HELL ON WHEELS Stop Turning

Article first published as 'Hell on Wheels - Season 5, Volume 2' on Blogcritics.

AMC’s Hell on Wheels, often ignored, but worthy of the great network it aired on among peers like Breaking Bad, Mad Men, and The Walking Dead, came to an end recently with its final seven episodes. Centered around the building of the transcontinental railroad, the series followed some really good characters, as well as a depiction of racial relations at the time, as the workers labored to connect America coast to coast following the Civil War. Now, those last installments are available on Blu-ray and DVD, along with some extras.

What strikes me about this final batch of episodes, which I eagerly devoured in two sittings, is that they are, on balance, more character-driven than most of the seasons. Don’t get me wrong, Hell on Wheels has done some beautiful and disturbing stories featuring its players over the years. But usually those are scenes intermixed with larger arcs and many moving plots. Here, four of the seven episodes really zero in on one or two faces, with much of the main cast sitting out multiple installments, and the finale serves pretty much all of those left standing. This leaves only two hours for the basic narrative about the railroad as a whole.

This works very well, even if it does depart from what most long-time viewers might expect from the show. The completion of the tracks still gets its due near the end, with one more really good story about pulling together and doing the impossible, the two companies racing one another to the finish line. However, by often focusing even more than ever on the central characters, it allows solid endings for a lot of the players we have come to deeply care about. And though many of them either die or leave before the end, each hour shedding another face or two, I couldn’t have asked for a better way to send the show off.

Among those who get an appropriate goodbye are: Fong (Angela Zhou), the woman disguised as a man; Maggie Palmer (Chelah Horsdal), the hotel owner who sees the best in people; Psalms (Dohn Norwood), the former slave with whom our once-slave-owner protagonist forms a bond; Naomi (MacKenzie Porter), the young Mormon wife of our hero, from whom he’s been physically separated; Chinese mob villain Chang (Byron Mann); and, of course, The Swede (Christopher Heyerdahl), the primary antagonist from Norway who has been permanently scarred by the horrors of war.

Then there’s our remaining central quartet, who have been through so much together on on their own, and whom get more than a single hour to wrap their own stories up. Cullen Bohannan (Anson Mount) is not just the central figure, but a man who learns a lot over these past years, and who finds himself at his most vulnerable as things come to a close. Bohannan says so much without words, and I continue to be impressed at Mount’s performance. Thomas Durant (Colm Meaney) is the crooked boss, through whom we begin to wonder if the ends might just justify the means. Eva (Robin McLeavy) is the girl who is perhaps the ultimate survivor, going from prisoner to whore to entrepreneur. Mickey McGinnes (Phil Burke) is the Irish immigrant pursuing the American dream, learning it costs a heck of a lot to achieve. Each of these have very touching moments as their threads tie off.

Hell on Wheels is not a happy ending type of a show. Many beloved characters have passed over the years, and happiness routinely eludes just about everyone. These people live a harsh life with a gritty reality, and that continues through the finale, with no artificial wrap up that’s too neat for their existence. That being said, there’s a full circle to be found, and the conclusions are satisfying in keeping with the series overall.

The extras in Season 5, Volume 2 are unfortunately thin. Three featurettes run less than five minutes each. A little more valuable are the “Inside the Episode” bits, which are about five minutes each, and there’s one for every hour in the set. Still, I wish the producers were a little less taciturn than the characters, and really examined what the show has accomplished over its six-year run.

In the end, though, I greatly enjoy Hell on Wheels, and will certainly miss it. If you didn’t catch it during its original airing, now is your chance, as all of the episodes have been released, ending with Hell on Wheels Season 5, Volume 2, on sale now. The Complete Series is also available. I definitely recommend it.

"Emotional Consequences" of Watching COMMUNITY

Article originally published as TV Review: 'Community' Series Finale - "Emotional Consequences of Broadcast Television" on Blogcritics.

Community wraps up its sixth (and probably final) season today with “Emotional Consequences of Broadcast Television” on Yahoo! Screen, posted now. The school year has ended and Elroy (Keith David) reveals he has a job elsewhere, leaving Greendale behind, maybe for good. His departure, combined with other early reveals, sparks other members of the Save Greendale Committee, especially Jeff (Joel McHale), to wonder if their time together is over or close to it.

I absolutely adore Community, but I’m not sad if this is their final season. I will miss it ferociously, but it’s had a very good, almost entirely solid (*cough* season four *cough*) run, and it has fulfilled the ‘six seasons’ part of its popular hashtag, #sixseasonsandamovie. To me, that feels like a very natural end, especially in the way this episode is presented.

Jeff is the one who is most against the group forming in the beginning, but he’s also the one who needs it the most. While others have lives outside of their troupe, evidenced by how, one by one, they’ve all just faded away, Jeff does not. He is in a terrible place when he comes to Greendale, a broken, directionless man. As he says in “Emotional Consequences of Broadcast Television,” these people literally saved his life.

It’s not natural for most people to remain stagnant, though, which has been a major theme of season six. As much as Jeff might want to hold the status quo in stasis, no one else spends their life at a community college in this manner, nor do they want to. They came to Greendale to improve themselves and move on. That’s the fate of all of them, and by the end of this episode, Annie (Alison Brie) is heading to an internship in New York and Abed (Danny Pudi) has a job in L.A., removing two more of the original crew.

Much of this half hour is given over to each individual, Annie, Abed, Jeff, Britta (Gillian Jacobs), Chang (Ken Jeong), Frankie (Paget Brewster), and The Dean (Jim Rash), relating their pitch for a seventh “season,” using Abed’s frame of reference. This results in some fun cut-scenes that highlight the personalities of each member, as well as gives us another glimpse of Shirley (Yvette Nicole Brown), who departed at the start of the season. Jeff is the only one, though, that seems truly bothered that this is merely a thought exercise and not what is going to happen.

Eventually, Jeff does have to be happy for his friends and accept that they are leaving. Even Annie, whom he briefly wonders if he should marry and start a family with, even though they couldn’t make their relationship work in the past, isn’t destined to stay by Jeff’s side, though they have a wonderful goodbye kiss. That should satisfy most fans, even the shippers.

As “Emotional Consequences of Broadcast Television” closes, the remaining five share a toast. It will never be the same, and those left behind are the ones that haven’t grown enough to leave yet. But eventually they might, following in their friends’ footsteps. It’s this hopeful note, combined with the knowledge that Greendale is not inescapable, that gives peace of mind to the viewer.

Oh, and did I mention the episode was funny and meta, too, serving Community well? From finally finding out who the ass crack bandit is, to Chang farting through the fourth ‘cool,’ to Jeff’s glimpse of being at the study table with a bunch of the second-string recurring cast members, and a black screen that said #AndAMovie, there were answers and references left and right. We may not have figured out Frankie’s sexuality, but you gotta leave something for the film, which she deserves to be a part of as much as the original cast, more so than most of those that have come and gone from the table because of the way she so effortlessly slides in and feels like she’s always been there.

