Resign Please, MADAM SECRETARY

Article first published as MADAM SECRETARY Review on Seat42F.

CBS has a lot of faith in their new non-procedural (!) drama series, MADAM SECRETARY. A fictional tale of a female secretary of state, tapped to help out the President (Keith Carradine, Fargo) because she has a different perspective than his other advisors and he trusts her, it will air twice on the Sunday it premieres to make sure that if football overruns the schedule, viewers can still find it. Of course, the simpler solution would be to just learn how to schedule around sports, since the network has plenty of experience screwing that up, but I digress…

MADAME SECRETARY stars Tea Leoni (The Naked Truth) in the lead role of Elizabeth McCord. Elizabeth is your typical network leading lady, tougher and smarter than anyone around her, bucking convention to save the day and do what’s right. She’s torn between work and family, of course, as every modern woman must be, and she is besought by doubters on all sides. Luckily, she has the skills and stamina to persevere, doing whatever she must to go around any obstacle in her path, a noble hero if ever there was one. Leoni plays her convincingly, if perhaps a bit too earnestly.

Her main obstacle seems to be the president’s Chief of Staff, Russell Jackson (Zeljko Ivanek). Russell is a very familiar archetype, too, putting his own interests and politics ahead of what is right, and thus, is easily dealt a setback. He won’t go away quickly, though, and will probably clash over and over again in the same ways with Elizabeth as the series wears on. Ivanek, a brilliant performer with many impressive credits, including Damages, True Blood, Suits, and Argo, is completely wasted in a part that is similar to what he’s known for, but could easily be filled by any number of actors, not nearly complex enough (at least in the pilot) to rate Ivanek’s level of talent.

One might assume that Elizabeth’s staff will get in her way, too, since they’ve mostly been retained from a predecessor who operated in a way that could be described as polar opposite to Elizabeth’s approach. Indeed, we see Elizabeth’s own Chief of Staff, Nadine Tolliver (Bebe Neuwirth, Cheers), flabbergasted at her boss’ behavior in the premiere hour. However, this is clearly a ‘team of rivals’ situation in which Elizabeth will win over the people under her command, which also includes speechwriter Matt Mahoney (Geoffrey Arend, Body of Proof), press coordinator Daisy Grant (Patina Miller, All My Children), and assistant Blake Moran (Erich Bergen, How Sweet It Is). It begins happening right away, far too easily.

Rounding out the cast are Tim Daly (Private Practice, Wings) as Elizabeth’s husband, Henry, a professor who catches many of his young female students’ eyes, Evan Roe as Elizabeth’s self-described anarchist son, Jason, and Katherine Herzer as good daughter Alison. There isn’t much remarkable about Elizabeth’s family situation, but the guys in her household will likely cause her problems, personally and professionally, as the story plays out. This is being telegraphed well in advance of any on-screen developments.

I really want to like MADAM SECRETARY based on its premise and players involved, but the pilot is predictable and boring. I applaud CBS for moving outside of the mold and trying to find an appropriate pairing for The Good Wife, which deserves it, surrounded by rote crime series, but this show is just too under-developed to fit the bill. As you may have surmised from the above paragraphs, it sounds a lot like many other dramas already out there, with shades of The Good Wife and Scandal, but packaged in an inferior product.

MADAME SECRETARY tries to be exciting by adding in a conspiracy in which people are being killed to cover something up. Elizabeth’s predecessor might very well have been one of the victims, meaning she could be next. But even that seems forced and hokey, rather than compelling, as it should be. The overall tone and style of the program are just not living up to expectation. It’s really a shame.

MADAM SECRETARY premieres Sunday, September 21^st at around 8:30 p.m. ET, depending on football overruns, on CBS.

OUTLANDER Review Season 1 Episode 6 The Garrison Commander

Article first published as OUTLANDER Review Season 1 Episode 6 The Garrison Commander on Seat42F.

This week’s installment of Starz’s OUTLANDER is called “The Garrison Commander.” Picking up where last week leaves off, Claire (Caitriona Balfe) is escorted back to the Red Coat base, finally no longer subject to the Scots’ whims. But among her ‘own people,’ she finds things do not go as smoothly as she hoped, and she’s soon caught in the middle of the warring sides. Picking which one to back is not an easy decision, contrary to what Claire may think.

