TRANSPARENT Show Something New

Article first published as TRANSPARENT Show Something New on TheTVKing.

Recently, Amazon released several new pilots, and I've been working my way through the dramas and comedies, reviewing as I go. The fourth of the five on my list, Transparent, is the first one this year I've found something good to say about. It's a dramedy, leaning more towards the heavy side, about a father with a secret and his three grown children. How will they cope when they learn the news he's trying to work up the courage to deliver?

The patriarch of the family is Mort (Jeffrey Tambor, Arrested Development), a caring individual who doesn't understand how he could raise three such selfish kids. He finds it hard to open up because they don't seem to care, more concerned with who gets what when he starts giving out things. It's hard to imagine how the trio grew the way they are under Mort, unless Mort has changed significantly in ways the viewer has not been made privy to, or just didn't enforce discipline.

The problems the children face could stem more from their mother (Judith Light, Who's the Boss?). We don't see a lot of her in this pilot, despite being one of the five names on the 'Starring' card, but what we do see isn't all that likeable a woman, scolding her daughter and sort of steamrolling her current beau, even as she tries to make it seem the opposite.

At the center of the show are Mort's kids. Josh (Jay Duplass, The Mindy Project) is a music producer who sleeps with the various artists he manages, a horn dog who acts soulful. Ali (Gaby Hoffman, Girls) has no house and no steady job, and has decided to get her body into shape in the hopes that it will help her overall situation. Sarah (Amy Landecker, Dan in Real Life) has a nice home, husband (Rob Huebel, Childrens Hospital), and kids in the suburb, but is tempted to betray them when she runs into former girlfriend Tammy (Gillian Vigman, Suburgatory).

I'm not sure exactly where the story would go if ordered to series, but since the main cast comprises only the five main family members, no spouses or friends or anything, one assumes it will be a character study of the particular clan. They all have their secrets and flaws, and so much time could be spent exploring those, perhaps growing them into better people, but only after much trial and suffering. More than likely, they won't change much, but that works, too, seeing authentic reaction to real issues.

The tone is definitely HBO-esque, and not just because of nudity (which there is plenty of) or the cursing. It's got an indie-vibe, including in the music selection, not fitting into a typical structure or formula, meandering, in a good way, through seemingly only loosely connected threads. It's pretty dark, with few laughs to be found, but evokes plenty of feelings from the viewer.

Tambor, as usual, is excellent, bringing a quiet dignity to the role, and evoking sympathy in his plight. He is surrounded by other excellent performers who are much less sympathetic characters, so the burden of likability will be on his capable shoulders. While Tambor has shown range in the past, never being one-note, I did feel like I saw something new yet again from him in the episode, exposing some raw vulnerability, and it made me want to watch more.

With only one more pilot to go, Transparent is the only new Amazon premiere I've been able to solidly recommend so far this year. Check it out, available streaming on their website now.

About ABOUT A BOY

Article first published as ABOUT A BOY Review on Seat42F.


NBC brings the acclaimed novel and film ABOUT A BOY to the small screen this week with a sitcom of the same name, previewing Saturday night after the Olympics. Having not seen or read that work, this review is solely about the “Pilot” of the new series itself. It’s the tale of two males, one old, one young, who form an unlikely friendship that helps them both to grow as individuals. And it’s totally not creepy.

David Walton (New Girl, Perfect Couples, Bent) stars as Will, a successful composer of a Christmas song who lives alone in a nice house in San Francisco. He has a friend, Andy (Al Madrigal, The Daily Show), but Andy has his own family, leaving Will alone most days to chase women and meander through life like an overgrown child. It’s a little pathetic. OK, maybe more than a little.

Then Marcus (Benjamin Stockham, 1600 Penn) moves in next door. Marcus is overly sheltered by his vegan mother, Fiona (Minnie Driver, The Riches, Good Will Hunting). Will’s a good son, dedicated to cheering her up with a song, as Fiona suffers from depression, even though she won’t let him eat ribs. Of course, a boy like this will be bullied, and is soon on the run from classmates who’d like to pound him to a pulp.

This has the makings of a mutually beneficial relationship. Marcus could use a male role model who can teach him how to loosen up and be cool, as well as protect him from bad boys, and Will needs to grow up, taking on a role as a mentor, and actually letting someone really get to know him. They also quickly appear to be layered individuals, both guys managing to keep what could very easily be stereotypical parts away from cartoonish territory.

