‘Marvel’s Agents of S.H.I.E.L.D. – The Complete First Season’ DVD Review

Article first published as ‘Marvel’s Agents of S.H.I.E.L.D. – The Complete First Season’ DVD Review on Blogcritics.

ABC’s Marvel’s Agents of S.H.I.E.L.D. is a spinoff of a movie series that has included Iron Man, Thor, Captain America, The Avengers, and other titles. Starting shortly after the latter movie, fan-favorite S.H.I.E.L.D. agent Phil Coulson (Clark Gregg), who seemingly perished on the big screen, is revived and given a new team. The circumstances surrounding his continued existence are important, but slow to be revealed, and instead, we get to see how he handles a group of mostly young people who will be the leaders of the organization tomorrow. The first year is now out on Blu-ray and DVD.

Coulson’s team includes: Skye (Chloe Bennet, Nashville), a computer hacker-anarchist whose unknown parents are part of the show’s mythology; Melinda May (Ming-Na Wen, Mulan, ER), a legendary agent pulled out of retirement for her own good; Grant Ward (Brett Dalton, Killing Lincoln), clean-cut good boy who seems heir apparent to May; and Fitz (Ian De Caestecker, The Fades) Simmons (Elizabeth Henstridge, Delicacy) (the lack of ‘and’ is intentional), the tech duo who come up with the gadgets for the team. Together, they fly around on a giant airplane, following up on alien-, god-, and hero-related incidents all over the globe.

There is a sizable recurring cast in the 22 episodes included on this five-disc set. Some are familiar faces from the movies, providing further connectors, and some are brand new ones that fill out the small screen world. At its best, Marvel’s Agents of S.H.I.E.L.D. is worthy of hanging with the studio’s other efforts, and under the watch of producer Joss Whedon (The Avengers, Buffy the Vampire Slayer, Firefly), it will only grow from here into a beloved favorite all on its own, even if it does not exist alone.

Marvel’s Agents of S.H.I.E.L.D. has a decent amount of bonus features. There are only three audio commentaries, and not necessarily for the episodes you want them on, but there are a wealth of featurettes. “Journey Into S.D.C.C.” is a fun little documentary following the cast to San Diego Comic Con, giving you a look at their actual personalities. The Field Reports and VFX Progressions are short, but there are quite a few of them, breaking down some of the most memorable, action-packed scenes of the series. The blooper track is amusing, and roughly six minutes of deleted scenes are insightful, surely cut only for time, though nothing too tantalizing is revealed. The fourth disc also includes the episode-length TV special Assembling a Universe, which is about Marvel’s current properties in general, rather than just this show.

This makes sense because Marvel’s Agents of S.H.I.E.L.D. is definitely part of the larger Marvel franchise. There is a small tie-in during the fall run to Thor: The Dark World, which was in theaters at the time, and a much, much bigger connection to Captain America: Winter Soldier in the spring, which is when the series finally finds its feet, hampered up until then by what they are and are not allowed to reveal.

Marvel’s Agents of S.H.I.E.L.D.‘s first season ends up being as awesome as one might hope for from the storied studio, despite a slow start. It has an intriguing pilot, then spends a couple of months spinning its wheels on seemingly stand-alone adventures. Around mid-season it begins to weave things together a little more cohesively, giving greater meaning to some of the small bits already shown, and then once Winter Soldier premieres, it can finally reveal the Hydra menace and become as intense as the films it shares DNA with. Now that the series is fully unleashed, allowed to be what it should have been all along, I really look forward to seeing where year two goes.

In all, I’m pretty satisfied with this release. I like most of the episodes, especially the later ones, am fully invested in the characters, and am entertained by the bonus features. What more could one ask for?

Marvel’s Agents of S.H.I.E.L.D. – The Complete First Season is available now.

Agents of S.H.I.E.L.D. Keep "Turn"ing

Article first published as TV Review: 'Agents of S.H.I.E.L.D.' - 'Turn, Turn, Turn' on Blogcritics.

SPOILER ALERT: This review contains spoilers for the film Captain America: The Winter Soldier.

I can’t thing of a single case of synergy working as well as what Marvel Studios has going on right now. Besides two films a year, it has an hour-long weekly series on ABC, and more coming to Netflix. Last fall, when Thor: The Dark World hit theaters, the connection to Agents of S.H.I.E.L.D. was minimal. But this week, Captain America: The Winter Soldier fits right in between two episodes, and has a huge impact on the show by necessity, given that the movie, an intense political thriller co-starring Robert Redford, blows up the universe the studio has spent years carefully crafting.

Last week’s Agents of S.H.I.E.L.D. focuses on the hunt for a mole, an arc that plays out over several weeks, then caps off with a quick scene featuring Nick Fury (Samuel L. Jackson) being attacked in D.C. Captain America picks up that ball, basically uncovering a huge conspiracy that results in Hydra, which has been covertly operating within S.H.I.E.L.D. for decades, dismantling the good guys’ organization as it goes public. This week’s S.H.I.E.L.D. shows us what is happening with our cast while the events of the movie are going down, and their scramble to save their own lives as Hyrda attempts to kill off any significant S.H.I.E.L.D. agents who could stand in their way.