“The Garrison Commander” starts with Claire forced to answer a question. Is she with Dougal (Graham McTavish) by choice? We know she isn’t, but admitting that would lead to certain death for Dougal, a man Claire has just made peace with. For this reason, it’s to no one’s surprise that she doesn’t say she’s a prisoner, though her vague answer doesn’t exactly clear Dougal of wrongdoing, either. It just allows him to escape being arrested for now.

At first, Claire is relieved to be with the English. After all, those are the countrymen she is descended from, and assumes they will allow her to travel home. This does appear to be the case] until she lets her political opinions slip out, defending the Scots with whom she’s been living. This makes sense for her character, as she has sympathy and affection for those that have been kind to her, and she understands their case. But it makes her seem treasonous to the English, which helps with the necessary plot device of lengthening her stay in the past, hurting her character’s goals.

Thus, Claire is as much a prisoner among the English as she is with Clan MacKenzie. Be careful what you wish for, because the grass isn’t always greener on the other side, to borrow two trite but true phrases. There is to be no quick return home for her, and she needs to decide who will help her best.

The English do present opportunity, but unfortunately Claire is left in the hands of Black Jack Randall (Tobias Menzies). Had she stayed with the other officers, wary as they may be of her, their properly-taught etiquette would likely have them escort her back. Instead, Black Jack is a merciless monster who questions Claire roughly to find out her true loyalties.

OUTLANDER does a neat trick for an extended sequence in “The Garrison Commander” as Black Jack supposedly reveals his side of the story of Jamie’s (Sam Heughan) beating. He makes Claire feel sympathy for him, and by extension, while the viewers, especially Claire-Jamie shippers, may not forgive his actions, one might not think Black Jack completely lacks a heart. Yet, his pretense of regret is an act, one meant to encourage Claire to let her guard down, and is quickly cast aside when it doesn’t work. Black Jack is as villainous as ever, which actually works for the character, revealing cleverness, if not complexity.

Once more, this is an example of how the series is very firmly told through Claire’s point of view. We only know what she knows, and we really only see what she sees. It’s an interesting and surprisingly rare thing, to tie an entire show’s perspective to one character, but it also makes for intriguing television, where perception may not match reality. I like this element of OUTLANDER and hope it stays so consistent throughout the course of its run.

It’s Dougal that saves Claire from Black Jack and offers her a way to stay with the Scots, who may restrict her freedom, but do not bodily mistreat her the way Black Jack does in the stomach-turning kicking scene. This involves marrying Jamie, which would make Claire Scottish in the view of English law. Should she go through with it? “The Garrison Commander,” as in the end of last week’s episode, doesn’t answer the hanging question.

There is a big segment of the audience that will welcome a Claire / Jamie marriage, even if it is done for political, rather than romantic, reasons. Jamie is kind and open to the idea, but Claire is nowhere near ready to take him to bed, let alone give him her heart. I like that OUTLANDER makes their marriage a plot device rather than the culmination of feeling because it not only goes away from the traditional path of love, but provides further complications to their being together, the exact opposite of what we think of marriage in the modern day. OUTLANDER remains well-written, and I think the marriage will happen, opening up the door to new possibilities and dynamics.

“The Garrison Commander” isn’t fast-moving; only a few things happen in the hour. Yet, it is compelling all the same, and the characters are very authentic. I am fascinated by the semi-modern versus archaic attitudes, as well as the way it all seamlessly flows together. This is another excellent installment of a terrific series.

OUTLANDER airs Saturdays at 9 p.m. ET on Starz.

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

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

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

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

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

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

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

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

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

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

THE MYSTERIES OF LAURA Hold No Allure

Article first published as THE MYSTERIES OF LAURA Review on Seat42F.

NBC has a new drama this fall called THE MYSTERIES OF LAURA. After viewing the pilot, here are the mysteries I found: Why would anyone think it’s a good idea to cast Debra Messing as a cop? Why in the world did her titular character ever marry her soon-to-be-ex, Jake (Josh Lucas, The Firm), a full-blown man-child? How is Jake competent enough to rise through the ranks of the police department? Can Laura be a mother and a cop at the same time? Isn’t that premise totally tired and dated in 2014?