The “Pilot” takes us through their first meeting, introducing the characters, providing illustrations of their starting points, and still manages to squeeze in a pivotal moment for their relationship. It does feel a lot like a full-length film condensed down to twenty minutes, which means the pacing is a little faster than it should be, and scenes pass by in a whiz.

That being said, ABOUT A BOY does do a great job of letting the emotion shine through. A montage makes the bond feel real, despite the brief screen time, and Walton and Stockham have amazing chemistry. Both being parts of failed series on multiple occasions before this one, ABOUT A BOY may just be the right vehicle to help them succeed.

There are definitely some cheesy parts in this first episode. For one thing, Marcus isn’t nearly as good a singer as the show pretends, and Will is a bit more devious than most viewers might be willing to overlook. Not to mention, Fiona is uptight enough to insist Will not grill meat unless the wind is blowing in a southeasterly direction. Ridiculous. The hope, though, is that this cast is good enough that the audience will see the talent in the writing, direction, and performances, and give it a second chance.

Even at its weakest points, I connected to ABOUT A BOY. There is something really authentic and joyous in the tone, something magnetic that should draw people to it. Don’t let the late, mid-season start fool you; ABOUT A BOY is better than pretty much any other new broadcast network sitcom this year, in my opinion, with the possible exception of The Crazy Ones. I can’t speak to the long-term viability of the premise yet, but Walton and Stockham have sold me on the project, and I’ve already happily set a season pass.

If nothing else, I’m really curious to see if the writers can keep Dakota (Leslie Bibb, GCB) around as a believable recurring character who might eventualy see past Will’s heinous lies. She seems poised to return at this point.

For fans of PARENTHOOD, which also airs on NBC, Will may seem familiar. That’s because the character already appeared in a January episode, meaning this series had a crossover before it even premiered! Pretty impressive.

Catch ABOUT A BOY late this Saturday night on NBC.

Amazon REBELS From Good Content

Article first published as Amazon REBELS From Good Content on TheTVKing.

One of Amazon's new comedy pilots is The Rebels. Julie Levine's (Natalie Zea, Justified, The Following) husband dies and she inherits a football team called The Rebels. Unfortunately, she knows little to nothing about the sport, complaining about the team's "costumes," but after a few sad words from her son, Chris (Aidan Potter, Playing for Keeps), decides to keep them, much to the dismay of other owners. Now if she can only figure out how to turn the losing team around...

Right out of the box it seems a little odd that Julie's husband is so beloved for having a team with such a poor record. He must have really been one special person in order for everyone to forgive him for his lack of wins. So the premise is a little off.

The team itself is ridiculously cartoonish. After Julie appoints her inherited bumbling assistant, Danny (Josh Peck, Drake & Josh), to General Manager, something that could or should never happen, we see him go through the roster of inept players, including Lamont (Affion Crockett, This Means War), who avoids getting let go through tears. It's a Bad News Bears-esque situation, a bunch of misfits who were somehow hired to play professional football, but surely don't act like the athletes we're familiar with.

Because of rights issues, The Rebels can't mention the NFL. Instead, they choose other letters, even though they seem to keep the same sportscasters, cameoing as themselves. I know this is an unavoidable logistics issue, the same reason a fake team is chosen, but it's distracting and will confused some viewers, who will likely assume the team is not in the national league.

This series is also set in L.A. Why L.A.? It's not like they're known for their football, so I guess perhaps that's why the writers think they can get away with putting a terrible team there, if there was any thinking behind the decision at all. But it's a setting I've recently complained in other reviews has been done to death, and it sucks they're using it again. The only benefit of being in L.A. is that it makes the drug parties and monkey with a gun seem just a tad more realistic, as that is about the only city in the country such shindigs would take place in without anyone blinking an eye.

The male romantic lead introduced in The Rebels is Rick Massella (Hayes MacArthur, Go On, Perfect Couples). He's a washed-up player whom Danny approaches to play quarterback after the ego of their draft pick, referred to as "Jesus" (Alan Ritchson, Blue Mountain State), proves a bad fit for the group chemistry. But of course Rick has already had a bad run-in with Julie, making his plot as rote as it is predictable, and setting the two up for an eventually messy relationship.

And that's really the whole problem with The Rebels. As much as I like Zea, Peck, and MacArthur as actors, and they lend as much authenticity as possible under the circumstances to the roles, the story is a familiar movie formula from last century, and there's little originality to be found. The Rebels may be enjoyable, certainly better than the similar freshman baseball sitcom Back in the Game, but far from anything groundbreaking.

