as it’s convenient. The investigation itself proceeds very weirdly, and the time line doesn’t quite make sense if you stop and think about it. Concepts are introduced and then quickly moved past without explanation.

I wonder about the decision to do this, knowing that going the other way is also risky. Sometimes a series takes too long to set up the premise, or just does it in episode one, which feels very generic. But I feel there has to be a middle ground. Events must feel fluid and natural, not just jammed in. The coincidences, such as a big reveal at the end of the pilot, are even OK in this context. I just want GHOSTED to catch its breath and make sure everything adds up before they jump into filming the episode. Hopefully that happens in subsequent episodes, as there is mega potential here.

I’ll end with another bit of praise, and that’s that the special effects look great. Technology has bounded ahead in recent years to the point where even a broadcast network sitcom can do zany, supernatural and otherworldly stuff and pay for it to look good. I have nothing bad to say about the production design and SFX.

GHOSTED premieres tonight at 8:30 ET on FOX.

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.

APB To Viewers

Article first published as APR Review on Seat42F.

If you’ve read very many of my reviews, I’m sure you’ve noticed how hard I am on crime shows. I find most of them to be very formulaic and repetitive, telling the same story over and over again and copying the peers that have come before it. As a genre, I find it one of the weakest, based on the many lazy executions of it, and there are far more bad examples of how to do it than good ones, even among those that have become ratings hits.

I say this to give you an idea of the mindset I had going into FOX’s new drama, APB, and to illustrate how hard this series had to work to win me over. Yet, win me over it did, with a gripping pilot and an interesting premise. It could very well fall right into that awful pattern most cop dramas follow repeatedly in week two. But for a first episode, APB’s premiere was a great one.

The story begins with wild billionaire playboy Gideon Reed (the always fantastic Justin Kirk, Weeds), a man who likes splash and cares little for the consequences of doing what he wants. The flip side of him is that Gideon is an innovative engineer, and so his brilliance excuses much of his bad behavior in the business world. When a close pal and long-time advisor of his is killed, Gideon decides to pour his resources into reforming one particularly bad, underfunded police precinct in the city of Chicago. In doing so, he not only gives the metropolis hope, but also reforms an entire industry.

If that sounds like a fantastical story, well, it mostly is. You may read that APB is loosely based on a New York Times article about a rich guy that developed an app for the New Orleans cops, sort of like Gideon does in the series. However, this fictional version takes things a heck of a lot further, with equipment and procedure redesigned from the ground up.

The weakness in the story is how the police officers, initially skeptical of Gideon, quickly begin to be won over by the results of his inventions. A more realistic approach would be to have Gideon only slowly gain any traction with the people who are forced to accept his leadership against their will, as is what happens between he and the surely-crooked mayor. The audience, who are supposed to relate to Amelia Murphy (Natalie Martinez, Saints & Sinners, Kingdom), the face of the force, may feel as betrayed by these law enforcement types who quickly become converts as the characters themselves are portrayed to be at the start. The conflict is simplified far too much to be realistic.

But the reason I am willing to overlook this is because APB is so darn inspiring. In an era where the systems that are supposed to serve us are plagued by inefficiency and outdated thinking, and when the citizens of the country are more divided than ever, seeing people come together to make a community better and bring it into the modern age is awesome. It’s exactly the type of thing optimists wish to happen in real life, and when told with a complex, noble hero like Gideon at the center, alongside the brave women and men in blue, with nary a corrupt one among them, it’s a show that’s hard to resist.

What I do worry about is APB’s timeslot, which is following 24. While there are some suspenseful sequences, APB isn’t nearly as fast-paced as it lead-in. I wish the order were reversed, as it would serve fine as a warm up, but may be a let down after the adrenaline-pumping intensity of the real-time series.

APB premieres tonight at 9/8c on FOX.

24's LEGACY Intact

Article first published as 24 LEGACY Review on Seat42F.

24 is back tonight! OK, so it’s not classic 24, as our hero, Jack Bauer, is nowhere in sight. But other than missing Jack, this version is pretty much the same thing. There are terrorists and sleeper cells, betrayals and moles, CTU agents and politicians, people who just won’t listen even though their deafness gets in the way of saving the day, and, of course, the ticking clock as events unfold in real time.

Our new protagonist is Eric Carter (Corey Hawkins, The Walking Dead, Straight Outta Compton), the leader of an elite CTU squad that took out a major terrorist six months ago (think SEAL Team Six and bin Laden). Back in the states, Eric is trying to move on with his wife, Nicole (Anna Diop, The Messengers). But he isn’t doing a good job of it, Nicole even hypothesizing that Eric misses the killing and the danger. Can he settle into suburbia?

24: LEGACY quickly proves he doesn’t have to. The son of the assassinated terrorist is in town with a squad, and begins picking off Eric’s team one by one. With only Eric and mentally unstable Ben Grimes (Charlie Hofheimer, Mad Men, Black Hawk Down) left, Eric has to go on the offensive, trying to stay alive and stop the son from recovering his dad’s sleeper cell list. This means Eric is like later-seasons Jack, already violent and willing to do what needs to be done, even if it’s against the law, so yeah, I’m sure he can do it.