In case you didn’t catch the tone of the first paragraph, THE MYSTERIES OF LAURA is not a good show. It’s a procedural, first and foremost, which means it’ll be the same rote story every week. The characters are all familiar types, overplayed into cartoonish parodies of their personalities. The set up feels like it is randomly cobbled together from improv comedy suggestions. There is little original going on, basically just copying bits of lots of other shows, most of them mediocre.

Broadcast networks are facing a crossroads. There is more and more competition these days, not just from cable networks, but also Netflix, Amazon, Yahoo, and others. Not only are there a greater number of options, but the overall quality of the offerings keep getting better and better. Yet, in spite of a few brave, bold moves (i.e. Hannibal, Sleepy Hollow), most of what the Big Four keep putting out is repetitive schlock. No wonder they are hemorrhaging viewers, and THE MYSTERIES OF LAURA will not do anything to stop that.

Look, Messing is a fun actress to watch; I don’t think many people will disagree with that. Her Lifetime series, The Starter Wife, didn’t do it for me, but that’s because she spent too much time being sad, not her strength. Smash and Will & Grace used her more appropriately, playing up the humor in her characters’ pathetic failures, and that’s what Messing does best. She can consistently elicit a smile, at minimum, from her antics. THE MYSTERIES OF LAURA uses that element, which is smart, but in a totally inappropriate setting that just doesn’t work.

The supporting cast is also wasted. Janina Gavankar, who has been getting tons of work in series such as True Blood, The League, Arrow, and The Vampire Diaries, is just a run-of-the-mill rival co-worker for Laura. Max Jenkins (pretty much a Tom Lenk stand-in) and Laz Alonso (Breakout Kings) don’t get any focus, either, other than perhaps a one-liner or two. Enrico Colantoni (Veronica Mars, Person of Interest) is underused as her boss, stuck behind a desk. When he gets the chance to come out of his office, it gets worse, going in to a plot that is far removed from believability.

The “twist” at the end of pilot, which I won’t reveal here in case it’s supposed to be a surprise, but if you check out the cast page for THE MYSTERIES OF LAURA and consider the type of series this is, won’t be at all, is even worse than the other complaints I’ve had. It basically reveals the first episode to be treading water as it waits for the ‘real story’ to begin, and again, is completely unrealistic and groan-inducing.

So who may want to watch THE MYSTERIES OF LAURA, despite my panning of it? Women who haven’t seen enough female empowerment to separate the good stuff from the bad. People who want something mindless they don’t have to think about. Stressed-out mothers and ex-spouses who need to see someone else suffer at the hands of menacing young boys and an awful husband, if only to feel good about their own lives by comparison. And that’s about it. Everyone else, feel free to skip this one.

THE MYSTERIES OF LAURA premieres Wednesday, September 17^th at 8 p.m. ET.

Z NATION Not One to Visit

Article first published as Z NATION Review on Seat42F.

With The Walking Dead being the most popular show on television, it’s surprising that it’s taken this long for another network to try to bank on the success. This week, SyFy becomes the second channel to tackle zombies in their new hour-long series Z NATION. The world has been overrun with the undead and a small group of survivors come together to try to find and distribute a cure.

As a TV reviewer, I watch a TON of television. It’s always been hard to pick one favorite show with all of the great content currently running, but for the past year or two, I’ve been able to say that The Walking Dead is first in my book. The reason I, and I believe so many other people, like it is not for the zombies themselves; I myself cannot stand zombie films unless they are comedies like Shaun of the Dead and Zombieland. No, it’s the complexity of the characters and the deep questions of ethics and morality that make the show so enticing.

Unfortunately, Z NATION doesn’t even attempt to maintain that aspect of The Walking Dead, to the point of having one character say out loud that he hates moral dilemmas in the pilot episode. Instead, the new drama follows the path of most zombie movies. There’s really bad destruction and fast-moving, murderous monsters everywhere. Strangers form in a tribe purely by coincidence, and their purpose is large-scale, possibly world-saving. This makes it even more unrealistic than just have zombies in the program does, and far less enjoyable.