Halfway through Amazon's current batch of pilots, I'm disturbed by the lack of freshness in this round. After a great initial launch last year, one might assume Amazon aimed to compete with the premium and cable channels willing to take chances in their offerings and do something different. The Rebels is not a good step in that direction.

The Rebels "Pilot" is available now for free streaming on Amazon.

Deal Another HOUSE OF CARDS

Article first written for Seat42F.

WARNING: This review contains major spoilers from the first hour of the second season of HOUSE OF CARDS. It is recommended that you watch that episode, then return to read this review. There will be no spoilers given from episodes after the premiere, this being written before further installments have been seen by this reviewer.

Netflix’s HOUSE OF CARDS launched their second season in its entirety yesterday. For anyone who worried that the intense thriller might lose momentum in the second year, those doubts were quickly dispelled within the first installment, “Chapter 14,” by a series of major plot twists and the death of a very central character.

As “Chapter 14” begins, Frank (Kevin Spacey) and Claire (Robin Wright) are on their night jog. This is where we left them last year, and provides a seamless continuity between the two seasons. While nothing happens in this first scene, it’s important to give the show its cohesion, and it lets viewers find a framework with which to enter back into the story.

From there, the hanging story arcs are picked up one by one. Zoe (Kate Mara), Janine (Constance Zimmer), and Lucas (Sebastian Arcelus) continue their frustrating investigation into Russo’s murder. Claire sees a doctor about the possibility of getting pregnant, while still fighting Gillian’s (Sandrine Holt) lawsuit. Frank prepares to assume the Vice Presidency and makes plans for who will succeed him, as well as dealing with the nosy reporters. It’s all just how we think the show will resume.

Even many of the minor players pop back up quickly. Doug (Michael Kelly) is forcing Rachel (Rachel Brosnahan) to relocate so Zoe and company can’t find her. Christina (Kristen Connolly) is seen applying for a job with Vasquez (Sakina Jaffrey), continuing her career trajectory. President Walker (Michael Gill) talks with Frank about changes in Congress, though is content to let others make the decisions. Frank gets another batch of ribs from Freddy (Reg E. Cathey). Meechum (Nathan Darrow) remains Frank’s driver and bodyguard, getting ready to transition into the Secret Service. Again, this really makes the series seem like the seasons aren’t separate, very important to ease viewers back in.

There are some new developments early on, such as the introduction of Jacqueline Sharp (Molly Parker, Deadwood, The Firm) as Frank’s hand-chosen replacement as whip, and thus the likely target of the next round of danger and scandal. But because Jackie is introduced in conjunction with Frank’s goals, it doesn’t feel out of place at all.

But then, as soon as we get comfortable, thinking we have the layout of the game figured out, Frank shoves Zoe, arguably the second or third most important player on the show, in front of a subway and she dies.

This is the brilliance of HOUSE OF CARDS. It lets the viewers think one thing, then yanks the rug right out from under them. It never goes into nonsensical territory, and the developments, even those that are surprising, are a natural part of the tale. It’s this unpredictability, though, especially after so much of the installment takes care to set up the opposite, that makes the writing so darn good, and the series highly addictive.

Lest we’ve forgotten the type of man Frank is, he tells us, just after he kills Zoe. He looks at the camera and reminds us he hasn’t let us slide. It’s a chilling end to the episode, the camera lingering on his cufflinks with the initials F and U, very appropriate for Frank’s attitude towards everyone. This is a man that can lie about having taken a life without batting an eye, never loses a wink of sleep for his actions, and most people in his circle would be wise to follow Janine’s example and run far away. He is the reason to watch HOUSE OF CARDS, a compellingly psychopathic character, unique in the television landscape, and masterfully developed by an actor at the top of his craft.

Wright also deserves major credit for “Chapter 14.” At first, I couldn’t figure out why Claire abandons her quest to have a child late in the episode. But after consideration, it has to be that Gillian’s pregnancy left her vulnerable to be manipulated by Claire. Claire doesn’t accept weakness, and if she can use a baby to go after someone else, she isn’t about to leave herself open to the same. Wright conveys all this without dialogue to explain it, and it makes Claire an interesting terror, one who is a quieter, but still appropriate, match for Frank.

At the end, we see Claire learn about Zoe’s death, but her non-reaction indicates she either likely knows that Frank is involved or strongly suspects as much, but she doesn’t care or trusts that Frank had a good reason. She has accepted her husband for who he is, and while may not always respect his wishes, making sure he gets a birthday cake, knows which buttons she can and cannot push, effortlessly getting him to quit smoking, at least for now. And he accepts her influence without a fight, showing us something neat about their seemingly closed-off relationship.

