DVD Release: Tinker, Tailor, Solider, Spy and Smiley's People

     Now available from Acorn Media on DVD is the classic British series, Tinker, Tailor, Soldier, Spy, and its sequel, Smiley's People. Both are based on books by John le Carre, and feature the same lead character. In Tinker, Tailor, Soldier, Spy, George Smiley (Alec Guinness, Star Wars), the retired Deputy Head of the Service, hunts for a Soviet mole in the Circus, a top level spy agency within MI6. With suspicion narrowed down to four people, Smiley has to call on every one of his considerable talents to figure out which one it is. This is a Cold War tale, with the threat of war and Soviet aggression hanging over Smiley's head. When his own past comes into play, things get personal for Smiley.

     Of course, this being a hero piece, Smiley triumphs. He sets an elaborate trap, and catches the mole, someone Smiley knows all to well. Before justice can be served, though, the man is killed. This is one mystery that Smiley cannot solve. Besides, he has his hands full trying to whip the Circus back into shape.

    Smiley's People is along similar lines, as Smiley is once more plucked from retirement. He is disappointed to find the Circus back in disarray, more political than practical. While tying up loose ends from a friend's death, Smiley is once more drawn into Soviet espionage, and is soon back on the trail of Karla (Patrick Stewart, Star Trek: The Next Generation), who escaped him before. Others have tried to clean up the mess, but it's up to Smiley, who actually puts relevance in a source, to dig deeper and find the truth. Unfortunately, the people now running the Circus would rather scandal be avoided than criminals caught.

     Smiley is not one to roll over, so pushes on, traveling where he must to uncover why people are dying. However, during this journey, Smiley begins to change. Not exactly warm and fuzzy in the first place, he realizes that the only way to defeat Karla is to become equally ruthless. This means he must cut off contact with loved ones, and do what he has to. The cost may be more than he'd like. Which begs the question, when is a win really a win? What if exposing the truth is not worth it?

     Hailed by many as brilliant, these two series have garnered their fair share of awards. Emmy nominated, and BAFTA winning, the subtleties of performance and story combine to make a truly memorable tale. Despite being released in 1979 and 1982, respectively, there is nothing lost. All of the elements that matter don't seem dated, even if the Russian threat does. More importantly, the essence of humanity and questions of morality survive and matter as strongly as ever. Plus, both look fantastic, filmed on location in London, Paris, Berne, Hamburg.

     Guinness delivers what some consider the performance of his career. He is surrounded by a number of other talents, including Stewart, Eileen Atkins (Doc Martin), Bill Paterson (Law & Order: UK), Anthony Bale (Game, Set, and Match), Bernard Hepton (The Charmer), Andy Bradford (Dixon of Dock Green), Michael Byrne (Coronation Street), Michael Jayston (Emmerdale Farm), George Sewell (The Detectives), Ian Richardson (Bleak House), and more. It is definitely easy to watch a cast such as this deliver an engrossing story.

     The extras are light, as usual for these value releases of older series. Tinker, Tailor, Soldier, Spy has a nearly half hour interview with the books' author, his bio and booklist, production notes, fimlographies, and a glossary of terms and characters. Smiley's People has another twenty minutes with le Carre, as well as the bio, booklist, glossary, filmographies, and production notes. In short, the two have very similar bonus features.

     In short, for the low price offered, these two sets are well worth the cost. Whether you are discovering the stories for the first time, or remember fondly the original broadcasts, I highly recommend picking up both sets. Plus, it couldn't be more timely to review these productions, as a film adaptation of Tinker, et al will hit theaters this December, starring Gary Oldman and Colin Firth.

     Buy Tinker, Tailor, Soldier, Spy and Smiley's People, on DVD now.