Z NATION is entertaining, I will give it that. Many a scene will keep viewers on the edge of their seats, biting their nails. Lots happens in a short span of time, and a number of individuals die, including one I really did not expect yet, based on the press for the show and the story structure. It’s definitely going to be a gory series with shock-factor scenes, including one involving an infant, and one primarily concerned with pumping the adrenaline of both the characters and the audience.

Z NATION just doesn’t have depth. The plot is extremely simple to understand and so are the characters. Motivations are stated out-right, and there really isn’t anything that sets it apart from films in the genre. Being on a television budget, it can’t reach the special effects levels of a theatrical release, so it’ll always be destined to be inferior, making one think twice before sitting down to watch it.

There is also a lot of cheese. One of the main players, Citizen Z (DJ Qualls, Legit), is in a government base somewhere with access to radio and computer equipment. For much of the pilot, he’s concerned with making contact with Lieutenant Mark Hammond (Harold Perrineau, Lost), who is charged with the important task of protecting the one man who seems immune to zombie bites, Murphy (Keith Allan, Rise of the Zombies). This makes sense, giving Citizen Z an important purpose. But suddenly, at the end of the hour, he slips on some sunglasses and goes into radio disc jockey-mode. Isn’t that taking things a little too lightly? And doesn’t he have any co-workers left to put a stop to the nonsense?

Other than these three, the rest of the players seem like zombie chow. Charles Garnett (Tom Everett Scott, Southland) is a typical leading man, so maybe he’ll stick around for a bit. But there is little to distinguish the other supporting players, and given the structure of Z NATION, it seems likely a number of them will be killed off in the coming weeks. One or two may become fan favorites, but most will probably wind up dead.

Thus, Z NATION is not a great show. In a crowded television landscape, and with a much better product on AMC, I don’t know why this series would gain a big following, but I guess we’ll see when Z NATION premieres this Friday at 10 p.m. ET on SyFy.

RED BAND SOCIETY Trying to Heal Network Television

Article first published as RED BAND SOCIETY Review on Seat42F.

Red Band Society Cast : Octavia Spencer, Nolan Sotillo, Griffin Gluck, Zoe Levin, Charlie Rowe, Ciara Bravo, Brian Bradley, Dave Annable

It’s not often a broadcast network makes a show that feels totally different than just about everything else on television. FOX has done that with RED BAND SOCIETY. The dark dramedy about a group of sick teenagers who live in a hospital has shades of Degrassi, but the unique setting and challenges they face puts a different spin on the coming-of-age genre. Considering that films with similar themes have popped up recently (see: The Fault in Our Stars), it makes sense to explore these issues in a longer-run format.

A show such as RED BAND SOCIETY needs a good group of young actors, and six mostly-unknowns fit the Breakfast Club-esque bill well. Jordi (Nolan Sotillo, Prom) is the new kid on the block, forced to room with bad boy Leo (Charlie Rowe, Pirate Radio). Leo’s best friend is horny Dash (The X Factor contestant Astro). We’ve got the bitchy cheerleader, Kara (Zoe Levin, The Way Way Back), and the mousy girl with an eating disorder, Emma (Ciara Bravo, Big Time Rush). Charlie (Griffin Gluck, Private Practice) narrates the story from his coma bed, secretly visited by the father (Thomas Ian Nicholas, American Pie) who isn’t allowed to see him.

The mix of personalities is pretty good. A lot of boxes are checked, but the performers are all decent enough to sell the product, other than Astro, that is, who is nearly as unlikeable here as he was in the reality show in which he competed. But overall, while somewhat predictable, the relationships are compelling enough to keep the story going, as the kids individually pull the viewer’s heartstrings.

Of course, there are sappy scenes, even in hour one. A particular heart-to-heart between Jordi and Leo is obviously coming, and RED BAND SOCIETY delivers on that promise, asking for some pathos at the conclusion of a bit of fun. In this, it’s emotionally manipulative, but seemingly not in a malevolent way.

There is a staff watching over them, of course. Academy Award winner Octavia Spencer (The Help, Mom) plays the perfect “scary bitch” with a heart of gold, Nurse Jackson. She is offset by Rebecca Rittenhouse as bumbling, naïve Brittany. Surely the two of them will grow over time with one another’s help, much as the kids do. Rounding out the adult contingent is Dr. Jack McAndrew (Dave Annable, Brothers & Sisters), rocking the grey hair as he performers his duty with intelligence and compassion.