“Chapter 14” should satisfy all fan expectation, and be a highly enjoyable piece of television in its own right. The only disturbing thought I’m left with is, how could anyone possibly ever bring down Frank? The only one with a real motivation and opportunity to do so at this time is Lucas, but he’s hopelessly out of his depth.  I look forward to watching more.

All thirteen episodes of HOUSE OF CARDS’ second season are available now on Netflix.

He's the BOSCH

Article first published as He's the BOSCH on TheTVKing.

Do we need an other police procedural, even if it's couched in a character study of a tormented man? That's what Amazon is delivering to us in Bosch, one of their first two drama pilots, currently streaming free on their website. The titular detective is simultaneously on trial for the murder of an unarmed suspect, while still digging into fresh cases, against orders. Can he escape jail and find peace?

It's hard to argue that Titus Welliver (The Good Wife, Lost, Sons of Anarchy, Argo) doesn't deserve a leading role. He absolutely does, and he definitely handles the main part of Bosch well. He lets us see the hurt it causes him to know he killed someone, beneath the bravado he must maintain to sleep at night and continue to do his job. He's a good man who accidentally did a bad thing, with cause, and thus a likeable protagonist.

The problem is, we already have plenty of these. Shows from Luther to Elementary to Justified to House have already given us pretty much the same archetype. There are differences of course, but these tend to be only cosmetic, and what sets each apart tends to be the quality of the writing and the ensemble, rather than any real originality in storytelling.

Bosch does lean towards the higher end of the spectrum. Part of this is because of the dual narratives, the court case and the current investigation, balancing each other nicely. Another part is the enjoyable ensemble, which includes Scott Wilson (The Walking Dead), Lance Reddick (Fringe), Amy Aquino (Being Human), Annie Wersching (24), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), Abraham Benrubi (ER), Amy Price-Francis (King), and Jamie Hector (The Wire). It's a great group of performers.

Bosch is better than most of the other crime shows. The writing is smart, the acting is convincing, and the characters are well developed. These are adjectives I frequently use to describe good shows, and it applies here, too.

But because the market is inundated with this type of drama, though,, it's not necessary to make another. I don't know if Amazon hopes that by delivering something so familiar, we'll see it as a legitimate television content provider. What is more likely, though, at least for those of us that consume lots of TV, is we'll see it as lazy, yet another clone for an already crowded genre.

What would set Bosch apart from its peers? Well, letting Bosch leave the law enforcement profession behind would be good. Or seeing him actually go to jail, the story following him as his life changes, and then the fight to overcome that. I'd like to see Bosch himself do more than just stay in the structure he's accustomed to. But this seems quite unlikely, as it's a much more challenging type of show to tell. Or, at least they could make the setting somewhere other than L.A., which has been done to death.

Making a brand new crime show worth watching isn't impossible; HBO's True Detective has proven that. Bosch just isn't True Detective-caliber, even as it's a notch above anything on the broadcast networks.

Bosch's first episode is available now on Amazon.com

After THE AFTER

Article first published as After THE AFTER on TheTVKing.

Nearly a year after releasing its first batch of comedy pilots, Amazon.com finally posted two dramas free to stream on their website. One of these pilots is The After, which is from Chris Carter (The X-Files), a suspenseful series send after a post-apocalyptic event. Eight strangers, bound by fate, not coincidence, must come together to survive, fleeing from the rest of the world.

The X-Files was a seminal show for science fiction television, and some of the creepy mystery that seeped through that program is repeated here. There is a creature (Sam Littlefield) with weird tattoos in the woods, and no one can explain to our protagonists what is happening. Even after viewing the entire "Pilot," the long-term plot still seems murky.

But the mistake comes by making The After about a "random" group of strangers thrust together by circumstance. This concept has been done to death, and with much better ensembles. Those that make up the cast are mostly familiar faces, and none of them are bad actors. But neither is this the next Lost, and the layers that begin to peel away in the "Pilot" are predictable and formulaic.

Our central heroine is Gigi Generau (Louise Monot, The Avignon Prophecy), an aspiring actress with a thick French accent, currently stuck far away from her beloved (Jason Lewis, Sex and the City) and their child. She is joined by an 'innocent' ex-con (Aldis Hodge, Leverage), an asshole lawyer (Adrian Pasdar, Heroes), a likely prostitute (Arielle Kebbel, The Vampire Diaries), a gay clown (Jamie Kennedy, Ghost Whisperer), a senile millionaire (Sharon Lawrence, NYPD Blue), a foul-mouthed drunk (Andrew Howard, Hatfields & McCoys), and a cop (Jaina Lee Ortiz, The Shop).