Too bad Community screws up the landing slightly with the board game tag. I’m not saying the story should have forced a joke at the end, and barring Troy and Abed being reunited or a movie tease, I don’t know what else could possibly go there. But as has happened repeatedly this season, the tag takes us out of the show. The sort-of-rant (from? about?) Dan Harmon almost saves it, but not quite. I’d rather the series went out without a tag than to use this one.

Still, there’s no denying the impact Community has had on me, nor the almost-perfect sense of closure “Emotional Consequences of Broadcast Television” leaves me with. I’ll be ever grateful for Dan Harmon’s brilliant mind and the fantastic way he ends his genius work.

Now, let’s get started on that movie, whether it’s studio-financed or Kickstarter-ed! (I really, really hope everyone has to band together to save Troy and LeVar Burton from the pirates!)

"May God Bless and Keep You Always," PARENTHOOD

Article first published as TV Review: 'Parenthood' Series Finale - "May God Bless and Keep You Always" on Blogcritics.

 

The one word that best sums up NBC’s Parenthood series finale, “May God Bless and Keep You Always,” is beautiful. From start to finish, it’s chock full of moving moments, paying off character relationships, and setting up the various players for bright futures. It’s sweet and tear-worthy, sad, and promising. It makes me miss the show already, and it’s only just left us.

The meat of “May God Bless and Keep You Always” revolves around Sarah’s (Lauren Graham) wedding to Hank (Ray Romano), which is a natural place to go. For one, it allows Sarah a romantic ending, something that eludes her over the six seasons of the show. For another, events like this bring everyone together and make them rethink their priorities. It spurs big decisions and tender moments.

One of the best moments of Parenthood is Zeek (Craig T. Nelson) asking Sarah if he’s a good father as the two sit on the porch together. They’ve had their ups and downs, as everyone has on Parenthood, yet they come through stronger than ever. It’s a familial bond echoed among all of the characters, and while it may be inappropriate for Zeek to tell Sarah that she’s his favorite, it’s true enough in the moment, and it means everything to her.

There are a myriad of other examples of the same throughout the too-short hour. Adam (Peter Krause) shows Crosby (Dax Shepard) he’s proud of him as Crosby steps into his own. Zeek and Camille (Bonnie Bedelia) ask Amber (Mae Whitman) to move in with them, providing much-needed help with her infant. Haddie (Sarah Ramos) returns and tells Max (Max Burkholder) how much she appreciates him being her brother. Hank asks Drew (Miles Heizer) to be his best man, leading to an awkward, in-character speech. All of these are homeruns.

Some viewers have complained that everyone gets their happy endings, but optimism has always been a central tenant of the show. We get flash forwards showing where each character is just a few years down the road, and no one is sad. But how is that any different than Kristina (Monica Potter) successfully fighting her way through cancer or Joel (Sam Jaeger) and Julia (Erika Christensen) making their marriage work? It’s not. Having Joel and Julia end up with four children, echoing the Braverman clan, makes it even more perfect.

There’s sadness in “May God Bless and Keep You Always,” too. Zeek’s season-long arc comes to an end when he passes away. This is necessary because it’s realistic and it serves the story Parenthood has been telling in year six. But interspersing his memorial baseball game with the flash forwards emphasizes the cycle of life, and that this marvelous family Zeek and Camille built will keep their heart-warming traditions alive, continuing to grow and being loving towards one another. 

Parenthood is a sappy series, and never more so than its final episode. That isn’t a complaint, though. It’s the perfect family drama, giving us authentic relationships with usually-genuine conflict, but showing how such can be overcome. In a world where this type of family is rapidly disappearing, I’m lucky enough to belong to a clan very similar to the Bravermans (as the eldest grandchild), and I’ve very much enjoyed seeing that experience shared with the viewing public in general. This does exist, and can for more families (though not all) if they really work at it.

If I have one complaint about the final episode of Parenthood (and about the series in general) is that it’s too short. Each of the many players are served, but we’re left craving more. How does Amber meet the man she settles down with (Friday Night Lights’ Scott Porter)? What does Max make of his life? Does Drew marry Natalie (Lyndon Smith)? Many popular recurring characters show up at the wedding, too, and they don’t have time for story. An important cameo with Seth (John Corbett) is completely cut for time, though thankfully available online.

I would have liked to have seen further glimpses farther into the future, too. But the reason that isn’t done is clear, because Parenthood wants to keep its fantastic young actors, who would have had to be recast for such scenes, at its core.

Honestly, though, I do have one more complaint, and that is that it seems off that Kristina steps away from the school she builds and hands it over to Adam. It’s not that she doesn’t love her husband or that he doesn’t deserve to be happy, but couldn’t they have run it together? She worked so hard creating it, and then she just walks away. A single regrettable misstep in the almost flawless hour.

Now, Parenthood’s finale does echo Jason Katims’ previous show, Friday Night Lights, ending, but I don’t see that as a bad thing. Despite sharing a number of performers, Parenthood and Friday Night Lights also briefly share characters (as does Katims’ slightly inferior About a Boy), so they are in the same universe, thus making it acceptable to share DNA. Knowing this, I cannot wait to see what movie Katims turns into a beloved show next, and which actors cross over to it.

Thank you to all involved in Parenthood, which also starred Joy Bryant, Savannah Paige Rae, Tyree Brown, and Xolo Mariduena, for six years I am likely to revisit and will never forget.

Late Night Television's Losses

Article first published as LATE NIGHT TELEVISION'S LOSSES on Blogcritics.

This week, late night television lost two of its three best hosts, with only Jon Stewart remaining as one worth watching regularly. The Colbert Report, Stewart’s Daily Show spin-off, and The Late Late Show With Craig Ferguson both aired their series finales recently after nine and ten years, respectively. Given what they both bring to the overall landscape, this is a double-punch blow that will leave fans of originality on the small screen reeling.

First, let’s look at Stephen Colbert of The Colbert Report. Perhaps the first character that has done a show like this, completely in character, Colbert took his correspondent persona from The Daily Show, and developed it into a full-fledged parody of Bill O’Reilly. That seems a good joke, but a four-times-weekly half hour series? It takes a very rare talent to pull something like that off and keep it fresh night after night.

Colbert did so much more than that. He skewered politicians with his brilliant satire, which led to politician from both parties boycotting him for an extended period of time, until they realized his lampooning could actually help them get the youth vote.

He ripped apart then-President George W. Bush to his face when the GOP failed to get his schtick and unwittingly gave him a forum to do so. Colbert’s endorsement became a valuable commodity, any product or charity he promoted sure to see huge contribution from his rabid fan base.

He created a Super PAC to expose a broken system. He ran for president as a joke, and polled higher than many of the real candidates. (Equally noteworthy, he knew to get out before it went too far.) He held a rally that drew hundreds of thousands of his followers (including myself, who never does things like that) to Washington D.C. He re-defined late night wars in his “feud” with Jimmy Fallon, got involved in the Olympics, made into the Smithsonian, and supported our troops time and again. That’s a lot for a short time, and I’m just scratching the surface.