Of course he can. That is never in doubt. This is 24, so the bad guys will get to kill some people along the way, but not as many as they’d like. In fact, the blood starts flowing (in a not-particularly-gory way) only moments into the first hour. There are always casualties in war, but 24, taking its queue from the superhero genre, always makes sure that our hero wins the day, albeit with some cost. 24: LEGACY looks to follow that same format.

Also, as in other seasons of 24, high-level politicians enter into the story. This time we have Rebecca Ingram (Miranda Otto, Homeland, The Lord of the Rings), the former head of CTU, whose husband, Senator John Donovan (Jimmy Smits, Sons of Anarchy, The West Wing), is running for president. This dynamic allows for the in-agency stuff to tie in to election drama in a satisfying way.

Having watched two hours so far, 24: LEGACY almost makes me forget about Jack Bauer. They wisely have brought in a heavy cast, which also includes Dan Bucatinsky (Scandal), Teddy Sears (The Flash), and Gerald McRaney (This Is Us), who along with those above, make the story gripping and well-acted enough that, even with the popcorn-style, unrealistic plot, it’s a lot of fun. So much going on with so many fine performers, and family drama tossed in, too, keeps us from dwelling on what we don’t get.

Which isn’t to say that 24: LEGACY isn’t without its ties to past seasons. One of the new CTU staff members is Mariana Stiles (Coral Pena), the cousin of Edgar Stiles, whom this new version reminds us was one of the best the organization had to offer. But it also stands enough on its own that new viewers could jump right in without missing a beat.

Like the last Jack-led season, 24: LEGACY will only present twelve of the twenty-four hours in this all-important day. This is a wise move, as most seasons of 24 suffered from dragging or vamping in the middle, and the twelve hour format (with hours skipped to still cover an entire day) is a tighter, more enjoyable one. 24 banks on intensity, and the shorter season makes it easier to keep up the adrenaline.

My overall impression of 24: LEGACY is that the franchise is resilient and will fare just fine without its lead. As much as I hope Jack does return for future installments, the rest of the 24 ensemble has always been rotating, and the format works as long as the cast stays strong, which it does here. 24 isn’t the best show on TV, not by a long-shot, but it’s action-packed entertainment that gets your blood pumping, and as a fan or the original, I’m not disappointed at all by the latest incarnation.

24: LEGACY premieres tonight after the Super Bowl, then moves to its regular timeslot tomorrow at 8/7c.

Be Gone, THE EXORCIST!

Article first published as THE EXORCIST Review on Seat42F.

FOX continues its trend of adapting films into television (Lethal Weapon premiered earlier this week) with THE EXORCIST. Based on the film and book of the same name, though with fresh characters, THE EXORCIST follows Fathers Tomas Ortega and Marcus Keane as they investigate evil in the home of the Rance family. Can they repel the demons and bring light back into the house? Or will they become victims of a dark power?

The two priests, presumably our heroes, are very different people. Father Tomas Ortega (Alfonso Herrera, Sense8, El Equipo) is young and earnest and eager to help, but may lack the skills to do so. He’s also haunted by nightmares that could mean his soul is in danger. On the other hand, Father Marcus Keane (Ben Daniels, Flesh and Bone, House of Cards) is gruff with lots of life experience that has made him to want to withdraw from others. Which is too bad, because he’s probably the one the Rances need to defeat the demon.

The Rances have been through quite a lot already as THE EXORCIST begins. The father, Henry (Alan Ruck, Spin City), was in an accident that has left him pretty mentally gone and unable to really care for himself very well. Daughters Katherine (Brianne Howey, Horrible Bosses 2) and Cassey (Hannah Kasulka, The Fosters) deal with this at varying levels, one acting out, one being more understanding. This leaves matriarch Angela (Geena Davis, Grey’s Anatomy, Commander in Chief) to try to hold them all together, which she is struggling to do.

The series is a bit scary, but not overly so; this is broadcast television, you know. The gore is kept to a bare minimum, and swearing is pretty much nonexistent. What’s left is a drama that goes for something more underlying creepy than knock-your-socks off scary (by necessity), while trying to build a serial story with deeper mythology. Thank goodness this isn’t a case of the week, with the priests casting out new monsters every episode.

To be honest, I’ve had a very hard time critiquing this pilot. I hate The Exorcist movie, really hate it, and have never been able to get all the way through it. I did not enjoy the show at all for many of the same reasons, and despite my best efforts, kept allowing myself to be distracted and tuning out. This particular brand of horror does not appeal to be in the slightest, and while other programs in the genre have stood out and won me over, this one doesn’t. This makes it far from easy to pinpoint specific details that are good or bad, having managed to somehow mentally block out most of the hour already, and having no desire to ever see it again.