Is it fair to ask fans to see a film opening weekend just to keep up with a TV show? It’s true that the Hydra plot unfolds within the series, too, so perhaps the movie isn’t required, but the higher-level stuff about the story is presented on the big-screen, including the exposure and explanation, as well as the fate of Nick Fury, while the show is a smaller-scale story, so it is best consumed in order of air date and release date.

I think Marvel will not only get away with this, but do it again in the future, assuming Agents of S.H.I.E.L.D. keeps running. While it’s an inconvenient to see the movie in a limited window, most of the fans of the franchise will do so anyway. Besides, it is exciting ton be caught up in a multi-platform tale, allowing the universe to become much more epic than is possible in keeping things separated.  The show gets me excited for the movie, which in turn gets me excited for another episode of the show. So it only makes sense to keep the relationship going, and the weekend’s box office returns back up that viewpoint. I just hope it will translate into bigger ratings on TV, as the series has not quite lived up to expectations.

In the latest episode, “Turn, Turn, Turn,” The Bus is hijacked by Victoria Hand (Saffron Burrows) at The Hub. Victoria believes Coulson (Clark Gregg), and possibly his team, are Hydra. Coulson is immediately convinced that Victoria is Hydra, and confused by shifting allegiances. It doesn’t help that Coulson’s best friend in the gang, May (Ming-Na Wen), is exposed as reporting to Fury behind Coulson’s back, further clouding Coulson’s view of the situation. With the dynamics of S.H.I.E.L.D. shattering around him, Coulson rescues his pal, John Garrett (Bill Paxton), and decides to take a stand on Victoria’s home playing field.

The entire hour may be more melodramatic than the movie, but the writers effectively manage to keep us guessing as to who the villains are. For much of the installment, Victoria does look to be evil, especially given the red streak in her hair. But it’s a shocker when Garrett comes out as Hydra, and even more so when one of the central cast, Grand Ward (Brett Dalton), joins him.

Some may have seen this coming because, after all, Ward used to work for Garrett. Others may wonder if Ward is playing the long game, getting in with Garrett just to stop him, though Ward’s murder of Victoria Hand in the final moments of “Turn, Turn, Turn” would make that hard to swallow. Whatever ends up happening, it’s clear Ward has done things the rest of the characters will not approve of, and could very well be permanently separate from the rest from here on out.

There aren’t many television shows that would take their golden boy and make him a villain, in the first season, no less. Agents of S.H.I.E.L.D. is absolutely correct in doing this because the stakes set in the film demand sweeping changes in the show’s make up, too. While it would be safe to keep the group at the heart of the series intact, turning one is even more bold than killing him off, certainly telling viewers they cannot trust anyone or anything again. Given that Joss Whedon, the brilliant bastard who gave us Buffy the Vampire Slayer, Firefly, Serenity, and Dr. Horrible’s Sing-Along Blog, is behind this only makes it seem more likely that Ward’s defection is for real, as Joss is good at plucking the heartstrings and getting his fans to grieve.

“Turn, Turn, Turn” is pretty good on its own. It’s not The Winter Solider quality, but it may be the best episode of the series thus far because of the major changes that occur and the level of mystery that invades the proceedings, keeping us guessing on the edges of our seats right up until the ending credits and its chilling Hydra logo replacing the familiar one. I’m very much hoping that the future entries are just as unpredictable, and that Joss was just playing the broadcast-network game with safer stories previously, having been burned by risky storytelling on multiple occasions before. If it should maintain this level, a little lower budget, and thus not quite as impressive as the movies, but still very good, it should have a bright future, at least in terms of earning the audience’s love.

Agents of S.H.I.E.L.D. has five episodes left this year, and has not yet been given a renewal or cancellation notice. Tune in if you’re the least bit interested in what Marvel can do with a second, expanded, very different season, made necessary by the excellent “Turn, Turn, Turn.” It airs Tuesdays at 8 p.m. on ABC.

AGENTS Building a "Bridge"

Article first published as AGENTS Building a "Bridge" on TheTVKing.

Marvel's Agents of S.H.I.E.L.D. has started slow this fall. On a series like this, the episodes really need lots of through arcs and character development to be entertaining. A procedural format may work for some crimes shows, but those tend to be watched by older audiences, while younger viewers often (though not always) prefer a bigger story. Given the nerd-skewing draw of this series, and nerds like epic tales, the show would be smart to keep that in mind.

Creator Joss Whedon has been burned on TV before for going too serial. Firefly was canceled when viewers who didn't see the pilot (which didn't air first) were lost in the story. Dollhouse started out as a case-of-the-week, which was what the network, but not fans, wanted, but changed gears too late. It appears Marvel's Agents of S.H.I.E.L.D. is trying to split the difference, but by going for both serial and procedural formats at once, neither quite lands as it should.