This grouping is a lot like that assembled by broadcast network series with a similar format, such as The Nine and Lucky Seven. There isn't any single actor who stands out as amazing, and though they play their parts well enough, we're taught not to take the characters at face value, which makes it hard to trust any of the players. None of these other shows lasted, so why should The After?

What will set it apart from that category is the gratuitous nudity and frequent dropping of the F-bomb. But don't mistake The After as being HBO or Showtime level quality, as the writing is far less smart. There are some intriguing elements, to be sure, but it's not looking like the next must-see serial drama.

This is evidenced by the other people we see. While the cast is escaping from a parking garage to a mansion to the forest, the general public riots, tries to flip their vehicle, offers no assistance, even from law-enforcement, and tries to rob Lawrence's character's home with guns. The rest of the world's population is shown as a two-dimensional menace, with only the main players getting any development at all. This doesn't bode well for sustainability.

While I do have very mixed feelings on The After, enjoying it but not really respecting it, I probably will watch if it goes to series. After all, at least it's not another police procedural, and it's trying a few new things. Plus Carter's involvement gives me hope there are some bigger, well-thought out arcs that could be brought into the fold down the road. But as a "Pilot," it lacked authenticity and any real, lasting draw. Very disappointing, considering Amazon has only ordered two drama offerings versus eleven comedies so far.

The After is available now on Amazon.com.

Is HELIX a "Survivor?"

Article first published as Is HELIX a "Survivor?" on TheTVKing.

There's a lot to praise about the SyFy original series Helix. For one thing, it's much smarter than most of the fare on the network. It's a disease outbreak stretched out to full television series proportions, which hasn't really been done before, at least not successfully. It contains some actual science (and, admittedly, some liberties with facts, too). It has mystery, suspense, and mythology on its side.

The thing that has kept it from really soaring for me, though, is the characters. Dr Alan Farragut (Billy Campbell), the lead, is a ridiculous caricature. He's very intelligent, but also abnormally kind, and is willing to fist fight with trained soldiers. He's way too stereotypical a hero, too good at too many things, and lacking any real depth. His relationship with Dr. Sarah Jordan (Jordan Hayes) is beyond dumb and formulaic. I'm not sure if it's the actor or the way the part is written, but it drags the show down.

Thankfully, quietly, slowly, the series has been building up an interesting ensemble that may be the key to take it to the next level. Dr. Julia Walker (Kyra Zagorsky) not only has a unique plot arc, but also some history with the company behind this whole mess that even she doesn't remember. Dr. Hiroshi Hatake (Hiroyuki Sanada) is more than he seems, and actually has personal motivations that extend beyond a grab for power or profit. Major Sergio Balleseros (Mark Ghanime), who I had written off after his murder of the only interesting personality from the first few weeks, stumbles onto some information that could shift his allegiances, making him a dangerous uncertainty.

This is all ramped up in tonight's excellent "Survivor Zero." If you've been on the fence and letting episodes build up on your DVR, this installment, the halfway point of the season, sent out to press for early viewing for a reason, is where things begin to change and get really interesting. There are developments which each of those three mentioned in the previous paragraph that should shock and intrigue you. They are part of a story I really want to see.

All of this is instigated by the arrival of Constance Sutton (Jeri Ryan, Star Trek: Voyager, Body of Proof). Sutton is the head of the parent company that runs the base, Hatake's boss. She comes to check on the progress of the mission, clues of which are revealed in "Survivor Zero" that haven't been obvious before. Her showing up kicks off a number of new subplots, or speeds along those that had been barely blooming, increasing the pacing of the show as a whole.

She is also a heck of a great character. Ryan shines in playing multiple sides, a master manipulator who has her own goals, some overt, some not so much. I've liked Ryan before this, but this is much more of a meaty role for her than the past work I've seen her in, and should she stick around, has the potential to quickly become the most magnetic personality on Helix.

I am loathe to go into details because I think "Survivor Zero" works best without clues. Not being one to watch episode previews before they air, I'm not sure how much has been given away, but popping this into my player this past week was surprisingly rewarding. If this is an example of what is coming for Helix, and by the way it unfolds, I think it is a good indicator of what is planned for the back half of the season, it should really become something to watch in the very near future.