The general impression that I got was that it was decently made, but confusing. It wasn’t gripping or artistic like Hannibal (which is a movie I hated turned into a TV series I love), or full of rich characters like Bates Motel (loved both the movie and the show; see, I have some horror cred). It did look fairly well put together, with beautiful sets and the appropriate tone and style. But there also wasn’t anything that stood out as overly impressive or unique. The cast is fine. I’m not sure the writing was all that cohesive, given my inability to really identify the arcs other than the main one of the demon possession and the story of Henry.

I do think whatever is going on with Henry must be related to the demon. It has to be, right? And I’m sure the demon is actually there, as skeptical as everyone around Angela is of its existence, since that’s the basis of the story. I also imagine that future seasons will have to deal with future families, as surely that plot can’t be stretched out any further than a year.

I’m sorry, that’s about all I can tell you. If you like the movie and want to see the show, THE EXORCIST airs Friday, September 23^rd on FOX.

First PITCH

Article first published as PITCH Review on Seat42F.

Disclaimer: This article is written by a non-sports fan. Nope, I don’t watch any of the sports.

FOX will be striking several chords with its new drama PITCH. It’s about the first woman in major league sports, as a girl becomes pitcher for the San Diego Padres. No, this is not a true story, and no, no woman has ever played for the MLB, NFL, NBA, or NHL (America’s four major professional sports leagues, according to Wikipedia; remember, I don’t follow sports), although the Padres are an actual team. But it feels like a true story, especially with the right to use actual logos, and hopefully reality will echo art in short order.

Ginny Baker (Kylie Bunbury, Twisted) always wanted to play baseball. She was great at it from a young age, and her father (Michael Beach, Sons of Anarchy) taught her how to compete with the boys. She finally earns her way into the minor leagues, and when an injury sidelines the Padres’ regular starter, she is called up to substitute in his steed.

Obviously, this is a huge weight to put on one woman, forced to represent her entire gender. The parallels are drawn between Ginny and Jackie Robinson, and PITCH portrays the sexism we’d all expect to happen right from the start. It’s easy to imagine all of the problems that would pop up when a woman finally makes that leap. PITCH gets a lot of them out of the way quickly, presumably so they can move onto other drama.

But PITCH isn’t just a preachy, big-picture show. Yes, showing a female in the big leagues is extremely important and long overdue. However, there is an actual woman for which this is happening, and a lot of the focus is on Ginny. We see how she handles things emotionally, and it feels authentic. Bunbury is terrific at making Ginny seem real, and as much as I feel her pain when she falls short, I also feel her pride when she succeeds, as we know she must.

In this way, PITCH is also a typical sports movie. Like many of the great films in the genre, it follows an underdog who overcomes adversity and naysayers to rise to the top of her game. This formula is incredibly familiar, and yet it rarely feels stale, even when the audience knows what to expect. Everyone likes to see sympathetic characters win, and Ginny fits that profile perfectly.

The cast is rounded out by a bevy of strong performers. Mark-Paul Gosselaar (Saved By the Bell, Franklin & Bash) is the abrasive team captain, Mike Lawson. Dan Lauria (The Wonder Years) is the coach who doesn’t want Ginny, Al Luongo. Mo McCrae (Murder in the First) is Ginny’s long-time buddy and now teammate, Blip. Meagan Holder (Born Again Virgin) is Blip’s wife and Ginny’s pal, Evelyn. Tim Jo (The Neighbors) plays social media guru Eliot, and Ali Larter (Heroes) is Ginny’s agent, Amelia. Finally, Mark Consuelos (Alpha House) is the general manager of the team, Oscar Arguella.

Now, while the pilot is wholly a typical sports movie, I’m assuming the series will be more of a soapy drama over time. I feel like there are already the makings of a romance between Ginny and Mike, and Oscar is definitely after Amelia. There will be ups and downs as the season unfolds, and while the games will probably frequently be shown, there’s also going to be plenty of character stuff.

I think PITCH will be good at that. The pilot was very strong, other than a scene in which Mike seems to play savior to Ginny, which I found a little patronizing, but also kind of necessary to the plot. If it can avoid those, and it did for the rest of the hour, I think PITCH could definitely be a series worth watching. Though I think it’s too soon to crown it, as some already have, the next Friday Night Lights, which remains the definitive TV sports drama of our time.

PITCH premieres Thursday, September 22nd on FOX.

Another LETHAL WEAPON

Article first published as LETHAL WEAPON Review on Seat42F.

The Lethal Weapon movies are a popular franchise, so I imagine most of you potential viewers out there are already familiar with the premise of FOX’s new drama, LETHAL WEAPON. Martin Riggs loses his family and goes into a self-destructive tailspin. He is then partnered with Roger Murtaugh, a man who should start taking it easy because he’s getting older. The two of them solve some action-packed cases together, with some character development along the way as their pairing solidifies both professionally and personally.

These two men were famously portrayed by Mel Gibson and Danny Glover, and the premise and personalities are carried over as the series reboots for the small screen. This time around Clayne Crawford (Rectify) plays Riggs and Damon Wayans (In Living Color) takes Murtaugh. The foul language has been cleaned up, the fights are less bloody, but the fun and tone of the series is much the same, and while the pilot presents a brand-new case, it feels very familiar to those who have enjoyed the movies.