The mid-season finale, "The Bridge," is moving more in the correct direction. It continues the larger story of the gang hunting Centipede and brings back familiar face Mike Peterson (J. August Richards) from the first episode. It furthers the mysteries surrounding Coulson's (Clark Gregg) resurrection and the identity of Skye's (Chloe Bennet) mom. It allows agents Ward (Brett Dalton) and May (Ming-Na Wen) to explore the beginnings of their relationship. And it ends on a fantastic cliffhanger.

If more episodes could follow the pattern of "The Bridge," the series would be better and the show just might regain some of the fans its been hemorrhaging. I truly believe it will continue to grow, now that it's been established; I just hope it's not too late to save it from cancellation.

The Skye and Coulson stuff are both really interesting plots. These are two people who are very different, definitely at varying stages of life, and yet the desire for the truth about themselves is one thing they share. Coulson knows how to control himself better and has patience, but essentially, it's two parallel stories that make the show feel more cohesive.

I really like that Marvel's Agents of S.H.I.E.L.D. is developing the Ward / May pairing.Wen is nearly twenty years older than Dalton, something few shows would dare to touch on, at least with the woman being older. Yet, she's still fierce, tough, sexy, and has good chemistry with the younger man, so why not? I don't know if this is destined to last for long, but it came about unexpectedly, and because it still seems like such a novel pairing, it's still very exciting.

What the union says about May is also enlightening. She's such a tough nut to crack, and by her letting Ward in, she's also revealing a little of herself to viewers, too. We get to see some vulnerability there, and hints at what motivates her. Some might say it's a little early for her to bloom, but I don't think the show really needs a closed-off enigma. It's enough to give us well-developed personalities and allow them to change over time.

Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge), unfortunately, still lag behind the others in terms of exploration of the role. They are funny, charming, and smart, but the bits of them that have taken them away from the lab haven't explained much about them, either. These two are more than just sidekicks, and I look forward to any stories the writers want to toss their way because the actors both have great screen presence.

Watching "The Bridge," it occurs to me that it's a shame there is not a superhero in the group. I understand that the original intent was to show the people behind the scenes, rather than the guys that get the films made about them, but maybe a lesser person with abilities could sort of fit the bill, such as Mike's character.

It's too bad they seemingly killed Mike off. Not only does that leave his son without a dad, but he could really be useful on the show. He was the first person we were really introduced to, and I'd hoped he'd recur more than once before getting rid of him.

"The Bridge" leaves me wanting more, which is what a good mid-season finale does.  For this, it deserves praise, even amid the nit-picky gripes. And there are mostly only little things to complain about. Marvel's Agents of S.H.I.E.L.D. will return soon to ABC.

Watch Out For MARVEL'S AGENTS OF S.H.I.E.L.D.

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review on Seat42F.

Probably this fall’s most anticipated new show, as well as the one with the longest title, MARVEL’S AGENTS OF S.H.I.E.L.D. premiered tonight on ABC. This spin-off of the popular Marvel movies, which include Iron Man, The Hulk, Thor, Captain America, The Avengers, and their sequels, picks up right where the films leave off, giving us a look inside the most secretive, powerful government institution on the planet.

Many are familiar with S.H.I.E.L.D. because of the appearances of operatives in the films, most notably Phil Coulson (Clark Gregg, The New Adventures of Old Christine), who tragically dies mid-way through The Avengers, just before the Battle of New York. But you may not know exactly what they do, or even what the acronym stands for. It’s Strategic Homeland Intervention, Enforcement, and Logistics Division, by the way, which means, as one character quips in tonight’s “Pilot,” someone really wanted the initials to spell out S.H.I.E.L.D. They protect the Earth from aliens, super powered people, gods, and the like.

AGENTS OF S.H.I.E.L.D. is not going to give us a typical view of the organization, though, as it centers on a select task force put together by Agent Coulson, who is not in fact, as most believed, dead. This group is Coulson’s baby, a gang of unique individuals who don’t always play well with others, but are the best at what they do.

Coulson is around a lot in the movies, but it’s not until this “Pilot” that we really get a look at his personality for an extended period of time. Being near death has changed him a bit, re-focusing his purpose with laser sharp precision and a determination not to take any lives her doesn’t have to. It’s with that attitude that he puts the group together, and he strongly influences both mission and tactics.

How is Coulson alive? Well, Coulson has a tale he tells, though Agent Maria Hill (Cobie Smulders, How I Met Your Mother) and Dr. Streiten (Ron Glass, Firefly) seem to know something else. But since they aren’t main characters, it may be awhile before we find out the whole story. That’s OK; we can wait.

Coulson’s group is made up of five young agents. There’s Grant Ward (Brett Dalton, Killing Lincoln), the by-the-book pretty boy, Skye (Chloe Bennet, Nashville), the super-smart, justice-crusading, independent reporter newly recruited by S.H.E.I.L.D., Melinda May (Ming-Na Wen, Mulan, ER), the washed-up soldier tasked with “driving the bus,” but capable of so much more, and Fitz (Iain De Caestecker, The Fades) and Simmons (Elizabeth Henstridge, Delicacy), the brilliant, creative techies.