Why did Colbert have such an impact? It’s hard to define his appeal, but he has a cool factor, an intelligence, and a harmless quality that captured the spirit of those frustrated with the power structure. He was our voice to fight back, orating in a way that said what we thought in a manner that we couldn’t. He was thoroughly funny, and completely committed to the bit. But we fans were in on the secret, even when those in power were not for quite awhile, and it felt great to be a part of that club. It also didn’t hurt that he premiered after the widespread adoption of the DVR, meaning I was able to watch every single episode he did without fail, never missing a minute.

His final episode, which aired this past Thursday, was the perfect capper. Beginning with a “typical show,” he spiraled into a bizarre cheating of death, ending with him forever circling the globe in Santa’s sleigh, accompanied by Abraham Lincoln (who is a unicorn) and Alex Trebek, meaning he gets to live on forever, always with us. He also included a tear-worthy sing-a-long with so many guest stars, actors, politicians, athletes, musicians, scientists, historians, and more, that it’s impossible to name them all without copious amounts of freeze-framing, the sheer number of famous faces taking part proving Colbert’s worth. Best of all, he finally tossed back to Jon Stewart, making the whole series one long segment for The Daily Show, giving due to Colbert’s creator and demonstrating Colbert’s humility and gratefulness. If there were only a way to thank him in return.

Colbert ends his run far too early because is being given Late Show, taking over for the retiring David Letterman. I’m just speculating on his reasons for doing so, having no personal insider knowledge of the situation, but it seems to me that comedians of Colbert’s age see that job as a career pinnacle. They grew up looking to Johnny Carson, and aspire to get either The Tonight Show or Late Show.

Yet, in the current, fractured age, those stalwarts aren’t what they were. I’ve outlined the impact Colbert has made. I can’t believe he’ll get to do half of that on CBS. Though, it has to be tempting for Colbert to finally get to be himself, having retired the character on the show that made him famous. I mourn deeply for the loss, and hope for his seemingly inevitable return in some, likely limited, fashion.

One reason I have a small hope that Colbert won’t turn into a cookie-cutter host, which seems the obvious thing to do, is that CBS has shown itself willing to take chances at night, surprising given its boring, safe prime time lineup. Letterman has long been followed by The Late Late Show With Craig Ferguson, and as Craig constantly tells us, he’s not like any other show on television. With a “band” too shy to show itself, a gay robot skeleton sidekick, and two guys in a horse suit that dance, Ferguson has longed thumbed his nose at the genre and made the series his own. He ignored the pre-prepared interview, preferring just to talk to people, and routinely improv-ed large segments of his hour. He didn’t follow any norm.

While I enjoyed Ferguson on The Drew Carey Show many years ago, I first discovered his brilliance during the Writer’s Strike of 2008. Curious to see how the various late night personalities would handle things on their own, I sampled them all and found Ferguson to be, by far, the funniest of the broadcast network guys. That has to come because he does so much of his stuff on his own anyway. But it made me a fan, and while I did not watch every minute of every episode of The Late Late Show, as I did The Colbert Report, I checked in periodically and was never disappointed. Craig is leaving to pursue other projects, tired of staying in a single format.

Craig delivered a semi-tame finale. After a huge opening number with almost as many celebrities as Colbert’s, though Ferguson’s were almost all Hollywood-types (with The Newsroom‘s Jeff Daniels being the only participant on both shows that I spied), he settled into a very routine formula. He had Jay Leno as his final guest, someone I personally have little respect for, but who seemed appropriate given his own recent departure from the genre, and who was very enjoyable in this instance.

Where Craig departed the most from his formula was at the end. After revealing Bob Newhart as the head of the horse on the show, Craig woke up in bed next to Drew, reprising their roles from the earlier sitcom while paying tribute to the series finales of The Newhart Show, St. Elsewhere, and The Sopranos. It was zany, unexpected, and rewarded long-time fans. It was perfect for him.

It’s also worth noting that Craig brought the voice behind Geoff the robot up on stage in the penultimate hour, a treat that felt very, very right.

Ferguson is being replaced by a British comedian and actor named James Corden, who also doesn’t seem likely to be “normal.” With a Colbert / Corden team up, will CBS finally do what only Comedy Central has been doing for years and deliver a late night lineup worth watching on a daily basis? Only time will tell, but for now, I mourn the loss of the two heavyweights, both quite different, but both bucking what amounts to “typical” fare in their field. Without them, the evening will get a lot more dull.

Colbert’s replacement, The Nightly Show with Larry Wilmore, premieres January 19th. The Late Late Show will have a series of guest hosts for the next couple of months before Corden takes over in March. Letterman retires in May and Colbert will be back on TV in August.  Ferguson is expected to next do a 7 p.m. half hour syndicated comedy talk show, with robot and horse in tow, in 2016.

"Au Revoir" WHITE COLLAR

Article first published as TV Review: 'White Collar' - 'Au Revoir' (Series Finale) on Blogcritics.

To me, White Collar represents a turning point for USA. It straddles the line between light-hearted procedural, which is the old style of show USA used to make a la Monk and Psych, and the character-driven, higher-concept stuff currently ruling the network, like Suits and Graceland. I almost gave up on it in its early days, but was hooked just enough to give it a chance to grow, and was rewarded for my effort. The sixth and final season, which consisted of a mere six episodes, ended this week with “Au Revoir” and, unfortunately, White Collar did not sprint through to the end.

In the past, the show has developed some really cool arcs, such as pitting Neal (Matt Bomer) against Peter (Tim DeKay) as the former considered returning to his criminal lifestyle. In the final year, the show returns to case-of-the week installments, mostly, with the final story, which spanned a few episodes, feeling like a longer version of the same. Neal and Peter go undercover to take down what is supposed to be one of the best illegal groups of all time, the Pink Panthers, but instead of this being a huge capper to their career together, the case unfolds the same as always and the good guys win as easily as ever.

There are signs that White Collar could go in a better direction. Long-time foe Keller (Ross McCall) gets involved. Instead of seeing Neal and Peter wrestle with what he’s done to them in the past, though, his part is glossed over and he’s just someone they work with. Elizabeth (Tiffani Thiessen) worries about Peter staying in the field now that they are expecting a baby, leading one to believe a major life decision will be made. But instead, Peter just jumps into danger as willingly as ever, and there’s never even a chance for Neal to save him, as I expected to happen.

As “Au Revoir” draws to a close, the script gets really messy. Neal faking his own death, I sort of get, especially because he does let Peter know he’s OK. But Neal built a family here, so why would he abandon them? Why does White Collar hint Neal may have (or may not have) gone back to being a criminal without letting us know if his growth has paid off? Why doesn’t Peter try to arrest Mozzie (Willie Garson), whom he knows stole money? There is a bond of mutual respect between Neal, Peter, and Mozzie that allows them to work together, but Peter would never sit idly by and let the other two get away with anything as he appears to do here, nor would Neal be so heartless as to abandon everyone he cares about and wait an entire year to clue them in.