What this means is that LETHAL WEAPON is not like your typical cop show. Sure, there may be a case of the week; I really don’t know how else they could keep the story going. But at least in the pilot, a lot more screen time is devoted to solidifying the characters of Riggs and Murtaugh, both together and separately, than to working the job. I really appreciate that, and hope they are able to keep it up, if not at the same level, then at least continue doing better at it than most crime procedurals.

There’s also guaranteed action. Lethal Weapon is an action movie, and LETHAL WEAPON will be an action show. Riggs and Murtaugh aren’t just going to interview witnesses and look for DNA. They are going to get involved in car chases and fist fights and gun showdowns. This makes for a more fast-paced, tense, thrilling ride than what you get on those shows like NCIS and Law & Order.

What LETHAL WEAPON fails at is in casting its two leads. Neither actor is bad, but because they’re continuing famous roles, they will be compared to the original actors. And neither one stacks up to their predecessor. In the past, that might have been blamed on the fact that the best actors would only work big screen gigs, but that is no longer the case. I think better stars could have been found, or perhaps keep one of them but find someone else that fits well with him.

What I’m saying is, the main problem is that their chemistry leaves something to be desired. I don’t buy any depth to their friendship with the current way it is portrayed. Even if you like their individual performances, this show depends very much on the dynamic in their partnership. I thought it came too easy and felt too forced. It took me out of the moment a lot. Which is a shame, because both played very well with Keesha Sharp (The People v. O.J. Simpson: American Crime Story), who is Murtaugh’s wife, Trish.

Speaking of supporting actors, LETHAL WEAPON also stars Kevin Rahm (Mad Men, Desperate Housewives) as Murtaugh’s old partner and their new boss, Avery Brooks, and Jordana Brester (the Dallas reboot) as Dr. Maureen Cahill, a possible love interest for Riggs (at least until they cast Lorna Cole). I have no complaints about either one of them. I’m less thrilled with Johnathan Fernandez’s (The Disappearance of Eleanor Rigby) Scorcese, not because of the performer, but because I’m worried the character is there to shoehorn in the more formulaic police stories.

So, my conclusion is that LETHAL WEAPON has a good pilot, even if the leads may be a bit miscast, but I’m concerned about it sustaining complex character quality over time, especially given Scorcese’s inclusion and the neat way they ended episode one. LETHAL WEAPON premieres tonight on FOX.

LUCIFER Not That Devilish

Article first published as DVD Review: 'Lucifer - The Complete First Season' on Blogcritics.

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

WB’s Lucifer, a weekly show airing on FOX, has now released its freshman season on Blu-ray and DVD. Having premiered in January on FOX, so its first run is short, this set contains all thirteen episodes on the three-disc set, plus bonus features.

Lucifer is a great example of wasted premise. Here, we have a hugely charming protagonist with a rich, complex backstory in Lucifer Morningstar (Tom Ellis, Miranda). So does the series dig deep into the character’s mythology, play with his morality in interesting and challenging ways, and make it one man’s journey towards finding his compass in life? Especially given that the premise has him bored with Hell and looking for some other meaning?

No, it’s just a crime procedural. Don’t get me wrong; it’s an entertaining crime procedural. But why pair up the devil himself with a detective (Lauren German, Chicago Fire) and have him solve cases when there are so many more ripe story possibilities? Why kowtow to the same tired, boring format, essentially cloning its case-of-the-weeks from dozens of other shows just like it, when it could be something so much cooler?

It’s not like Lucifer‘s producers didn’t have source material to draw from. The series is based on a comic book co-created by the wonderful Neil Gaiman (The book, for the record, is not as crime procedural). And it’s not like the cast isn’t up to the challenge. Ellis is terrific, and is joined by wonderful performers like Kevin Alejandro (True Blood), Rachael Harris (Suits), DB Woodside (24), Lesley-Ann Brandt (Spartacus), and Kevin Rankin (Justified). Instead, the production ignores the potential it has and goes the “safe” route of copying what has been successful with other shows in the past. In doing so, they fail.

The fact that Lucifer is enjoyable to watch anyway is probably the most frustrating thing about it. Which isn’t to say it’s a great show; it definitely isn’t, especially in the way Lucifer’s powers are handled. But when I have it on, I do like it. This is a testament to how good so many of the people involved are, which makes me wonder what this cast and crew could do it they truly set out to make an original, deeper series. It’s not too late to change future seasons. They should really consider it.

The extras on this set are sadly not great. The four, really five, character profiles are pretty pointless for anyone who is actually watching the show, as is the “Devilish Duo” video. A gag reel is a gag reel, and while I do see the entertainment value of them, they aren’t something I’m particularly fond of. This is an overall mediocre batch of deleted scenes. And even the Comic-Con panel is truncated and pretty bland. I really, really wish the studios would do a better job of producing these panels and releasing them for home viewing, as I think they could be a very valuable bonus, but so rarely are.