Helix airs Fridays at 10 p.m. ET on SyFy.

THE WALKING DEAD "After" My Heart

Article first written for Seat42F.

THE WALKING DEAD’s mid-season premiere picks up right “After” the epic battle with The Governor (David Morrissey). The prison has fallen and the survivors have scattered. Rather than bouncing around from person to person, something THE WALKING DEAD has never done much of, this latest installment is a personal story for two characters, and presumably we’ll catch up with the others at a later date.

Michonne (Danai Gurira) is introduced as a loner when first appearing on the AMC series. Traveling with a pair of walkers for company, she has survived without a group, and is slow to open herself up once she decides she’d like to stay at the prison. We have seen her soften over time, in particular with Carl (Chandler Riggs). But believing her friends dead, Michonne returns to her smoldering home just long enough to grab a couple of new “pets” and put Hershel’s (Scott Wilson) sad walker head out of its misery, then continues her loner trek once more.

We see a Michonne in “After” more broken than before, if that’s possible. A flashback-y dream sequence shows us the loved ones she lost the first time (Leverage’s Aldis Hodge and Getting On’s Brandon Fobbs), and with her new group ripped from her by The Governor, who is shown to definitely be very much dead, in case there are any doubters left, she can’t take the pain any more. When she sees footprints leading away from the prison, she goes in a different direction.

THE WALKING DEAD loves to explore the pathos and depths of its characters. “After” reveals something really dark we haven’t seen since Morgan’s (Lennie James) second appearance: someone who would choose to be alone because she just can’t take the pain of losing anyone else. It’s terrible PTSD, and Michonne is basically a walking shell of a person. This is most evidenced as she travels among a walker herd, blending in unmolested, and even sees a walker that looks like herself.

The thing is, faced with the mirror of the non-life she’s choosing, Michonne realizes she isn’t done yet. She slaughters the small herd, pets included, and sets off to follow the footprints. She has been through a lot and it’s so easy to give up on caring, but that’s not any way to live, even in the post-apocalyptic world. Michonne is far gone, but not too far gone to realize what she needs.

This may very well be a turning point for Michonne. The prison group has made her feel accepted enough that she considers herself part of them. No longer the outsider, Michonne wants to be a part of something, which is good news for viewers, since she may be the most popular character on the series and we’d like her to stick around. With this attitude, she will.

I do wish we’d gotten a true flashback for Michonne. There are some things explained, such as that her love just couldn’t hack it in their new reality, while Michonne found abilities within herself she didn’t know she had, something that made him insanely jealous. It also appears that he might be to blame for costing Michonne her original family. However, these are only things hinted out, not inarguably revealed, so as much as I like this sequence, I am definitely left wanting more.

The foot prints, as we see very early in “After,” belong to Carl and Rick (Andrew Lincoln). Father and son get away together, and the scenes of the episode that don’t feature Michonne are focused on them. Or, more specifically, the program follows Carl, who thinks he no longer needs Rick. That is, until Carl is faced with losing the only family he has left.

It’s funny, Carl and Rick seem like a typical father-teenage son pairing at the start of “After.” Carl is resentful and mouthy towards Rick, who’d like to set Carl right, but no longer knows how. Things get bad when Carl even throws Shane in Rick’s face, a sore subject to be sure, and tells his father that he hopes he dies. Granted, their problems are a lot more serious than the average familial dynamic, with Carl blaming Rick for many deaths and failing to be the leader he should be. But that chemistry is there and it is familiar, even in very alien circumstances.

Rick doesn’t last long, though. Looking a lot like a walker himself with his beat-up face and shuffle, once they’ve found suitable shelter he slips into a very deep sleep for a couple of days, one in which Carl can’t wake him from. This gives Carl not only a chance to vent, which he does most vehemently, it also leaves Carl to see what it would be like on his own. He handles himself OK, finding supplies and making it back in one piece, despite some very close calls. However, he also finds loneliness, and when confronted with a Rick that appears to have turned walker, Carl tearfully admits he needs his dad, and rather than kill what Rick has become, surrenders himself to be killed.

Thankfully, Rick is not a walker (did anyone, other than Carl, really believe for a second he was?), but “After” will forever change the dynamic between Rick and Carl. Carl is a capable man now, physically, and Rick sees and tells his son that. On the other hand, emotionally, Carl is not yet mature and needs (or wants) his father, something Carl is able to confess to Rick, which is actually a grown up decision. We see Carl both step up and also act like a child. We seem him humbled, something desperately needed for his continued survival. And we see a family who will cling to each other, having lost so much.