What’s cool about these characters is they are all just so bursting with personality. Creator Joss Whedon (Buffy the Vampire Slayer, Dollhouse) has perfected putting together a group of clashing dynamics by this point, bringing together a bunch of very different people, much as he did in The Avengers film, but with more time to delve into them. Each of these five has serious back story to explore, secrets to uncover, and various opportunities for growth and potential. They are fantastic ingredients for a very satisfying epic series.

Plus, Whedon’s witty dialogue and clever twists are obvious in the “Pilot,” too, from a switcheroo involving truth serum, to hiding in a shadowy corner, to telling a suspect things can go down one of two ways, Whedon takes the familiar and predictable, then turns them on their heads. It’s a delight to follow his writing.

Whedon does recruit a couple of familiar faces from his past shows to appear in this episode, and likely will bring in more down the road. There’s Ron Glass, whom I’m mentioned, working in Agent Hill’s base as Dr. Streiten, and J. August Richards (Angel) plays the “case-of-the-week,” Mike Peterson, a man who gains super powers but doesn’t know how to control them. Populating this universe with such people will only make the show more enjoyable, and Whedon has quite a roster to draw from.

Now, I did say case-of-the-week, as there are definitely procedural elements built into AGENTS OF S.H.I.E.L.D., and I frequently complain such formulaic shows. However, Mike’s circumstances take a back seat to the formation of the central cast, and his case also kicks off a larger arc involving a project known as Centipede. As such, while stand-alone stories will probably be mixed in, it’s equally likely that there will be a bigger purpose to the show, which is expected on such a series and appreciated.

AGENTS OF S.H.I.E.L.D. plays homage to the movies without relying on them. The Centipede project brings in the science theater-goers have already been introduced to, Coulson’s car, Lola, returns, and action figures connect the properties. But knowing about these things going in is not necessary, and I doubt very much anyone just watching the show will be lost.

Taken on its own, the “Pilot” is enjoyable. It can’t be taken on its own, though. There is too much structuring for further plot and serialized scenes leading to more to see this as a stand-alone installment. As the beginning of the journey, it sparkles, and there really isn’t anything to complain about. It’s well-paced, looks great for a TV budget, and has clearly been thought out carefully. It lives up to the hype.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 8 p.m. ET on ABC.

This review is not Written By a Kid

Television is in the throes of a revolution. Many young consumers watch their shows online. And with a number of studios, as well as countless individuals, releasing programming online, the line between what is and is not television is blurred. I say this because this review is actually of a web series, which I believe can now be clumped into the same category as traditional television.

One of the best internet channels, a new invention by YouTube to get viewers regularly visiting, is Geek & Sundry, run by Felicia Day (The Guild, Eureka), which launched a new show this week called Written By a Kid. In the first episode, we meet a kid named Brett who tells a story to two men, the creators of the series, Will Bowles (The Underground) and Josh Flaum (also The Underground). This story is acted out by live people who inhabit a crudely animated world.

The tale told is a simple one. Called "Scary Smash," a monster kills a milkman (Dave Foley, The Kids in the Hall, NewsRadio). To save the town, the S.Q.U.A.T. team is called in. Led by a fun-loving commander (Buffy the Vampire Slayer and Firefly creator Joss Whedon), the force suffers numerous casualties until they finally subdue the threat.

Now, the story isn't completely driven by Brett. Those who have listened to children tell a story know that they can ramble, get distracted, or peter out. The back and forth format allows for seamless editing, so that it's not immediately obvious what questions the hosts are asking the kid. But for a child to remember which weapons he armed his hero with, and remember to use them all throughout a seven day battle, seems a little far fetched.

But even if the plot is a little guided, it is still enjoyable.This is partially due to the fantastic visuals, with scenery that looks like its been drawn by crayon, and partially a credit to the amazing cast put together to act out the words. This includes, besides Foley and Whedon, Felicia Day, Kate Micucci (Scrubs, Raising Hope), Rhett McLaughlin, and Charles "Link" Neal (Rhett & Link). There are probably other notables, but no complete credits are given.


The fact that famous, or infamous, people would agree to do Written By a Kid and not even get their name on screen is a testament to Day's network, as well as this incredibly creative, wonderfully made series. When something this fun is going on, of course people want to be involved! There is no telling what famous faces might pop up in future episodes.

Not to mention, Written By a Kid is genuinely funny. Whether it stems from the animators getting ahead of the narrator, having to change the color and look of the monster, or the cheesy performances by Foley and Whedon, it works. The adults behind this project are smart enough to know when to let the kid by unintentionally funny, and when he might need a little help by taking things more literally then they probably should were they interacting with him outside of the entertainment industry. Fantastic.


Written By a Kid is a must-see show, even if it might be hidden away slightly on the internet, and another fitting addition to the Geek & Sundry lineup. But that's why I link the title, so you can find it. New episodes will go up on Mondays, so make sure that you check them out!


Check out my new website, JeromeWetzel.com. If you like my reviews, please follow me on Twitter! Article first published on TheTVKing

"Dream On" Glee!