If you’re looking for some mindless entertainment, Lucifer has you covered. If you’re looking for something that will make you think, impress you, and maybe take home some award show gold, then you can skip this one because it’s not destined to be a long-remembered series with a passionate fan base. At least, not unless it changes it’s strategy completely.

Lucifer – The Complete First Season is available now.

GOTHAM's Villains Rise

Article first published as Blu-ray Review: 'Gotham - The Complete Second Season' on Blogcritics.

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

WB’s Gotham – The Complete Second Season, which aired on FOX last television season, has recently been released on Blu-ray, Digital, and DVD, just in time for a catch up or for a refresher before the third outing. Picking up after the events of the season one finale, the power dynamic in the city has shifted, luring new villains into the conflict, and making our heroes’ jobs even tougher.

With Fish seemingly dead (come on, this is a comic book series and we haven’t seen the body), The Penguin (Robin Lord Taylor) is the Big Bird in town, so to speak. His reign is almost immediately threatened when Theo Galavan (James Frain, The Tudors) and his sister, Tabitha (Jessica Lucas, Melrose Place (2009)), arrive. They aren’t after The Penguin, specifically, but if he stands in their way, then they won’t hesitate to fight, and are more than capable of taking the crime boss on.

These are far from the only baddies, though, in the season dubbed “Rise of the Villains.” Nygma (Cory Michael Smith) continues his compelling descent into madness, while Barbara (Erin Richards) struggles with maintaining sanity. Worse (or better, for viewers?), Dr. Hugo Strange (BD Wong, Law & Order: SVU) is now running Arkham, and he delights in experimenting with superhumans and above-average criminals along the lines of Firefly (Michelle Veintimilla, Not Cool) and Victor Fries (Nathan Darrow, House of Cards). So the city is facing no shortage of trouble.

Our hero remains Jim Gordon (Ben McKenzie), but he is certainly racking up more allies than just Harvey Bullock (Donal Logue), which feels necessary, given what Gotham is facing. Chief among Gordon’s allies is Captain Nathaniel Barnes (Michael Chiklis, The Shield), who comes in with the goal of cleaning up the force. Bruce (David Mazouz) is making progress on his path towards becoming Batman, but he’s still a ways away from that.

And these are only a few of the characters that populate Gotham. At times, I worry both the city and the cast list is over-stuffed. But one thing you can say about such a large ensemble is that there are always plenty of plot threads going on. Gotham throws a lot at you and does it fast, burning through story, well, the way a comic book does. Usually, it works, though I think most of us with Jerome (Cameron Monaghan, Shameless) had stuck around a little longer. It isn’t as deep or as emotionally moving as the DC shows over on the CW, but it is an interesting drama done in a cool, unique style that remains enjoyable.

Speaking of the style, one of the best extras this release contains is a twenty-five minute look at the noir tone of the series. In “Gotham by Noir Light,” the crew gets nerdy in the best of ways as they discuss their influences from the films of yesteryear.

Two other interesting featurettes on the four-disc set are “Alfred: Batman’s Greatest Ally” and “Cold Hearted – The Tale of Victor Fries.” Each of these delves deeper into a specific character on the series, giving some background and insight into the approach Gotham takes on them versus other incarnations of the players in past works, a topic a many super hero shows sadly downplay.

There are a lot of other extras, too. The Comic-Con Panel is cool, but sadly shortened, as most panels are when included on home releases. Then, there are a lot of shorts, most of which are a waste of time to watch. There are little bits from different actors musing on what is coming up for their characters, as well as some teaser scenes. Numbering more than a dozen, these were probably effective advertising when released prior to the episodes, but seem extraneous here. While I do complain when shows have too few features, Gotham has enough meaty stuff that, if they drop most of these (a couple are semi-interesting), they’d be better off overall, favoring quality over quantity.

Still, overall, I’m satisfied with Gotham – The Complete Second Season, which is on sale now.

LUCIFER: Devil in the Details, But the Format is Hell

Article originally published as LUCIFER Review on Seat42F.

FOX (along with the other broadcast networks) is killing me! Even when they have a premise ripe for serial exploration and complex story-telling, they stuff it into a case-of-the-week procedural box. Sure, they allow a bit of ongoing narrative, but given the formula in episode one, you just know it’s going to be yet another repetitive crime show, even though it is begging not to be!

Let me slow down and tell you what I’m talking about. LUCIFER, a series premiering this week on FOX, stars Tom Ellis (Miranda) as Lucifer Morningstar. That’s right, the devil himself. Bored in hell, Lucifer has come to Earth to run a nightclub and mess with people while finding new purpose. His assistant, Mazikeen (Lesley Ann-Brandt, Spartacus), disapproves, as does God’s representative, Amenadiel (D.B. Woodside, Suits, 24), but Lucifer doesn’t care. Except, he does care, he finds, when the death of a mere mortal upsets him. Sounds pretty good, no?

The problem is, early in the pilot episode, LUCIFER becomes entranced with Chloe Decker (Lauren German, Chicago Fire), an LAPD detective. For some reason, Lucifer’s charms, which usually prompt people to spill their dark desires or, as in the case of psychiatrist Linda (Rachael Harris, Suits), swoon for him, don’t work on Chloe. This would all be well and good, except Lucifer helps Chloe solve a case and now wants to work with her on a regular basis.