Maybe it’s a little simplistic to have such heroic healthcare providers, but RED BAND SOCIETY is a feel-good drama, and thus, needs characters to root for. The teens suffer enough from the viruses ravaging their bodies; they don’t require antagonistic grown-ups bringing them down, too. Instead, we get as cheery a picture as possible under the circumstances, which, while perhaps a tad realistic, makes the show quite watchable.

The wild card for me in this pilot is Ruben Garcia (Griffin Dunne, House of Lies, Dallas Buyers Club). Although not a main character, Ruben is the one adult shown as a patient. One of the kids mentions he’s a rich hypochondriac who will leave his fortune to the hospital, and we see him helping out the youngsters with their schemes. Clearly, the writers must put him here for a reason, so what is it? Will he help someone get through their emotional struggles, or provide an answer to a problem later on?

I’m sure RED BAND SOCIETY won’t be the best new series of the fall, but it is far from the worst, and at least it’s not just copying other series the way so many do. The message portrayed is one many viewers will connect to, or at least feel for, and since there’s no other optimistic drama like this running on the Big Four right now, it may find its niche. I certainly hope it does.

RED BAND SOCIETY airs Wednesdays beginning September 17th on FOX.

DOCTOR WHO Stops Off In "Sherwood"

Article first published as 'Doctor Who' Review - 'Robot of Sherwood' on Blogcritics.

In this week’s installment of the BBC’s Doctor Who, Clara (Jenna Coleman) asks The Doctor (Peter Capaldi) if she can meet Robin Hood. Despite The Doctor’s insistence that Robin is merely a legend, the TARDIS does manage to take the duo right to the mythological outlaw in Sherwood Forest, circa 1190-ish. The Doctor is immediately suspicious, and as they poke around this new world, soon discover that not all may be as it seems.

I have to admit, “Robot of Sherwood” disappoints me, primarily, because it goes beyond the conceivable. As The Doctor says, Robin Hood is a character, not a real person. Yet, they find him intact right where the story says he should be. Not only is Robin (Tom Riley, DaVinci’s Demons) present, but he’s accompanied by his pals Little John (Rusty Goffe, Stupid), Friar Tuck (Trevor Cooper), Alan-a-dale (Ian Hallard, An Adventure in Space and Time), and Will Scarlett (Joseph Kennedy, Sex & Drugs & Rock & Roll). They are the spitting image of the Merry Men in the novel, and their nemesis, the Sheriff of Nottingtham (Ben Miller, Primeval), invites them to an archery contest that unfolds exactly as one familiar with Robin Hood remembers.

Now, Doctor Who frequently pushes the boundaries of reality, and that is part of its charm. That is, as long as the explanation fits, sticking to the rules of the franchise. My problem is that something matching the fictional work so well should not exist on its own. Either there should be significant differences, the legend distorted over the years, or an alien or technological explanation that might have created this world. Neither ends up being the case.

To rub salt in the wound, The Doctor is intent on proving exactly what I’ve stated in the preceding paragraph, and he does indeed find a robot army led by the Sheriff. These guys have the Robin Hood tale in their computer banks, and are mimicking the story. This would be fine if the robots were behind everything, but in the end, Robin and his fellows are completely real, even if the Sheriff’s men are not. That’s just too much to stomach, even for fans of the spacey-wacey, timey-wimey stuff.

There are a couple of cool parts in “Robot of Sherwood.” While flashing through the various Robin Hood incarnations within the robots’ computer, viewers may catch a glimpse of Patrick Troughton (the Second Doctor) among the images, as he once played Robin Hood. The computer also makes mention of Missy’s promised land, though the woman herself is nowhere to be seen. These references are neat for the sharp-eyed, but not nearly enough to distract from the bad plot.

I also enjoy some of the dialogue and jokes. The Doctor and Robin’s attempts to one-up each other are amusing, The Doctor clearly being jealous of the way Clara sees Robin. Robin and The Doctor’s sword / spoon duel is fun, and the bickering in the jail cell works well, too. If the story were a little better thought-out with a conclusion that makes sense, “Robot of Sherwood” could be a fun romp, even if it falls short of the greatness Doctor Who can be. But alas, without a good ending, it leaves the whole thing feeling flat and weak.