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

     The season one Glee episode "Dream On" is about dreams, obviously. An old nemesis of Will's (Matthew Morrison), Bryan Ryan (Neil Patrick Harris, How I Met Your Mother) is the newest member of the school board. After having his own dreams of being a performer dashed, Bryan decides that the glee club should be cut, as a favor to the kids who are in it. Will fights him on it. Jesse (Jonathan Groff) encourages Rachel (Lea Michele) to seek out her mother, while Artie (Kevin McHale) struggles anew with his crippling condition.

     Neil Patrick Harris is amazing in "Dream On," even when given a mediocre character, which Bryan is. This is because Bryan changes his opinion and motivations every few hours on a number of whims. Some people are flighty, to be sure, but to go from wanting to cut the arts, to championing them, back to cutting, then to ambivalence, in a few short days does not a realistic character make. Yes, Bryan has more than a few issues to work out. In the end, trading his favors for a part in a community theater production? Not acceptable. Which begs the question, how did such an unstable man get onto the school board, and why is he given any power at all over which programs get money, and how much, at McKinley High?

     Thankfully, Harris saves the Glee appearance from being a waste with his duets with Will. While Bryan makes a great friend or foe to Mr. Schue, but can't make up his mind which he is, his plot falls flat. But his musical ability soars. The two first sing together in a bar to the classic "Piano Man." Later, they war with "Dream On," trying to get the same part in a production of Les Miserables. Both songs, even with such different tones, are great numbers, with terrific vocals. As such, Harris's guest spot in "Dream On" is at least partially a success.

     Also, in a too brief sequence, Bryan goes up against Sue (Jane Lynch). He defends the actual merits of arts education, something that is far too often forgotten about in school budgets. Sue argues the pros of athletics. Both get their facts right on the benefits research touts for both of these extremely important fields. Unfortunately, Sue gets reality completely wrong when she claims districts are much more likely to cut sports than music. It's far more often the exact opposite, a real shame in this reviewer's opinion. With an obesity epidemic happening, yes, physical education is important. But so is nourishing one's mind and soul, and the pluses the fine arts add to other academic areas are extremely valuable. Schools need to realize that these things are core, not extracurricular, and they should not be pawns on the chopping block.

     Plus, angry sex between Sue and Bryan! It's both regrettable and charitable that the carnal acts they engage in, or are hinted at engaging in, are never shown on Glee in any manner. While such a scene would be hilarious, and likely well handled by the wonderful Lynch and Harris (funnily enough, both homosexual in real life), it would also be deeply disturbing. It's probably a good thing that Glee backs off from showing too much, especially at the relatively early time of the evening at which the series airs. It's still a family-friendly show, for the most part, after all.

     Slightly confusing is, why is Will able to give Bryan his part in Les Miserables? We're talking a lead handing his reigns to an extra with no input from the people making the show. It couldn't happen. "Dream On!" Not only that, Bryan is almost as good as Will, if not even with him. Why is Bryan given such an unimportant role instead of one of the other leads? While both may want Jean Valjean, it makes sense, given their levels of talent, that one gets that part, and the other is given Javert, an almost equally important role. Plus, the two characters are foes, so it works for Will and Bryan, storywise. It is just not possible Lima is teeming with such talent that Bryan should be regulated to a nothing part.

     Ironically, it's not Will nor Bryan that end up singing any songs from Les Miserables in "Dream On," but Shelby (Idina Menzel) and Rachel that do. Their "I Dreamed a Dream" is both memorable and stunning. No less than one would expect given both ladies' statures in the Broadway world. It's a bold, brilliant choice for their first duet together. While not actually being in the same room, continuity-wise, despite appearances, it's a cool way to show mother and daughter in that relationship for the first time on Glee, and emphasize what Rachel has inherited. Great job!

     Backing up slightly, the story leading to Rachel finding Shelby is actually quite interesting. It now makes sense why Jesse gives up Vocal Adrenaline for the New Directions - he's being loyal to a director that has helped him win several national titles. His falling for Rachel is convincing, too. There clearly is a definite attraction between the pair, and while Shelby only asks Jesse to "befriend" Rachel, a reasonable request, it's funny how Jesse twists that into "seduce" when he begins to have feelings for his fellow show choir star. This gives weight to Jesse's later argument that his love for Rachel is real, not an act.

     Somewhat confusing is why Artie allows Tina (Jenna Ushkowitz) to reawaken hope in him in "Dream On," long after he gives up believing he will ever walk again. Artie's dream of dancing seems to come out of nowhere, since he seems accepting of his fate up til now. Tina's looking into promising medical research, sparking Artie to hope, is even more confounding. Which is it? Is Artie OK with how he is, or not? If he's not, and dancing is his dearest wish, than he would already be doing the research himself. If he is, as appears more likely, given the character's overall arc in Glee, why allow himself to be swayed so quickly and completely? The only possible explanation, flimsy as it is, given the weight of the situation, is that Artie is entranced by Tina, and for a pretty girl, men will do almost anything.