Why oh why do the broadcast networks do this? How many television shows do we need where an outsider joins up with a member of law enforcement to solve crimes every week? Aren’t Bones, Sleepy Hollow, iZombie, Castle, Elementary, and oh so many more enough? I understand this often nets the networks viewers in the short-term, but these types of shows have little re-watchability, giving them shorter shelf lives than their lower-rated peers, and have flooded the airwaves.

LUCIFER likes to boast of its credentials. It is based on a comic book by Neil Gaiman, a spin-off of The Sandman. But in the illustrated version, Lucifer doesn’t get involved with a cop. Why the heck does he have to on the show?

What is most frustrating is that I really like LUCIFER. Tom Ellis plays the titular devil with brilliant complexity, and the personal depths of the character are ripe for much juicy exploration. The moral questions it raises and the religious implications are intriguing, and having other supernaturals in the cast teases epic conflicts to come. The first hour is enjoyable, and there isn’t a weak member of the cast, which also includes Kevin Alejandro (True Blood, The Returned) as Dan, Chloe’s ex-husband and co-worker.

And yet, this wonderful premise is watered down by repetitive formula. FOX has rarely been all that kind to genre shows, and without Chloe, LUCIFER is likely to be a genre fantasy. However, without Chloe, or at least without Chloe’s job taking center stage, it also leaves the narrative open to a lot more possibilities and directions. This show may occasionally explore off the beaten path, but it seems likely that most weeks will basically deliver the same thing, with only small bits to serve continuity.

LUCIFER is the perfect example of what is wrong with the Big Four networks and why they are dying. Even when they get a strong concept, they twist it to fit patterns that are outdated and tired. Instead of getting excited about LUCIFER, I plan to give it just a few more episodes to prove to me it can be better than the box it’s being stuffed into. No one will be happier than me if my summation of the situation turns out to be false. But I wouldn’t count on it.

LUCIFER airs Mondays at 9 p.m. on FOX.

Reopening THE X-FILES

Article originally published as THE X-FILES Review on Seat42F.

WARNING: Yes, this post contains spoilers. It does not ruin any huge surprises, but if you’d rather go in ignorant, why are you even looking at a review?

Television reboots and resurrections are on the rise right now, with Fuller House coming to Netflix soon, and new episodes of Prison Break scheduled for filming this summer. For millions of fans, though, no series is more exciting to see return than THE X-FILES, which begins a run of six brand-new episodes this weekend.

A bit of background: THE X-FILES was a series that ran from 1993 until 2002 on FOX, and helped popularize geek culture as it exists today. The program spawned two relatively short-lived spin-off shows, and two moderately successful films, as well as plenty of merchandise. Starring David Duchovny (Californication) and Gillian Anderson (Hannibal) as FBI agents Fox Mulder and Dana Scully, it supposed alien life might actually exist, and government conspiracies have kept it out of the public eye.

And that is almost all I know about it. As a child with younger siblings, my parents deemed it “not appropriate” viewing in our house, and while it has topped my list of shows I really need to binge for years, I’ve yet to get to it. I have seen a few episodes (probably six-ish) in isolated events, just enough to know I want to see more, not enough to really get a picture of the series. That means that this review of THE X-FILES really stems from what I think of the first episode back, “My Struggle,” alone, not from a position as a fan boy from years back.

“My Struggle” is absolutely fantastic. It is creepy, it is intriguing, it is exciting, and it has some great performers. I *think* (again, I didn’t watch the show) it will completely redefine what the series was about, and pay off in big ways to those who are fans. Yet, if you’re coming in fresh, it’s also easy to follow and immediately addictive.

The new run begins with Tad O’Malley (Joel McHale, Community), a Bill O’Reilly-type who thinks he has uncovered something huge he plans to reveal to the world. To be certain, he wants to bring in Mulder (Duchovny), but unable to reach Mulder directly, he goes through Walter Skinner (Mitch Pileggi), who gets in touch with Scully (Anderson). The couple is split, but Scully can still find Mulder when the need arises, and they both get drawn into the plot.

What Tad has is a young woman, Sveta (Annet Mahendru, The Americans), who has a history of abduction and experimentation. Interspersed with scenes of Roswell, a trip to a Faraday cage, and numerous 9/11 references, it may take Scully a little while to figure out what’s happening, but “My Struggle” finds Mulder having his mind blown. In what way, well, you’ll have to watch to see.

I assume that this hour is full of references to past episodes. I know one notable recurring character makes an appearance (yes, that one), and a visit back to the agents’ old office seems particularly nostalgia-inducing. It’s hard for me to judge how many references to previous events actually occurred on screen, but there are enough of them that I feel like long-time viewers are being served, which makes sense, considering creator Chris Carter is back in the writer’s seat.