Then, the rarest of things occurs on THE WALKING DEAD: a happy ending. Michonne is reunited with Rick and Carl, tearfully and happily. There will be more challenges to face, sure, and undoubtedly more major deaths. But for now, these people have found each other, and that’s enough. Together, they have something to live for.

The characters who populate THE WALKING DEAD are survivors. Not everyone can adapt to this new world, as we see in the bar where Joe Jr. couldn’t bring himself to killer Walker Joe Sr. And maybe Carl couldn’t kill Rick, either, at a critical moment. Overall, though, these are the people who can fend for themselves, but haven’t lost their humanity. They are the ones to root for.

“After” is an excellent examination of two very different characters, Carl and Michonne. They both find turning points, picking an existence that is worth living. They are strong, yet we see their vulnerabilities. More importantly, we find love for them once more, which will keep the viewers watching for a long time to come. It’s so, so, so good to have THE WALKING DEAD back on our screens, at least for eight weeks.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

Blu-ray Review: ‘Sherlock – Season Three’

Article first published as Blu-ray Review: ‘Sherlock – Season Three’ on Blogcritics.

The BBC’s Sherlock has been off the air for far too long. Recently, it finally returned for third season, broadcast on PBS in the United States as part of Masterpiece Mystery. Having just completed its airing, the three ninety-minute episodes that make up this run, each feeling a bit like its own movie, have now been released on Blu-ray and DVD.

Season two ended with Sherlock Holmes’ (Benedict Cumberbatch) death. Obviously, the series cannot continue without its hero, so it should come as no surprise to anyone that he isn’t actually deceased, having faked the demise. But those who love Sherlock have lived under this false impression for two years, making for quite a startling turn when Sherlock comes back to town.

John Watson (Martin Freeman), in particular, is thrown for a loop. Having mourned his best friend, he’s moved on, preparing to propose to girlfriend Mary (Amanda Abbington, Mr. Selfridge). This news is enough to knock Sherlock back, too, so the partners have some obstacles to overcome before they might resume the work they are familiar for.

Sherlock does have a mission right out of the gate, though. He has been summoned to London by his brother, Mycroft (Mark Gatiss), who did know Sherlock lived all this time, but doesn’t exactly count as a loved one, unlike. say, Lestrade (Rupert Graves), Molly (Louise Brealey), and Mrs Hudson (Una Stubbs). Thus, Sherlock can’t spare too much time considering Watson, having a job to get on with.

This premiere, “The Empty Hearse,” brilliantly balances many elements. There are the character moments, especially between Sherlock and Watson and Sherlock and Mycroft. There’s an exciting mystery to solve. There’s the beginning of an arc with a man who may be Sherlock’s greatest foe yet. And there’s still time for some good gags as multiple scenarios revolving around Sherlock’s survival play out on screen, with none of them possibly being the correct one.

The excitement continues in “The Sign of Three,” which takes place on the occasion of Watson and Mary’s wedding. Sherlock has the challenging (for him) task of being best man and delivering a speech. Said speech may be the longest in history, as viewers are treated to flashbacks of the bachelor party, among other things, and Sherlock deduces a would-be crime right in the middle of it. That’s not the last surprise in the installment, one jam-packed with compelling story, even as it stands as the lightest and funniest of the trio.

I’m really glad Sherlock takes the time to do this. It’s a situation that finds our protagonist supremely out of his comfort zone, but the fact that he’s willing to go through with it anyway proves the level of his affection for Watson, something reiterated strongly in all three episodes. Plus, the wedding is just so much fun, a splendid affair with a great Sherlock twist.

The year’s Big Bad fully comes out in the season finale, “His Last Vow.” The man’s name is Charles Augustus Magnussen (Lars Mikkelsen, The Killing original version), and he is a self-described businessman who controls far more than he should, especially in the arena of politics. His vast library of dirt allows him to manipulate anyone he comes across, and he has some very startling secrets about someone close to Sherlock he isn’t afraid to use when Sherlock makes a move against him.

Magnussen, though important, is only part of the story, though. Midway through the episode, Sherlock is shot in a shocking sequence that reveals something major about a recurring player. Much of the back half deals with the ramifications and fall-out from this event, which is so much more than it seems at first. I can’t spoil anything about it, just saying that it’s a beautiful, near-perfect piece of storytelling, that ends in one hell of a climax, bringing it all back around to a very memorable stand off with Magnussen.