It’s just not good storytelling. One expects a show, in its final episode, to give some sort of pay-off to what’s come before it. Tiny bits of the epilogue do this for some of the supporting characters, but not in any way that matters so much. The core players, though, aren’t well served at all. Instead, they appear inconsistent and shy away from the personalities they’ve developed. Though I do admit that DeKay and Garson do get some juicy emotional bits to prove their range.

I mention supporting players, and “Au Revoir” does make time for Jones (Sharif Atkins), Diana (Marsha Thomason), and June (Diahann Carroll), as it should. Unfortunately, June’s role is basically a cameo, and the other two get happy endings without being shown to do anything special at the end to earn them, made even less satisfying by the time jump.

White Collar was very good at times. Sadly, its finale was not one of them. It will be missed, but if this is the direction the show was heading in anyway, I’m glad it’s gone before it completely tarnishes what it did when it was at its best.

HOW I MET YOUR MOTHER Couldn't "Last Forever"

Article first published as HOW I MET YOUR MOTHER Couldn't "Last Forever" on TheTVKing.

I am deeply torn by last night series finale of CBS's How I Met Your Mother, "Last Forever." On one hand, it hit all the right notes emotionally and delivered a very satisfying tale for almost the full hour. On the other, the ending of the installment abandoned the basic premise and ruined a powerful love story, even negating the title of the show. Was this the right way to go?

"Last Forever" starts excellently. The gang says goodbye after the wedding, and after noticing the beautiful bass guitarist, Ted (Josh Radnor) departs. Much of the rest of the episode plays out in small bits over a number of years, showing the characters go through natural growth and nostalgically reviving many recurring jokes, with Ted still on the train platform talking to Bernice (Judith Drake). When we're close to the end, viewers finally get to witness the moment Ted meets The Mother, now revealed to be named Tracy (Cristin Milioti), and it's immediate sparkage.

Ted and The Mother's (Can I just keep calling her The Mother? It feels right) love story is a sweet one, full of coincidence and fate, a pair destined to be together. Their interactions in the various time periods hammer home why Ted ends up with her, and how perfect the casting of Milioti is. They have two children, and while they don't get married for quite awhile, they are happy together.

Similarly, Marshall (Jason Segel) and Lily (Alyson Hannigan) have a wonderful life, Marshall eventually getting to be a judge after all, and then moving out of the city after they have three children. Lily laments how the gang has drifted, but that is realistic, given the developments adult life and kids take one on. At least they mostly keep in touch, and we frequently see them get back together.

But then, as has been telegraphed, The Mother dies. Ted is telling the tale, what we've seen these past nine seasons, to his teenage kids six years after her passing. The daughter (Lyndsy Fonseca) tells her father that this story isn't about how he met The Mother, though, as she's barely in it. It's about how Ted loves Aunt Robin (Cobie Smulders), and with his children's encouragement, Ted grabs the blue French horn and rushes off to be with Robin.

This bit is a picture perfect moment that will warm the hearts of those stubborn hold-out Robin / Ted shippers, but it completely screws up everything else. Why is the show called How I Met Your Mother is it's about How I Met Your Stepmother? Why did the final season spend so much time convincing us Barney (Neil Patrick Harris) and Robin are right for one another if they aren't?

Look, I realize Ted has always been an unreliable narrator, and it's keeping with his character to not understand the point of his own story. But it's a big leap to ask fans to forget the path you've been trying to take them down for so many seasons and go in another direction. Not to mention, it cheapens the epic relationship between Ted and The Mother, who was right for Ted in every way. And the fact that The Mother makes a huge effort to get Robin to their wedding in an earlier episode, if we are to believe Ted always remained in love with Robin, now seems twisted and weird.

It also almost kills the character of Barney, collateral damage. Barney spends a lot of the past few years maturing and getting to a good place. Three years after the wedding, he's divorced and reverting to his old ways, chasing skirts. This goes on for many years until Barney is a pathetic, unlikeable character. True, he is saved in the end by a daughter, and that's fantastic, but it's still ridiculous that Barney never finds true, romantic love.

How I Met Your Mother has been uneven in the second half of its run. However, it has mostly been nailing this last season. To make such a slap in the face at the last moment to the fans who believed in the premise is disheartening. It's cruel and not the right choice. A small segment of the audience will be quite satisfied, but there are many, many more who will feel betrayed. If the creators knew nine years ago what their climax was, why spend all of this time convincing us the opposite was true? A near-perfect ending tainted by the final bits.

And if I can make one more complaint, when filming the kids' last moment several years ago, Radnor should have been on set with them. The way Ted's conversation to them is presented is two separate cuts that don't match feels awfully hokey. This should have been better.

I want to thank How I Met Your Mother for about seven great years worth of episodes over nine seasons. But I also want to ask "Why would you do this to us?" It's not the worst recent series finale by far, but it's also not way to leave the fans that believe in you.

NIKITA "Canceled" But Not Forgotten

Article first published as NIKITA "Canceled" But Not Forgotten on TheTVKing.

The CW's Nikita ended a four-season run last night with "Canceled." Everything that had been building for four years, especially over the last six episodes, comes to a head in the final showdown between Nikita (Maggie Q) and Amanda (Melinda Clarke). And it makes for a happy, satisfying ending.

Nikita really only got three seasons, though they were definitely full ones. However, the CW deserves credit for bringing back the show for the last six episodes and allowing a natural, fulfilling ending, something other networks should take note of. The story, always fast-paced, did feel a tad rushed in the sextet of installments, but everything that need to be resolved was, and now fans have a complete saga to fondly remember and relive, as desired.

As "Canceled" begins, Nikita grabs Alex (Lyndsy Fonseca) and the two go on a rampage, killing all the puppet masters behind the big, shady, evil organization. Their partnership is central to the beginning of Nikita, so it's appropriate that it returns now, in the end, two women against the world. This is made even more moving by Ryan's (Noah Bean) sacrifice, losing his life so that they could even know there was a mission to go on.

It's a bit sad to see Nikita chose the brutal option. Alex is just taking a cue from the elder woman to whom she owes much, so the blame for the deaths falls squarely on Nikita. Nikita has always fought her violent nature, trying to build a better life for herself, so it's disappointing to see it come crashing down now, risking her relationships and her freedom for revenge killings, even though the story gives her justifiable reason to do so.

But then comes the twist. Nikita excels at making viewers think one thing, then turning it on its head later. We know that Nikita always finds another way that doesn't require murder, yet we buy that in this particular instance, she doesn't rise up. Which is why it's so cool to see that we're wrong and Nikita does have another plan, one that only involves everyone thinking she's killing people. Kudos to some great writing and the most brilliant surprise of the series.