In conclusion, whether you’ve been anxiously waiting on pins and needles or have only heard of the program in passing, as long as you are into UFOs, conspiracy theories, and/or good TV, you should definitely check out THE X-FILES airing this Sunday and Monday, and then for four weeks thereafter on FOX.

FOX's SECOND CHANCE

Article originally published as SECOND CHANCE Review on Seat42F.

FOX’s first mid-season drama out of the gate this January is called SECOND CHANCE. While it has gone through quite a few title changes (it used to be known as Lookinglass, and before that, The Frankenstein Code), the premise seems to have stayed relatively consistent. A brilliant, but antisocial, man develops a way to save his dying sister, reversing what death means. Testing it on an old sheriff who was murdered, it’s about someone getting a second chance to live.

It’s probably wise they didn’t keep Frankenstein in the name of the show. Frankenstein was about creating new life, and this series is about getting a do-over on a life misspent. Dr. Frankenstein obsessively sought to create a creature for his own selfish purposes, while the brain in this, Otto (Adhir Kalyan, Rules of Engagement), is trying to save his sister, Mary (Dilshad Vadsaria, Greek). And if you’ve ever read the novel by Mary Shelley (which I do recommend), I doubt you’ll see very little of that echoed in this particular story.

The revived is Jimmy Pritchard (The Loop’s Philip Baker Hall at the start, then EastEnders and True Blood’s Robert Kazinsky, likely for the rest of the series). While Jimmy’s death is just a case of him being in the wrong place at the wrong time, is life is made up of bad choices, being a bad father to FBI agent Duval Pritchard (Tim DeKay, White Collar) and drunk Helen (Amanda Detmer, What About Brian), and having to resign from office in disgrace. At least Duval’s daughter, Gracie (Ciara Bravo, Red Band Society), still likes Grandpa.

Obviously, Jimmy is probably not the ideal man for Mary and Otto in terms of personality, but his genetic markers make him ideal for their science experiment. Hence how an uneasy partnership is formed.

I like the SECOND CHANCE pilot, and think it could be a very interesting drama. If it is about Jimmy trying to be a better person, and if it remains about his family (Duval and Gracie are main characters, and there’s a very cool twist after Duval meets new Jimmy), I would very much enjoy this show. The first episode is certainly focused on those things, and that’s a good sign. I am also very interested in the Mary / Otto relationship, and what goes on within their company and with their assistants, Alexa (Vanessa Lengies, Glee) and Arthur (Scott Menville, Teen Titans).

What I worry it will devolve into is a case-of-the-week procedural. It could take a little bending, but if Jimmy teams up with Duval and works to solve cases so he can be the lawman he never was, I’ll be super disappointed. FOX hurt its failed, almost brilliant sci-fi series Almost Human by trying to force it into a procedural box. That show managed to still be good, but it could have been so much better without the shackles. I could easily see this one taking the same path since so much of the broadcast networks’ fare does.

Which is a shame. With FOX in a total ratings free fall this year, and the Big Four dying out overall, it seems a good time to take a chance on something new, something exciting, something that can build a loyal fan base who excitedly engage and may even bring back a canceled show for a second chance if it doesn’t live long enough. SECOND CHANCE could be FOX’s second chance to get things right, which would be nicely poetic. It just seems unlikely that it will be.

SECOND CHANCE premieres Wednesday at 9 p.m. on FOX.

DVD Review: ‘Family Guy – Season Thirteen’

Article originally published as DVD Review: ‘Family Guy – Season Thirteen’ on Blogcritics.

Released a little later than most television sets, just before Christmas, months after the following season began, Family Guy – Season Thirteen is available now. The three-disc set contains all eighteen episodes from the fall 2014 through spring 2015 run, now uncensored with a bit of content you couldn’t see when it was broadcast on FOX, along with a handful of special features (mostly audio commentaries). For the Family Guy completionist, this provides the opportunity to bring your collection up to date. 

Season Thirteen kicks off with the double-length installment “The Simpsons Guy.” As you might expect, this episode finds the Griffiths heading to Springfield and meeting The Simpsons family and friends. Long anticipated, the episode isn’t as amazing as I’d hoped, but it’s not bad either.


This follows the trend of Family Guy in general. While South Park has never been better nineteen seasons in, Family Guy peaked somewhere around season five and has never recovered. The Simpsons pretty much did the same thing, albeit a little later, so the Seth MacFarlane show is in good company. What this means is the program is still worth watching, but not appointment television. Most installments elicit a few chuckles, but none shock or wow the audience like the animated series did in its early days. Unlike South Park, Family Guy has not found a way to reinvent itself, at least not yet, and the crossover with The Simpsons does not improve upon their regular format. Yet, I still tune in because Family Guy gives me exactly what I expect from it week in and week out. It’s comfortable.

I do appreciate that there is a “Making of” featurette for this two-parter. Since it is something unique for the series, even if the story doesn’t feel particularly fresh, I am interested in how it came about. The extra doesn’t go all that in-depth, clocking in at a mere thirteen minutes, but it’s the best bonus on this set, which also includes a full-episode animatic, some deleted scenes, and numerous audio commentaries.