     That being said, Artie's "The Safety Dance" is an incredibly moving scene. At first, it may seem bizarre that, one day after Artie's doctor starts "all" of the experimental treatments, he is able to get up and dance around. However, as more of Artie's friends suddenly show up and join in on the flash mob, it quickly becomes apparent that this is Artie's dream. And in a perfect world, one in which a dream lives, things would go exactly like that. As the music stops, and Artie falls dejected back into his chair, one's heart breaks in sympathy. It's quite a well done bit, made even better by the lack of special effects, since actor McHale can actually walk and dance just fine.

     It's really a shame that McHale and Ushkowitz are not very good actors. Their inability to express the emotions in a dramatic way take away from the episode, and make the whole thing less effective than it should be. Artie's number succeeds because of the music and direction, not McHale's acting ability, or lack thereof. It really baffles that these two continue to be main characters on Glee when the awesome Lauren Zizes (Ashley Fink) and fun Sam (Chord Overstreet) are cut from the New Directions in season three, and their portrayers can't get full-time contracts, leaving the latter to depart the series. Loyalty is noble, but giving fans the best should also be a goal of Glee.


Random Bits:

• Dream On" is directed by the legendary Joss Whedon (Buffy the Vampire Slayer, Angel, Firefly, Dollhouse). Joss also directed Neil Patrick Harris in his internet musical sensation, Dr. Horrible's Sing-Along-Blog.
   
• Seeing Bryan and Will in flashback may be slightly gratuitous, but it is more than welcome. That hair! Those clothes!
   
• In the flashback, Bryan does a brief magic trick. Neil Patrick Harris is a known magician.
   
• As will talks to Bryan in the bar, trying to convince him that dreams are worth believing in, "Dream Weaver" plays in the background. Perfect!
   
• Brenda Castle (Molly Shannon, Saturday Night Live) makes her second and last appearance on Glee in "Dream On." It's very brief, and she doesn't even get to interact with any of the main characters!
   
• Brenda does interact, though, with Russell, who is played by John Michael Higgins (Happily Divorced). This is cool because Higgins played Shannon's love interest in her failed sitcom Kath & Kim the year prior to this episode.
   
• Rachel hypothesizes that Broadway great Patti LuPone might be her mom. Funnily enough, in the season two finale, Rachel meets LuPone in New York City, guest starring as herself.
   
• Making Quinn's (Dianna Agron) biggest dream "No stretch marks," and Puck's (Mark Salling) "3some" may be funny, but it trivializes two characters Glee has tried to give depth to. It's not surprising they want those things, but the writers could do better with their "biggest dreams."
   
• In the sweet closing number of "Dream On," Tina dances with Mike Chang (Harry Shum Jr.). Perhaps this is the moment she begins to fall out of love with Artie, and into it with Mike?
   
• Worst line ever, in the cheesy department. Will says, "I'm trading my one dream for the chance that all thirteen of you might find yours." I'm sure this is supposed to be touching, but instead, it's gag inducing.
   
• Glee finally gets something about Ohio right! Lima IS in Allen County! Also, while Cedar Point is much closer to Lima, and a far superior theme park, King's Island does have the better shows, so Bryan's tenure there also works.

     Check back for the final three Glee season one reviews later today!

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

Horrible Turn not so horrible

     I may be a tad behind the times, but I discovered only yesterday that there was a prequel out (since November 2009) to Joss Whedon's (Buffy the Vampire Slayer, Firely, Angel) awesome Dr. Horrible's Sing-Along Blog.  Called Horrible Turn, the prequel is not official, and does not involve any of the same actors or crew.  Or even actors and crew who have been involved with TV or movies.  However, unlike most fan-made spin-offs, it is almost as good as what it is seeking to emulate.  The production value and professional look are at least as good as the original, it's a bit longer, and it pays homage to not just it's source material, but also other Joss projects.

     Horrible Turn is the story of a teenage Billy Buddy (Tyce Green), working in a garage laboratory on plants, and pining for Australian exchange student Katie Kitty (Kristin Massa).  So that explains why Dr. Horrible (Neil Patrick Harris, How I Met Your Mother, Doogie Howser) wanted to create a new Australia!  Billy still has a best friend, this one named Wade (Dominic Difelice), though he had enough similarity, including the water-based name, for me to assume that Wade will eventually become Moist (Simon Helberg,The Big Bang Theory).  The biggest difference is that his lab partner, Kenny Hammerstein (Jacob Buras), who is, by the way, the best part of this prequel, is hated by everyone for his holier-than-thou attitude and giant ego.

     Then Billy discovers that the newly formed Evil League of Evil is creating havoc, and calculates that the next target will be his high school math competition.  Billy has invented a potion to make everyone like each other, and tasks Hammerstein to drip the stuff into the ventilation system.  Hammerstein decides he would rather drink the whole thing himself, making himself instantly beloved by everyone, and completes the transformation to Captain Hammer (Nathan Fillion, Castle, Firefly).  Of course, Billy gets everything wrong, and, burned, decides to become an evil genius instead of helping people.