Learning that Nikita has not gone off the rails makes the actions of her friends much more palatable. While Nikita and Alex are rampaging, Michael (Shane West) is working with the government to stop them. At least Birkhoff (Aaron Stanford) only cooperates reluctantly, siding with Nikita, but Michael is trying to talk her out of it. Thank goodness he's only playing a part, not actually turning his back on the woman he loves. Otherwise, there would not be time for a Michael / Nikita happy ending, a must.

In fact, all of the main players get a happy ending. Birkhoff open-sources his anti-government software and goes to Sonya (Lyndie Greenwood, sadly not part of the conclusion, but she hadn't had time to earn her way there, either). Alex continues her charity work with Sam (Devon Sawa), who is acting more like Owen every day, by her side. Michael and Nikita elope, and, rather than sit on the beach relaxing, continue to do good for those who need help, something far more fitting than retirement. Even Ryan gets a star and a quick vision by Nikita to remember him fondly by.

All of these are well-crafted finales that serve the characters appropriately. Some viewers may have wanted more sadness and death, as befitting the lifestyle the group lived, but the message of the show was always about finding peace and conquering ones' demons, both internal and external. What "Canceled" ultimately ends up being fits that spirit.

The one person who doesn't ride off into the sunset is Amanda, whom is locked away in a very secure facility. I suppose leaving Amanda alive is a bad idea, as she is likely to get back out at some point in the future and cause more trouble, as she has always managed to do. But Nikita and friends have disrupted all of Amanda's work, so it would be some time before that can happen. And I doubt we'll ever see a film, on big screen or small, depicting this because the way things are left is too perfect to mess with.

Before the doors close on Amanda for the final time, Nikita visits her. Well, actually Amanda visits Nikita, which is when Nikita springs the trap and captures her, but the point is, they get to have a one-on-one, heart-to-heart conversation. This is easily the most powerful scene in the episode, as Amanda and Nikita are two sides of the same coin and have learned much from each other. But for a few choices at key moments, either could have ended up in the other's shoes. It's a moment of realization and connection that will never be forgotten by the audience nor the characters, on that caps the show awesomely.

"Canceled" is a mostly triumphant, fantastic way to send off a pretty darn good series. In a way, I'm glad it went out before it grew stale. Sure, there could have been more stories to tell, but I feel like this would have been the way it ended, no matter how many seasons Nikita played out. And the story was structured in a way that it could be finished at this point. There's some definite talent involved to bring those pieces together so neatly, and it is much appreciated.

My sincere thanks to the cast and crew of Nikita. Best of luck in whatever comes next for you. As Birkhoff might fear, we'll be watching.

FUTURAMA Canceled, "Meanwhile"...

Article first published as FUTURAMA Canceled, "Meanwhile"... on TheTVKing.

After resurrecting it for a scant few years, Comedy Central recently canceled Futurama. This week's episode, "Meanwhile," in which Professor Farnsworth (Billy West) invents a button that can send a person back in time ten seconds, will serve as the second series finale. Thank goodness it ranks among the most memorable and best written episodes of Futurama ever produced.

Futurama is supposed to be an animated comedy, but it has always been strongest when it tugs on viewers' emotions. Sure, sometimes it delivers funny jokes, but it rarely fails to jerk a tear when it tries. If one thinks back to the stand-out installments in the original run, episodes such as Fry (also West) giving up his hands to the Robot Devil in order to play a sweet song for Leela (Katey Sagal), or Fry's dog faithfully waiting back in 1999 for him to return home (he never does), are at the top of the list.

Which is why the Comedy Central run, taken as a whole, is inferior to the FOX airings. FOX, and the subsequent straight-to-DVD movies, get it right. On Comedy Central, Fry and Lee's relationship is never certain and rarely touch on, and most half hours go for the gag, rather than continuity or story.

That is, until these past few weeks. Perhaps knowing their time is up, the writers delivered a string of episodes done right. We see Zoidberg (West again) finally find love, Fry pledge to love Leela even as she grows into a mutant, and Fry going back in time to say goodbye to his mother. These are what we are longing for, and they finally arrive.

"Meanwhile" continues that proud tradition. After a near-death experience, Fry decides that he cannot live without Leela and must propose. He stages the perfect way to pop the question, but because he doesn't adjust his watch for the time travel he engages in, believes Leela doesn't want him. Distraught, he jumps to his death, only to realize his mistake and see Leela coming to accept the proposal on his way down.

From here, Fry, using the ten-second button (that takes ten seconds to recharge), becomes stuck in a time loop, always falling, but never landing. This is such a bittersweet moment. He will get to experience the joy of knowing Leela loves him over and over again, but also face death if he forgets to hit the button every ten seconds (like a fast-track Lost). Leela, meanwhile, only sees Fry falling to his death repeatedly.

The time loop is broken unexpectedly, thanks to teamwork from the rest of the Planet Express delivery team, but in the fixing Farnsworth is seemingly killed and time freezes for everyone but Fry and Leela.

I am disappointed Leela and Fry don't take a moment to grieve the professor, or say anything about missing their friends. However, watching them stage a wedding (with their frozen pals in attendance) and travel the world growing old together is enough to overcome these flaws. We finally get to see their happy ending, what it would be like for them to truly together. Without any of the distractions of the world around them, they are able to focus on each other, and the result is lovely taken to the extreme.

Also, while they walk through the frozen world, we get cameos by a number of Futurama's recurring characters, a tribute to what the series has been over the years.

In the end, though, Farnsworth isn't dead and visits them in their old age, ready to reset time back to before he invented the button. Though they won't remember their lives together, Fry and Leela agree to go back, too, giving themselves the opportunity to do it all over again.

This is cool because there is no doubt on the part of the happy couple. They are both certain they will be together and find joy, even if they don't remember this particular proposal and scenario. This solidifies what we suspect, that the pair are meant to be man and wife, and that they will share love no matter what happens. Given the depressing state of their romantic entanglement in earlier adventures, this is the way Futurama must end, giving fans exactly what they want.

Though it also opens the door for further episodes of the type we're familiar with, should anyone else decide to rescue it again. (I'm looking at you, TBS!)

THE OFFICE "Finale"

Article first published as THE OFFICE "Finale" on TheTVKing.

How do you say goodbye to a beloved series after nine (!) seasons on the air? Well, it helps to give every single person in the sprawling cast a nice moment, with even bigger payoffs for the show's leads. Toss in the most-missed character in the series' run, a slew of recurring returning players, a handful of well-known guest actors used in smart, not distracting, ways, and supersize it to 150% longer than the normal installment so it doesn't feel rushed.

That's what NBC's The Office did last night, to great effect. There are two major stories intersecting in one weekend: Dwight (Rainn Wilson) and Angela (Angela Kinsey) are getting married, and all of the former Dunder-Mifflin staff are gathered together for a reunion panel, post the airing of their documentary. Thanks to some wrangling by Jim (John Krasinski) and Pam (Jenna Fisher), both are scheduled on the same day so that everyone special gets to participate in both.