In the end, what we’re left with is a stand-alone fantasy that might please children, but will neither stand up to the test of time nor satisfy the fans looking for Doctor Who‘s next epic journey. The series is wont throw in episodes like this from time to time, and usually they are at least middling in quality, but this one borders on unwatchable. “Robot of Sherwood” is not unprecedented, but that isn’t exactly a point in its favor. Hopefully, the show will get back on track next week.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.

OUTLANDER Worth the "Rent"

Article first published as OUTLANDER Review Season 1 Episode 5 Rent on Seat42F.

In this week’s installment of Starz’s OUTLANDER, Claire (Caitriona Balfe) sets out on the road with the clansmen, intent on using her time away from the keep as an opportunity to escape. That is, until she pays attention to these folk and learns more about then. Similarly, my first instinct is to dismiss “Rent” as a slow hour that doesn’t get to much, but the more I consider the events, the more I realize the importance of revealing politics, history, and the implications of time travel.

In the first part of “Rent,” Claire witnesses the payment of taxes as expected, but then sees Dougal (Graham McTavish) collect more coin the evening after, leading her to suspect he is skimming money for his own greedy purposes. Dougal seems content to let this impression stand. However, the more Claire hears, even in the nearly-incomprehensible Gaelic, the more she realizes that Dougal’s motivations are not selfish at all, but a collection to fund just rebellion. The Scots want to restore who they see as the rightful heir to the throne.

The way “Rent” plays this out is very interesting. Like Claire, we don’t understand Dougal’s words, as the Gaelic in OUTLANDER is not subtitled. The show is told through her point of view and we must rely on her conclusions, even if they don’t line up to reality. The show has us thinking ill of Dougal and the others until Claire discerns the truth, and like her, our minds are immediately flipped by the greater understanding.

What is the writer’s purpose in doing this? Is it to point out how often preconceived notions are wrong? Is it just a clever storytelling device? Or is it the way to brilliant craft a compelling hour of television so that viewers are not only drawn into the tale, but learn something about the world and themselves through it? Most likely, it is a combination of all these things.

Dougal and Claire’s new friend, a lawyer who counts the money, are content to let Claire believe they are criminals because they are more afraid of what she will do if she knows the truth. They don’t want her to think they are treasonous against the ruling monarch, just in case she should be re-united with the Red Coats and tell on them. This makes sense, allowing her to misinterpret, even if it casts them in a bad light, to protect themselves.

That’s a sign that they don’t trust her. Why should they? She came into their midst, a foreigner who often doesn’t see eye-to-eye, and they don’t accept her as part of their group. Yet, over the course of “Rent,” this begins to change. Once Claire sees their true intentions and respects them for it, they respect her. The clansmen fight for her honor, whether they believe in her or not, and she is able to join in their risqué jokes.

Which brings us to the climax of “Rent.” The English soldiers come for Claire, knowing she may very well be being held against her will by the Scottish clan. The episode ends without revealing whether or not Claire will stick up for Dougal et al, but I think it’s pretty obvious that she will, even if she has to lie about whether or not she’s a prisoner. After all, by now she understands them and is growing fond, even perhaps of jerky Angus (Stephen Walters). Surely she would not say anything to risk any of their lives?

We see Claire try to protect the clan this week as she talks to her new pal about the rebellion they are collecting for. She knows it’s doomed to fail and fears for their lives, but voicing her suspicions just make them all more wary of her. They don’t know that they’re on the losing side, so they see her warnings as threats or an attempt to undermine their determination. Claire wants to help, but it isn’t seen that way.

This is one of the inherent problems with time travel. Even should Claire seek to preserve the past, something many a person may do when finding themselves back in time, she really has no sway. Her motivations seem more to save lives than worry about the time stream, which makes sense, given her character. But there’s no good way for her to prevent ill from befalling them. Unless she could get them to believe she came from the future, a seemingly impossibility that she wisely doesn’t even attempt, she can do nothing to stop their coming demise.