Among the other episodes in Family Guy – Season Thirteen are: “Baking Bad,” in which Peter and Lois open a bakery; “The 2000-Year-Old Virgin,” in which Peter tries to help Jesus Christ lose his virginity; “Quagmire’s Mom,” which helps explains some of the supporting character’s personality; “Stewie is Enceinte,” in which Stewie impregnates himself with Brian’s DNA; and “Fighting Irish,” in which Peter learns to fight from Liam Neeson.

If you’ve been collecting Family Guy DVDs for awhile, like I have, you may notice something strange about the title of this release. The first twelve compilations of the show were released as Volumes, not seasons. This is due to the fact that season one was so short it was combined with season two in its initial production. Season four was then split over two volumes, and many subsequent DVDs split seasons into pieces. Thankfully, seasons tens and eleven were kept together, released as Volumes Eleven and Twelve, and then last year, Season Twelve got its own set. This does mean there are two twelves in the run – Volume Twelve and Season Twelve. But now with Season Thirteen out, the show seems to have gotten its act together and fallen more in line with what the public expects.

Now if only FOX would get around to releasing Family Guy on Blu-ray. I know the animation on this DVD set is crisper than most standard definition programming, but the show has aired in HD for years, and looks even better when viewed that way. Why does the studio insist on releasing an inferior product?

Family Guy – Season Thirteen is another batch of mildly amusing episodes from a consistent series at an inexpensive price, and is available now on DVD.

GOTHAM's "Little Monster"

Article originally written for Seat42F.

 

FOX’s GOTHAM continues its action-packed, engaging season this week with “Mommy’s Little Monster.” Penguin (Robin Lord Taylor) attempts to rescue his mother (Carol Kane) from Galavan (James Frain), but things do not go as planned. This sends Penguin on a revenge streak, and it may turn out that Galavan has finally pushed the crime boss too far. Elsewhere, Nygma (Cory Michael Smith) descends into madness.

I am disappointed that “Mommy’s Little Monster” contains Gertrude’s death. I find her a fascinating character, and some of the glimpses we’ve seen of her give great insight into who the Penguin is. I feel there could be more to be gleaned from their interactions, and it’s a little soon to remove her from GOTHAM. Of course, the show always has the option of flashbacks, and I hope Kane reprises the role in the near future.

What Penguin’s mother’s death does, though, is remove any restraint Penguin has in dealing with Galavan. Galavan has miscalculated repeatedly with the Penguin, in my opinion. He thinks he can just kill the Penguin and his mom, and he thinks commandeering the entire city’s police force as his personal bodyguard, using his new mayor powers to lock the whole metropolis down, is enough to defeat the crime boss. He doesn’t know the Penguin, though, and plenty of others underestimated Penguin last year to their own detriment. I feel like Galavan’s days on GOTHAM are numbered, and his main player status certainly can’t last more than half a season.

The Penguin does not murder Galavan in “Mommy’s Little Monster,” but he gets very close. So close that were Tabitha (Jessica Lucas) not on the roof with a sniper rifle, Galavan would probably be dead, quite possibly with Gordon (Ben McKenzie) and Bullock (Donal Logue) as collateral damage.

Gordon and the Penguin’s friendship, if you could call it that, is an uneasy one. Penguin doesn’t seem to take it personally that Gordon tries to arrest him and protects Galavan, nor does the Penguin call in a favor Gordon owes him to kill Galavan. Yet, with the two being at odds so often, it’s surprising they haven’t had a complete falling out yet. Penguin doesn’t control Gordon the way the previous bosses had command over Bullock, but whatever uneasy bond they currently have probably won’t last.

Speaking of not lasting, Nygma is going absolutely insane following the death of Kristen Kringle (Chelsea Spack). “Mommy’s Little Monster” finds the evil side of Nygma (also Smith) hiding Kringle’s body in the police station itself, then making the ‘good’ side of Nygma follow clues to find it before the corpse is discovered. It’s a dangerous game Nygma seems to enjoy, culminating in the two sides coming together, being one person again.

I like GOTHAM’s technique of showing the two Nygmas as a way to illustrate what is going on in the future Riddler’s brain. It isn’t necessary to the story, of course, but it’s a good way to visualize internal struggle, as long as it’s only done temporary, which I believe it will be in this case. Were it more long-term, I think it would get annoying.

One sequence of particular delight this week is the rivalry between Selina (Camren Bicondova) and Silver (Natalie Alyn Lind). Catwoman is one of those characters who toes the line between good and bad, but it looks like it’s up to Selina to be a hero and save Bruce. There’s no doubt that Silver is complicit in Galavan’s plans, so Bruce remains in danger until Selina can find a way to save him. The tension between the girls as this struggle goes on behind Bruce’s back is terrific.

GOTHAM isn’t the deepest, richest character-driven show on television, but it’s near the top of the pack on the broadcast networks. It exhibits great skill in balancing various personalities, as I’ve mentioned before, and each hour ends up being pretty entertaining.

GOTHAM airs Mondays at 8 p.m. on FOX.