This level of caring extends to how Jim approaches Dwight's bachelor party, intent on making it perfect for his best friend. Dwight and Jim have fought like brothers over the years, but "Finale" is the ultimate payoff, not only proving Jim's affections, but showing how much Dwight cares for Jim, too, when he gives Jim and Pam a generous severance (which we'll get to later), and how he's upset at Jim backing out being "bestest mench" at the wedding. Fear not, it's just Jim's greatest "prank" to date, as he arranges for Michael Scott (Steve Carell) to fill the role, a great present for Dwight.

Despite NBC and Carell's reps repeatedly and vigorously denying Michael's appearance in this last episode, it's more than a one-scene cameo. Michael is at both the ceremony and the reception, happily celebrating the union of two people that he deeply cares about. He may only get two lines (at least to the best of my memory), but they are such classic Michael Scott dialogue that it's all that is needed. His presence makes the event perfect.

Well, that, and the fact that everyone gifts Angela cats.

Angela's cat fetish isn't the only major plot part featured for a supporting player, with each of the vital members of the Dundler-Mifflin staff whose names have not graced the opening credits, save once, before now, have a tribute in this episode. Kevin (Brian Baumgartner) gets a couple dumb moments and a cake. Phyllis (Phyllis Smith) and Stanley (Leslie David Baker) get to tell each other how much they miss one another, now that Stanley has retired and, happily divorced, moved to Florida. Phyllis also saves Angela's walk down the aisle, after causing Angela's walking hardships, and tries to fatten up her new desk mate (Better Off Ted's Malcolm Barett) into a new Stanley. Meredith (Kate Flannery) is proud of her son, hired to be Angela's bachelorette party stripper, and gives him tips at work. Kelly (Mindy Kaling) ditches her husband (Sendhil Ramamurthy) to run away with Ryan (B.J. Novak). Nellie (Catherine Tate) finally gets a child, when Ryan's fleeing results in an abandoned baby. Erin (Ellie Kemper) gets to meet her biological parents (Joan Cusack, Shameless and Ed Begley Jr., Family Tree). Andy (Ed Helms) has found his niche in the world. Toby (Paul Lieberstein) feels valued when his colleagues insist that he hang out with them. Oscar (Oscar Nunez) is running for office, and even has an assistant (Ben and Kate's Dakota Johnson). Darryl (Craig Robinson) is very successful, and riding in limos. Creed (Creed Bratton) sings a song, and is arrested at the end.

It's important that The Office serves all of these personalities, and there are a lot to get to, as the long paragraph above attests, so the increased running time is invaluable. The show is about so much more than five or six main characters; it's about the huge family that has come together under these conditions, bonded through the experiences they have undergone together. All of these bits, and the large hang out of the staff at the end, Dwight and Angela even postponing their honeymoon to be there, mean so, so much. It's very gratifying for the fans to see the characters care about each other as much as we care about them.

Even better, in the group photo in the warehouse, the behind-the-scenes crew get to join their colleagues and be included in one of the last moments for The Office.

Not that the more central players are given the short shift this week. Pam feels bad, especially after the documentary panel, that Jim always gives up everything for her. The viewers remark that Jim adores Pam, and she doesn't seem like she deserves it, something Pam also realizes when she tries to watch the show herself, and finds it too painful. So she makes the ultimate sacrifice, calling Michael's realtor ex-girlfriend, Carol (Carell's real wife, Nancy Walls), to sell their house, and giving up her life to move to Austin for Jim's dream career. This is the perfect cap to their relationship, the one that proves their love is not one-sided.

I have very few complaints about this final hour. I think it's a little cheesy that Mose's (Michael Schur) kidnapping of Angela is faked out as sinister. I don't like that Pam paints the office staff on the warehouse wall, leaving the warehouse workers, who will have to look at it every day, out of the process, although the way that the cast sneaks away from everyone else during the party reinforces that they don't value the others so much, and they aren't exactly part of the same family.

It's also a little sad how many of the staff are gone from Dunder Mifflin. Dwight (deservedly) fires Kevin and Toby, Stanley retires, Creed goes on the lamb, Nellie moves to Poland, Andy moves to New England, Jim and Pam quit, following Darryl, and Michael has been gone for a very long time. Yet, they all feel exactly where they should be.

The best scenes in the "Finale" are the emotional ones: Michael talking about how proud he is his "kids," both literal and figurative; Dwight speaking of his relationship with his subordinates; Dwight and Kevin making up; everyone reliving the memories they share. It's hard to write this review without tears in my eyes. This is how we want to remember them, and because The Office gives us this nearly-perfect send-off, we will get that wish.

Thank you to everyone involved in The Office for a wonderful series to be thought of fondly and relived over and over again.

30 Rock scarfs down its "Last Lunch"

Article first published as 30 Rock scarfs down its "Last Lunch" on TheTVKing.

Last night was the one hour series finale of NBC's 30 Rock. In a double length episode entitled "Hogcock!" and "Last Lunch," the cast that works behind the scenes at a late night sketch comedy show, in which we rarely see what the sketches are about, take their final bow, bringing us a few emotional payoffs along the way.

Last week's episode, "A Goon's Deed in a Weary World," felt like a series finale. The Girlie Show is facing cancellation, and the cast and crew band together to make sure the show shuts down so that Liz (Tina Fey) could get to the airport to meet her kids. It was heartwarming, funny, and it would have been pretty darn good if 30 Rock chose to end there.

Instead, the final hour feels forced and off for much of the episode. The entire gambit to make one last episode of TGS cheapens the way the series ends, and comes across as contrived to pull all the characters back together, instead of letting them go their separate ways. Most of the staff, save the bosses, haven't even left the premises yet, taking their sweet time packing up! It doesn't make sense, and is wholly unsatisfying.

The entire premise hinges on Tracy's (Tracy Morgan) contract stipulating that he will be paid thirty million dollars if TGS doesn't film 150 episodes (30 Rock only made 139, by the way), one episode short of where they stopped. It's fine that Tracy is the one mucking things up for everyone; that makes sense, given his character. It's just a shame that this is the way the series decides to have him cause trouble.

Tracy resists doing the show because he doesn't want to say goodbye to everyone. This leads to one of the best moments in the finale, where Liz and Tracy have a heart to heart in a strip club, and Liz admits that she will miss him. This scene is fantastic, a real pay-off between the two characters, and a prime opportunity for Tracy to really open up, as he is at his best when he shows some vulnerability.

I just wish Liz's story played out a little better. Last week, she gets the escape she needs, finally getting away from the job that drives her crazy. This week, she realizes she misses the craziness and is drawn back in, even ending up directing a sitcom you just know she doesn't believe in in the "One Year Later" sequence. Where is Liz's happy ending? Why does her path to peace not stick? Are we supposed to believe she will always be so miserable? Fans don't want that for someone they've come to care about so much!