     Among the references to the original are appearances by Bad Horse and Dead Bowie, similar news casters, an Australian girl chorus that resembles the Bad Horse Chorus, and familiar parts of costumes.  The humor, music, and plot arc are also close.  A truck says "Dahlhaus" on the side, a reference to Joss's last series, Dollhouse, and the rival math team is from a school called Serenity, and there's a character on them team named Felicia Night.  The best part may be that Johnny Snow (Christian Haile), only mentioned in Dr. Horrible, is a fleshed out character who worships Hammerstein and hates Billy.  Stay tuned through the credits for more Johnny goodness.

     Hopefully, Joss will include the actors at least in any upcoming Horrible sequel, of which there is sure to be, lending legitimacy to this wonderful project.  Also, it would be smart to cast Patrick Warburton (Seinfeld, Family Guy) as Johnny Snow, to further connect the two, since Haile came across as a young Warburton.  You can watch the entire Horrible Turn for free online.

Neil Patrick Harris only bright spot of The Oscars

Wow, what a disappointing Academy Awards!  Gone were the performances of the Best Song, past winners presenting to new winners, and even the tribute song seemed a little short.  Where was Farrah Fawcett in there?  Overshadowed by Michael Jackson again!  The winners really had few surprises.  All of the acting categories went to who was expected, even it was the disappointing Sandra Bullock.  The Hurt Locker took far more awards than it deserves, especially Best Director.  James Cameron created a whole new camera system and spent ten years making Avatar, single-handedly launching 3-D movies into newfound popularity, and he gets snubbed?  Even if the plot of his blockbuster was only so-so, he deserved the Director award.  Avatar did take a few awards, and it was nice to see Star Trek get one, even if it was just makeup.
The hosts continued the snoozefest.  Alec Baldwin and Steve Martin have wicked chemistry!  Have you seen their Saturday Night Live rivalry?  Why, then, did they just stand around and make mostly dumb jokes?  I was excited when it was announced they were doing the show, but wholly disappointed in what they did.
The biggest, best thing at the Oscars was Neil Patrick Harris.  Star of How I Met Your Mother and Dr. Horrible’s Sing-Along-Blog, Harris recently hosted both the Emmys and the Tonys, among other things, and was tapped to open the show with a big number.  Is it clear to anyone else he should have taken the full duties?  His star has never been higher.  He will appear in the Joss Whedon-directed episode of Glee this spring, and then starring in the Smurfs movie, as well as doing a sequel to the internet smash hit Dr. Horrible.  Why not NPH?  despite being snubbed at the Emmys, he has massive popularity.
Oh, well.  There’s always next year.  If anyone is still tuning into the Oscars by next year.  Ratings have been on an overall downward trend for years, and last night’s lackluster performance will only drive them lower still.

Neil Patrick Harris's role on Glee sure to be Legen - wait for it - dary, and that's not all!

***WARNING!!!  THIS ARTICLE CONTAINS MANY SPOILERS ABOUT UPCOMING EPISODES OF GLEE. ***
    Neil Patrick Harris, currently co-starring in the CBS sitcom How I Met Your Mother, and formerly of Doogie Howser, M.D. and Harold & Kumar Go to White Castle, is coming to Glee!  It's been a big week for NPH news, as it was also released that he would star as a human who meets tiny blue creatures in the new Smurfs movie.  The movie will begin shooting next month in Central Park.
     But what of NPH on TV's most popular new show?  Word is that Harris will appear in an episode of Fox's Glee, which is taking a far too-long break while American Idol runs, during May sweeps as a former classmate and rival of Will's (Matthew Morrison).  Apparently, Neil's character, named cheekily 'Bryan Adam', not only competed with the current glee club director for parts, but bested him often.  Now Bryan is a member of the school board for the high school, and wants to get rid of the arts program, blaming his success in it as ill preparing him for later life.  The episode will feature plenty of flash back fun and a huge duet between the two men.  It will also be directed by Buffy the Vampire Slayer creator Joss Whedon, who cast Harris in his internet sensation Dr. Horrible's Sing-Along Blog, and who is rumored to be planning a sequel.
     Setting aside just how awesome that will all surely be, Glee has had plenty of other excitement.  For instance, President Obama is having the cast over to the White House on Easter Monday for the annual Easter Egg Roll.  Saturday Night Live vet Molly Shannon has joined the cast in a recurring capacity, beginning in May, as an enemy for Sue (Jane Lynch), playing an alcoholic, pill-addicted, badminton coach who teaches astronomy.  Olivia Newton John (Grease) will make an appearance.  Terri (Jessalyn Gilsig) will sing and try to win Will back.  The Puck (Mark Salling) / Rachel (Lea Michele) pairing will be revisited.  There will be an entire Madonna-themed episode, with many, many songs.  And best of all, Sue will sing!!!
     The show, unsurprisingly, has already been renewed for a second season.  This coming summer, kids will compete in a reality show to fill three new roles in Glee next fall, including a boyfriend for Kurt (Chris Colfer), an R&B singer who is also on the football team, and a brand new diva.  And this May, the current cast will do seven concerts in Phoenix, Los Angeles, New York, and Chicago.   Whew!  That's a lot of Glee dish.  Tune in on Fox Tuesday, April 19th at 9pm to catch the next new episode of Glee.