If that wasn’t enough, “His Last Vow” ends with a wallop of a cliffhanger, after fans will think the action is done, leaving the promise of a stellar fourth season to come.

Sherlock season three is different from the first two in that Sherlock and Watson aren’t doing their traditional work together, life interfering in major ways, and the cases come to them very naturally, through personal means. There is also not a lot of plot for supporting players like Lestrade and Molly. But the character development for Sherlock, Watson, Mary, and Mycroft is fantastic, and you likely won’t think about the little bits that are missing, given what’s there on the screen.

This release also contains a trio of special features, “The Fall,” “Shooting Sherlock,” and “Fans, Villains, & Speculation.” They are interesting enough, though don’t go as deep as one would like, leaving us wanting more. Which is about par for such a Blu-ray edition.

While not traditionally a big-budget show, I do recommend the Blu-ray version this time around. There is a lot of darkness in Sherlock, and HD will ensure the visual layering and stark colors needed to fully appreciate the scenes. There are also a couple of huge shots, such as those of the exterior of Magnussen’s home, that you’re going to want to see as much detail as possible from. The series contains a sweeping, crystal-clear score, well mixed with the dialogue.

Sherlock Season Three is available now.

THE CRAZY ONES Much "Improved"

Article first published as THE CRAZY ONES Much "Improved" on TheTVKing.

CBS's freshman comedy The Crazy Ones was funny from the start, but somewhere along the way, it has become so much more. It has found the perfect blend of heart and humor, often dwelling into deep pathos to find the laughs. This seems a natural direction for series star Robin Williams to go in, and the perfect ensemble surrounding him has tapped into the same vein.

This week's episode, "Dead and Improved," has a great illustration of a laugh out loud scene that will make you cry. A jingle writer that works for Simon (Williams) has died and his daughter, Melora (Missi Pyle, Big Fish), begs Simon to send him off right. The problem is, no one, Simon included, liked the man, making it super difficult to strike the 'wow' note in a eulogy that Melora seeks.

The story is so much more than this simple plot, though. Simon begins to look at his own legacy when faced with mortality. There is raw doubt in his eyes as he wonders if he's all show, no substance. His daughter, Sydney (Sarah Michelle Gellar) assures him that he's a good man who has had a lasting effect on the world. Through Sydney, Simon begins to see what Melora saw in her own dad, which allows him to find his speech, one that will make everyone laugh and cry at the same time.

It's very hard to serve a plot like this and to do it well. The Crazy Ones nails it. We have Williams, Gellar, and Pyle delivering knock-out performances with a brilliant script. It's full of nuance and meaning, one sure to ring true to many a viewer out there. Anyone who has parents or children can relate to this, making an excellent scene on its own mean something personal to those watching at home, providing connection for the audience.

"Dead and Improved" takes the idea of legacy a step further by tying the B plot into it, too. A Charmin rep, Mitchell (Kurt Fuller, Psych), is disowned by his company as he becomes unstable after his wife leaves him. Zach (James Wolk), Andrew (Hamish Linklater), and Lauren (Amanda Setton) feel obligated to set Mitchell right again, not to just turn him out on the street. Their sympathy continues even after he strips naked in their lobby.

The Mitchell thread weaves seamlessly into the A story, ending with Mitchell looking satisfied at the funeral, and doesn't even feel like a segregated tale. This cohesion is a strong selling factor for The Crazy Ones. Though it's an ensemble cast and each individual does have their own motivations and side stuff, the characters are very much part of a team, and it always feels like that. Simon and Syndey have moments with Mitchell, and Zach, Andrew, and Lauren are involved with Melora and the funeral. It's all inter-connected, and they all help one another out.

I also like how The Crazy Ones ties in enough reality so that it doesn't just feel like a cartoonish parody of the world. The excellent rendering of the Rice Krispie theme song at the beginning and Mitchell working for Charmin, with a bit of a real Charmin commercial played in the episode, really make the firm feel authentic. Not to mention, voice actor Fred Melamed gamely recurs as himself, including a couple of scenes in "Dead and Improved."

Most of this year's batch of new comedies has failed to resonate with viewers. While The Crazy Ones' ratings are modest, there is a special spark present that is lacking in most of its peers. The relationship between Simon and Sydney alone is worth watching for, and if you haven't had the opportunity to check this show out yet, please do, in case it soon becomes too late to do so.

The Crazy Ones airs Thursdays at 9 p.m. ET on CBS.