The dilemma surrounding Liz's plot is twice as bad for Jack (Alec Baldwin). We see Jack not satisfied with his achievement of his dreams, finally in charge of Kabletown. To compensate, he rounds out his life, which only makes him feel like he isn't devoting himself fully to work, keeping him from the goals he desires. His reaction is to go crazy and quit his job, heading off on a boat. This takes things a little too far, even for Jack, and makes one think that when he ends up back in the corporate world, he will still never feel good about where he is in his life and what he does.

Don't get me wrong; I love the scene at the water where Liz and Jack express their non-romantic love for one another. I also love the catalyst for that moment, when Liz and Jack bitingly rip into one another, declaring that they are nothing more than two people who worked together for a time, and don't mean anything. Dramatic, meaty stuff for a relationship that has been the driving force of the series. This story is what we need from the two leads in the final episode, and reinforces just how much they mean to one another. But why is the filler in between these two amazing bits so bad?

Other great stuff: Tracy tells Jenna (Jane Krakowski) he is going out for cigarettes, Tracy's dad finally comes home from buying cigarettes, Jenna realizes what she will miss most is her mirror, Jenna sings the "Rural Juror" song, Jenna is greeted in L.A. by beautiful young women including one that looks just like Cerie (Katrina Bowden), Jenna admitting she has never met Mickey Rourke, Jonathan (Maulik Pancholy) celebrating the dissolution of Liz and Jack's friendship, Tracy releasing Kenneth (Jack McBrayer) from his promise to always be there for Tracy, finding out that Pete's (Scott Adsit) attempt to fake his death didn't work.

Other things that didn't work: everything with Lutz (John Lutz), Jack cheapening his feelings for both Elisa (Salma Hayek) and Nancy (Julianne Moore), Kenneth running the network in such a strict way and still seemingly succeeding, Liz and Criss (James Marsden) in the chat room and park meetup, the lack of so many recurring characters who still mean something to the leads, like Paul and Angie.

I think the main problem with the 30 Rock finale is that it should have stuck to a half hour format. Seeing how the characters end up, especially in the flash forward in the tag, is wonderful, and there are several terrific connections between characters, with goodbyes that mean something. But tossing in the extra episode of TGS and the subplots for minor characters, such as the writers' story, where they battle Lutz for lunch, slows down the episode, and ruins it.

Overall, I ended up being underwhelmed and disappointed. For a series I love so much, and coming at the end of a fantastic season, I expected more depth, or at least more good jokes, and less filler.

Ah, well. It's over now. Unless somehow Tracy Morgan has a similar contract clause, and NBC is forced to make 11 more episodes?

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter! 

On the Fringe no more

Article first published as On the Fringe no more on TheTVKing.

I have been a fan of FOX's Fringe since day one. I liked the first season, and then grew to love the show as it deepened, building a rich, complex world, and making bold moves, constantly resetting themselves.

And then came season five. Yes, the concept of jumping into a future where the Observers have taken over the world, virtually enslaving the entire human race, is supremely cool. But, somehow, our team found a way to get around in this world. Observers can jump to any place in seconds, but they couldn't find those deemed most dangerous to them, even though the rebels just hung out in their old lab. Episodes became boring, as our central gang searched for piece after piece of Walter's (John Noble) forgotten plan, and barely made any progress. And many beloved recurring characters were entirely absent.

I'm not saying the whole year was terrible; there were some great moments. But overall, it lacked something that had worked very well these past few years, and I began to watch with my eye on the end, just waiting for things to pick up as the finale approached, making it all worth it.

Sadly, I can't say that the two hour "Liberty; An Enemy of Fate" redeemed the series. Again, there were great moments. Emotionally, the episode really worked because it served a few characters, and touched on elements of the past, using nostalgia to make it seem better than it was. Old cases the team investigated are used to attack the Observers. We get to see Olivia (Anna Torv) with powers again. We see Faxulivia (also Torv) and Lincoln Lee (Seth Gabel), and that they have a happy family. September / Donald (Michael Cerveris) calls upon his old friend, December (Eugene Lipinski), to assist. Broyles (Lance Reddick) gets his shining moment to face down Captain Windmark (Michael Kopsa), just as Nina (Blair Brown) previously did. Michael bests Windmark with seemingly no effort. Walter says goodbye to his cow, and calls Astrid (Jasika Nicole) by her real name. Peter and Olivia get their daughter back. And, best of all, Peter (Joshua Jackson) has his best father/son moment to date with Walter, and even says "I love you, Dad."

Sadly, though, that is the surface stuff. There are so, so, so many plot holes and bits that don't make sense, that as much as I loved all of the things I just listed, the finale rings a bit hollow. If the Observers could jump to the alternate universe any time, why haven't they taken over that place, too? Where are the alternate universe Observers? Why do the Observers not try to capture and question Fauxlivia and Lincoln? Why not interrogate Broyles immediately about the whereabouts of the team, instead of wasting time by trying to follow him first? Why do the main characters take so long to abandon the lab, having discussions and watching videos, when they know that Windmark will soon be closing in? Why don't any of the many, many soldiers they pass while trying to catch a train recognize them? Why don't they park the van at the shipping lane sideways to provide cover from gun fire? Why don't they worry about bullets being fired under the trucks? Why don't September and Michael go through the shipping lane more quickly? How come the Observers don't appear and sabotage the equipment, rather than fighting man to man, thus defeating the good guys?

And the biggest question, if Michael prevents the Observers from becoming who they are in the first place, they never send scouts back, and September never grows protective of Michael, so the Observers don't have any reason to be stopped from becoming evil, so they still invade, which creates Michael again... It's all destined to happen in a loop. Telling us the universe allows such a paradox, with the only penalty to be to delete Walter from the timeline in 2015, is pretty ridiculous, and feels like a total cop out.

In short, I don't want to forget everything about the finale or the final season, but for reason, it just does not live up to the brilliance of seasons two through four. I don't know why more notice wasn't taken with the details of the story, as it has been in the past. Maybe the delicious concept they chose for the last adventure just painted the writers into a corner. Whatever the reason, Fringe will forever remain a solid and memorable show over all, with a disappointing ending.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Desperate Housewives desperate no more

As ABC's Desperate Housewives begins its two hour finale last night, there is still a lot going on. Bree (Marcia Cross) is standing trial for murder. Renee (Vanessa Williams) is days away from her wedding. Susan (Teri Hatcher) has to break some big news to her dearest friends. Lynette (Felicity Huffman) is facing a finalized divorce. Gabi's (Eva Longoria) marriage comes under new strain. Karen (Kathryn Joosten) is staring death in the face. And Katherine (Dana Delany) returns, stirring up trouble.

That's a lot to cover in two hours, and yet, Desperate Housewives makes it look effortless. Sweeping through plots without rushing them, building suspense, but not into anything too over the top, the final two hours hit every emotional note they need to hit, leaving viewers with specific impressions about where their favorite characters will be. The show knocks out the tears in the final moments, leaving a refreshing feeling of completeness.