The one person Claire may be able to confide in is Jamie (Sam Heughan). They grow closer this week when he sleeps outside her door to protect her. He’s far too gentlemanly to come inside, even when she offers, but the charge between them is obvious. They are definitely destined to be a couple, though there’s no rush on that, since Claire is still very much in love with her husband, Frank (Tobias Menzies), even though he won’t be born for nearly two centuries. Still, the seeds are more than planted and we see it growing here. And Jamie will probably believe Claire when she inevitably gives him her entire narrative.

“Rent” uses Frank sparingly, with just a couple of key flashbacks (flashforwards?). I still think OUTLANDER would be better without including Claire’s time in the 1930s and ‘40s, as the story could be told without it. However, at least this episode doesn’t make these too large a part of the proceedings, only using them to emphasize a few points.

Overall, “Rent” gives us a lot to think about, and thus is a worthy entry for a series that is fast becoming a favorite of mine. While it may start slow, the second half ramps up its importance, and the hour ends up being a pivotal one in the season-long arcs. The cliffhanger ending makes me wish we didn’t have to wait seven days to find out what happens, but at least tonight’s viewing is quite satisfying.

OUTLANDER airs Saturdays at 9 p.m. ET on Starz.

THE LEAGUE is "Sitting Shiva" For Shiva

Article first published as 'The League' Review - Season Premiere: Sitting Shiva' on Blogcritics.

FXX’s The League kicks off its sixth season this week with “Sitting Shiva.” One of the members of the fantasy football league dies and the others gather for the funeral, which happens to be concurrent with this year’s draft. Trying to pick a team and observe tradition for the deceased is hard while dodging family members and friends. Which makes for the funniest draft since the one in the delivery room, several seasons ago.

The League is much like network sister series It’s Always Sunny in Philadelphia in that it revolves around a group of guys and one girl, who wants to be one of the guys, picking on one another and being inappropriate, with hilarious results. The League is less gross and the characters are both more likeable and more relatable than IASIP, with actual emotional bonds underlying the cruelty. But it is as amusing as the long-running hit, having earned a following in its own right and its place on the network.

Yes, it’s incredibly wrong to make fun of death. Yet, somehow The League gets away with it. From the moment Ted (Adam Brody) is killed, through the sex in the morgue and the flash-mob-of-one, jokes land pretty steadily throughout the half hour. It’s almost Seinfeld-like in how cold the characters can be towards outsiders, even as they stay affectionate towards one another. But it also has that edgy, modern sensibility that makes it very watchable.

The dynamics of The League have shifted in “Sitting Shiva.” Jenny (Katie Aselton) is more accepted than ever, thanks to her win last year and current responsibility of planning the draft. Her husband, Kevin (Stephen Rannazzisi), is in a shame spiral due to his Sacko loss, making him the butt of everyone’s jokes because he’s an easy victim. This frees Andre (Paul Scheer) to stop being the one always dumped upon, and despite their efforts to bring him back down, he’s now the smooth “Teflandre.”

There is a sense that balance in the clique will eventually be restored. Yet, the way that The League constantly mixes up the chemistry is part of what keeps it fresh. Certain individuals will have their ups and downs, but these are plot-driving devices, not permanent shifts. There’s an overall consistency and continuity amid the weekly stuff that keeps it interesting.

“Sitting Shiva” makes an obvious play on the word ‘Shiva’ with a short i sound, referring to the Jewish mourning practice, and Shiva with the long e sound, the name of a female classmate of the group’s and the title of their league trophy. In retrospect, this seems like a necessity for the show to eventually get to this, and thus, the death should not be a surprise. Yet, it still elicits several chuckles when you hear the word and its varied pronunciations discussed on screen.

One thing I have complained about in the past is the overuse of NFL cameos with athletes that cannot act. Sometimes The League makes good use of its guest stars, such as Cameron Jordan and Jordan Cameron at the funeral in “Sitting Shiva.” But other times, it does not, such as pretty much everyone in Kevin’s opening dream sequence this week. Sure, some of The League‘s viewers are also football fans who get excited by these appearances, as many in the cast and crew do. But not all of us are, and given that the writers known how to effectively use some of them, the others drag down the episodes quite a bit by comparison.

Still, even with some bad cameos, “Sitting Shiva” is a memorable half hour and a great way to begin a new season. It sets up some arcs, reinforces favorite elements of the show, and is frequently fantastically funny. Six years in, it shows no signs of staleness, and I look forward very much to what else it has in store this season.