Foreclosure on the Dollhouse

    Joss Whedon (Buffy the Vampire Slayer, Firefly) and Eliza Dushku's (Tru Calling) Dollhouse went off the air for good this past Friday night, proving once again what a jerk Fox can be, especially to Whedon.  After a rocky start to the first season, where the show was mostly serial, with a different mission each week, it found it's footing midway through the spring and delivered some brilliant twists.  The show had already been pegged as canceled, but a last minute miracle save earned them a second thirteen episode season this fall.  In the second round, Joss didn't attempt to tone down his plot, and went full blown into a conspiracy and technology war.  Friday night's finale was a fairly appropriate closer, that left fans somewhat satisfied.

     The final episode was called "Epitaph Two: Return", a follow up to the first season, unaired, lost episode called "Epitaph One".  Set ten years after the majority of the series, and starring Felicia Day (The Guild, Dr. Horrible's Sing-Along-Blog), it showed a post-apocalyptic world.  This was a logical step, considering that the plot of the two seasons was fairly well tied up in the penultimate episode, when the Dollhouse staff discovered the man behind the curtain was their friend Boyd (Harry Lennix, 24, Commander in Chief).  It was a fantastic episode, and Boyd's comeupance was wonderfully done.  However, fans who bought the first season DVD last summer would have felt a little cheated had they not followed up "Epitaph" and Day's character.

     Rewatching "Epitaph One", there were a couple of possible plot holes with the way season two played out, however, those could have been explained away had the show been given a third season.  Instead, there is much missing that viewers would have liked to see.  For instance, how did Alpha (Alan Tudyk, Serenity, V) end up a good guy, working with the resistance?  And why was Whiskey (Amy Acker, Angel, Alias) in the abandoned house in "One", but had disappeared by "Two"?  A television movie should be made to fill in the gap.  If a feature film is eventually commissioned, a la Serenity's begot from the canceled Firefly, it would likely go to the world after the end, but could reveal some of those things through flashbacks.  Honestly, there probably just wasn't time for Alpha's story in the one hour closer, and it was unlikely Acker was available, as she now stars in a new show.  "Two" combined the main cast with the characters we had met in "One", and did it's best to wrap it all up.  There was even a surprise cameo by Summer Glau, (Firefly, Terminator: The Sarah Connor Chronicles) whose character had previously been killed.

     The series was, overall, a work of genius, and a credit to each of the principal and recurring cast members, as well as the storytellers.  It was innovative and dealt with real issues of our day.  It was canceled well before it's time, and yet it presents almost a complete story, with a nifty ending.  Most characters had a cap.  Echo / Caroline (Dushku) got to (briefly) deal with pain of losing Paul (Tahmoh Penikett, Battlestar Galactica).  Victor / Tony (Enver Gjokaj) and Sierra / Priya (Dichen Lachman, Neighbours) were together with their son.  Adelle (Olivia Williams) was playing mother hen to a whole new flock.  And Topher (Fran Kranz) gave himself up in a self-sacrificial move, guilted by the knowledge he had caused the whole mess.

Belonging to the Dollhouse

    Joss Whedon’s Dollhouse has been benched through the November sweeps, and when it returns in December, Fox will be burning off double episodes. It looks like it may be over for the ratings challenged drama, and Fox has killed yet another of Joss Whedon’s fantastic universes. For fans who remember how Firefly was also pushed onto Fridays nights and wasn’t even given a full season, the unexpected, last minute second season pickup of Dollhouse was a breath of fresh air, which was quickly taken away again.

      After several episodes that made the show feel like a procedural last winter, it really started to soar into the spring, and continues to due so this fall. Led by the exceptionally talented Eliza Dushku, also a producer on the show, the series revolves around the mysterious Dollhouse, which wipes people’s minds and programs them for ‘encounters’ for wealthy clients. Also in the cast are several employees of the Dollhouse, including Paul Ballard, an FBI agent who was attempting to bring them down, and now secretly still is, from the inside. The series is original and brilliant, but put in an unenviable time slot, it is all but dead.

      This week’s episode, “Belonging”, was amazing. Viewers discovered that the alluring Sierra was actually drugged into psychosis by a raving lunatic, who arranged for her to become a doll, as she has been for the past year. The employees of the company faced a tough, moral dilemma when they were ordered to hand over Sierra permanently to the madman, or face a ruined life if they refused. They did hand Sierra over, but with an awareness that allowed her to kill and get revenge. Unfortunately, that left another mess to cleanup, and more moral issues for each character to face.

     In the ongoing plot of the series, Sierra and Victor continue with a blossoming romance, despite supposedly being wiped of all personal feelings, while Echo retains more and more memory. It is a Jurassic Park-esque scenario, where nature will find a way, and no man can control everything, as much as he (or she) may want to. It’s an intriguing concept, but sadly it seems not fated to play out. A huge shame and waste of glorious potential.

Save Dollhouse!