At first glance, the ending is sad. Bree, Lynette, Gabi, and Susan have been through a lot together, and they reflect on this as they play their final hand of cards. They will not grow old together on Wisteria Lane, sharing more memories and moments, even though they were extremely important in each others' lives for so long.

But leaving Wisteria is for the best. The lane is full of gossip and murder, rumors and betrayal. For each of the four main players to live happily ever after, they must escape this cycle. And they all do. Perhaps they need each other to overcome their challenges, but not to sail off into the sunset. By moving away, they prove they are desperate no more, and finally find peace in their lives and marriages.

The beginning of the two hour finale starts with Karen. Her neighbors prove just how much they care about her by allowing her to spend her final days in her own house, with Roy (Orson Bean) by her side. As an ultimate thank you, Karen takes the rap for the murder, allowing Bree and the others to go free. With her failing health, Karen isn't charged with her own trial, and gets to slip peacefully off into the night, a beloved record playing her out. It's sweet and sad, but also celebratory of a life well lived, full of love.

This theme continues with the others. Renee is married to Ben (Charles Mesure), who proves to be an honorable man who will treat her well. While it might have been nice to have seen Renee's future, it isn't strictly necessary because of where she ends things. Besides, she is never as deep into the mire as the rest, anyway.

Bree finds romance once more with Trip (Scott Bakula). They move to Louisville, where Bree is finally surrounded by other ladies like her, and she rules them all. This is a fitting ending for Bree, who deserves a fresh start. What's more, in Trip, Bree may finally have found the perfect man, one who will treat her how she wants to be treated, and be her equal. It comes late in the game, but late is better than never.

Gabi supports her family with a successful business venture, side by side with Carlos (Ricardo Antonio Chavira), bickering all the while. Carlos's comment at Renee's wedding, that they dance a tango instead of a waltz, is fitting. There is a nice throw back to their very first story, involving a gardener, which really highlights where they've been, and what they are now. These two have been through so much together, and have shown the most growth of anyone in Desperate Housewives. They are richly rewarded for this.

Lynette and Tom (Doug Savant) reconnect. How can they not? They belong together. Katherine's last minute offer throws a monkey wrench into their union, but after what they've been through in the past year, anything else is an easy hurdle. What they both realize, with jobs and children stripped away, is that they mean more to each other than anything else. And so they move to New York City, Lynette as a CEO, finally succeeding as more than a wife and mother, and live in a penthouse apartment. Fitting.

Susan gets the least reveal of anyone, but then, her story is the furthest from being over. As Julie (Andrea Bowen) goes into labor on the way to Renee's wedding, Susan once more has to deal with a slapstick emergency, a theme in her life. Unlike the others, Susan's existence will never be calm. But moving in with her daughter, helping to raise her grandchildren, she will find what she is looking for. There may be a number of other challenges, but this cannot be told in a scant few moments, so we're left with the impression that Susan is beginning a new journey instead. She still has a long road ahead, but at least she's on the right path.

These women deserve to be happy. That cannot be said at the beginning of Desperate Housewives. Their trials and tribulations make them work for the joyous ending. But they do so, and they come out stronger because of it. The series is the story of this battle, and how they help each other through it. Now it's time to enjoy the spoils of their rewards, which would make boring television, so it's nice that they end where they do.

The final shot of Susan leaving the street, driving past the ghosts of Wisteria Lane, is powerful. Sans Edie Britt (Nicolette Sheridan), who recently engaged in an ugly court battle with creator Mark Cherry, just about every notable character killed off returns, dressed in white. There's Karl (Richard Burgi) and Rex (Steven Culp) and Chuck (Jonathan Cake) and George (Robert Bart), and even people who aren't Bree's exes, too! Beth (Emily Bergl), Martha Huber (Christine Estabrook), and many more return. And of course, Karen, Mike (James Denton) and Mary Alice (Brenda Strong) are there. It's not everyone, but it's a lot. It's hard to imagine a more perfect tribute, and it certainly will be an image that sticks with one through the years. Awesome.

Thank you to the cast and crew of Desperate Housewives for eight mostly wonderful years. While it was time to end it, you did so well, and you will be missed!

If you like my reviews, please follow me on Twitter! To buy Desperate Housewives DVDs or streaming episodes, please click here. This article was first posted as Desperate Housewives desperate no more on TheTVKing.com

The clock runs out on 24

        As the final seconds ticked out on the series finale of Fox's 24, there was a countdown clock rather than the one moving time forward, as has been the custom of the series.  It was appropriate, the "real-time" series finally coming to an end after eight seasons, nine years (there was no season the year of the writer's strike as producers did not want to deliver half a day).  Jack Bauer's (Kiefer Suthland) intonation of "events occur in real-time" was a welcome homage but back in the beginning of each of the last two hours, which was dropped long ago, and Kiefer's personal message to viewers was touching.  It is a series I will surely miss.

     The final moments of the show, as they should have, came down to Jack and Chloe's (Mary Lynn Rajskub).  Although Chloe was not part of the the original cast, she has appeared in the second highest number of episodes, after Jack, and has become a beloved character.  She has grown a long way since her annoying personality turned off viewers initially.  I think many of us agree with Jack that we did not expect her to be the one watching his back for the long haul, and yet, who else could have done such a great job of it?  Their show down midway through the finale was gripping, but their goodbye was one of the most moving moments television has yet to produce.

      Jack struggled more this season than any other with doing the right thing.  He always acted on his beliefs, even when they came into conflict with the law.  But as this season barreled towards a close, even fans such as myself found it hard to justify his decisions.  His cold-blooded massacre of many a Russian, because of their execution and cover-up of the assassination of his most recent love, Renew Walker (Annie Wersching).  Jack went into a dark place or revenge, and left the path of righteousness.  Yet, his video recording and his behavior in the last hour redeemed the hero in our eyes, though he will face a number of criminal investigations should the authorities ever catch up to him, which I assume will be the plot of the upcoming 24 movie, which while not guaranteed, is well on it's way to becoming a reality.

     One of the most interesting characters in the past two years was President Allison Taylor (Cherry Jones).  After she turned over her own daughter to the cops at the end of last season, it was easy to believe that she stood for principals rivaling even the fan favorite 24 president, David Palmer (Dennis Haysbert).  Then this season she made the mistake of listening to former President Logan (Gregory Itzin), who has been one of the show's greatest villains.  While she had noble aspirations, she allowed herself to let the ends justify the means.  Thank goodness that she decided at the last minute to let the truth come out.  It will protect Chloe, if not Jack and herself.  She fully redeemed herself in my eyes, and I hope we will learn from the movie that she earned the sympathy and continued respect of the American people, even if she has to serve a short sentence.  Unfortunately, Logan, who got away with crimes before, did not succeed in taking his own life.  Hopefully he will rot in a cell for the rest of it.