The League airs Wednesdays at 10 p.m. ET on FXX.

DOCTOR WHO's Introspective Trip "Into the Dalek"

Article first published as 'Doctor Who' Review - 'Into the Dalek' on Blogcritics.

Episode two of Doctor Who‘s eighth season is markedly better than the first. Now that The Doctor (Peter Capaldi) has settled into his new body, he can start to figure out who he is. This week, in “Into the Dalek,” The Doctor struggles with the question of whether he is a good man, after he encounters his most hated foe (a Dalek of course), who seems to be nice. Shrinking himself, he heads into the Dalek’s body to figure out the malfunction, and in the course of the story, there’s as much self-examination as external investigation.

It makes sense that The Doctor has chosen now to ponder whether he is good or not. He’s recently faced his greatest challenge, his various incarnations teaming up to commit genocide and possibly save trillions of lives. He’s also in a new form, head flooding with memories from the previous versions, some good, some bad. The Doctor is trying to process all of this to determine his way forward.

In the season premiere of Doctor Who, Clara (Jenna Coleman) wonders if something has gone wrong when the new Doctor appears old and wrinkled. Combined with the reflection in “Into the Dalek,” it seems he agrees with her. This Doctor regrets some of what he has done and wants to make up for it. He is just having trouble finding the way to do so. This turmoil is illustrated in his appearance.

It’s a good thing he has Clara, then, his ‘carer,’ as he calls her, so he doesn’t have to care. The Doctor can be quite cold, especially when traveling by himself, which we’ve seen in past personalities. The Twelfth Doctor spends only a few weeks alone before picking up Clara in “Into the Dalek,” but his emotional level is low in this installment, especially where the Daleks and human soldiers are concerned, having much trouble finding empathy, even for death. It takes Clara to make him think of others and do the right thing, thereby proving her importance.
 
Unfortunately, there is a setback when the Dalek looks into The Doctor’s soul and sees hate. No matter how much The Doctor tries to do good, which Clara says is the point, he can’t overcome his baser instincts. The result is that The Doctor unleashes a Dalek back among their race that will systematically kill his own people. This may be good news for the Daleks’ would-be victims, but it also is another thing for The Doctor to feel bad about.

He also refuses to take Journey Blue (Zaw Ashton, Fresh Meat) with him, away from the fighting, although she’s probably a good person, because she is a soldier. The Doctor is letting his petty hangups get in the way of someone else’s happiness. For every step forward, there’s another one back. But, oh, what a compelling journey!

The episode also explores the character of Clara. We see her as a teacher both in the classroom and out, helping The Doctor reach his own conclusions, rather than giving him the answers. This part of her personality is one that has not previously been played up to a huge extent, but now we see exactly the type of person she must be in her normal life, and it’s one that The Doctor needs right now. I still may not like Clara, but she is well used here, and the right woman for the moment.

We get glimpses of her flirting with a new teacher, Danny Pink (Samuel Anderson, Emmerdale, The History Boys). He is a soldier, which means The Doctor wouldn’t approve of him, but he is similar to The Doctor in that he regrets the violence he has done, making him worthy, perhaps even more so because he is in touch with his feelings. He’s sort of a simpler version of the title character in a younger, more attractive body, which makes him pretty much perfect for Clara, likely still missing her ‘hunky’ Eleventh.

I’m intrigued by the brief scene featuring Missy (Michelle Gomez) in “Into the Dalek.” Why did she only rescue one of the soldiers that died? What is her plan? How is she saving these people? ‘Heaven’ has to be code for something, but I can’t imagine what. I look forward to how Doctor Who unravels her mystery.

There are a few problems with “Into the Dalek.” I can’t believe Colonel Blue (Michael Smiley, Luther) would let The Doctor go get Clara before going into the Dalek when he is so concerned about security just moments before. The body itself is a bit cheesy, like in other movies that have a similar premise. But overall, there is so much great character stuff that I really enjoyed it. I love the way the Daleks are brought back, fresh yet again, and the peek at Clara’s ‘real’ life.

Doctor Who airs Saturdays at 9 p.m. ET on BBC America.