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Burn Notice is "Damned If You Do"

     As USA's Burn Notice returns to finish their fifth season in "Damned If You Do," Michael Weston (Jeffrey Donovan) is sent by Anson Fullerton (Jere Burns) to get a computer guy hiding down in Puerto Rico. Michael and Fiona (Gabrielle Anwar) make the snatch, but when the guy takes them to his girlfriend (Carla Gallo, Bones, Men of a Certain Age), a cocaine dealer is soon after them. Michael figures out how to get the info Anson wants, let the guy and girl escape, and have the cocaine dealer end up in jail. All in a day's work.

     Carla Gallo should guest star in every series, and she is well on her way, with many credits already under her belt. She is cute, funny, and a pretty darn good actress. Despite her very small role in Burn Notice, she still adds to the episode's enjoyment greatly. Wonderful decision to cast her.

     Anson is making Michael do things that aren't right. Anson isn't the first man that leads Michael down a dark path, but this time, the stakes are considerably high. If Michael doesn't keep doing as Anson asks, his love, Fiona, will spend the rest of her life in prison. But what Anson asks is not only dangerous and illegal, but could get people hurt. In "Damned If You Do," Michael gets a horrible virus for Anson that could cause some real damage. Considering what a psychopath Anson is, there is no telling what he might use it for. Is saving Fiona from being behind bars really worth other lives?

     Even scarier, Agent Pearce (Lauren Stamile) ups Michael's security clearance with the government this week. Michael now has more access to sensitive things, and Anson will surely take full advantage of that. Since, somehow, he knows. Is there a leak in Pearce's camp, or even higher up the food chain?

     At some point, Michael is going to decide that it's not worth it. He has to. True, he could end up clearing her name first, but it would be far more interesting if he doesn't, and has to sacrifice Fi. Of course, he wouldn't let her stay in prison. There could be a Prison Break-esque arc where Michael and friends break Fi out and spirit her away. This would make a fantastic final season, as the gang, or possibly just the couple, dodges bad guys and authorities alike. Given Burn Notice's penchant for taking some chances and changes, but not going too far, this probably won't happen. But how cool would that be?

     Instead, Michael and co. will find some way to clear Fiona's name and stop Anson. That's how the series works. On that front, Sam (Bruce Campbell) and Jesse (Coby Bell) get Madeline (Sharon Gless) to break into a police laptop in "Damned If You Do." The point is to discover if there is currently any evidence in the investigation on Fi. Or rather, the bombing Anson promises to frame Fi for. Not only don't they find anything helpful, but Anson reveals he knows what they're doing, and he's too smart to be tricked. His arrogance may be his undoing, but for now at least, he maintains the upper hand.

     For some reason, the opening of Burn Notice remains the same as it was in season one. This isn't cool, because Michael is no longer burned. Plus, Jesse, now a main character for two seasons, isn't a part of it. It's past time to change the opening. It's understandable that the series is going for consistency, but this is one area in which it needs to stop. It used to fill the viewer in on what is going on. Now, it may just confuse them, if they are not up at current plot.

     Watch Burn Notice Thursdays at 10 p.m. ET on USA.

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American Horror Story celebrates "Halloween"

     This week and last, FX's big horror drama, American Horror Story, pulls out all the stops for a two-part "Halloween" showdown. Because of the holiday, the walls between the ghost world and the "real" one are thin, and the house's previous residents manifest more than ever. What's more, they can leave the property, and they do. This provides trouble for Ben (Dylan McDermott) when Hayden (Kate Mara) insists on telling Vivien (Connie Britton) the truth, and possibly microwaves her dog. A gang of teenagers come after Tate (Evan Peters) as he tries to enjoy his date with Violet (Taissa Farmiga). And feuding gay couple Chad (Zachary Quinto, Star Trek, Heroes) and Patrick (Teddy Sears, Torchwood, Raising the Bar) try to help decorate their former home.

     When a series hinges on the creepy, as American Horror Story does, it makes total sense to celebrate "Halloween" in a big way. As such, the series brings in a ton of guest stars for this episode. Not only do Chad and Patrick, the most recently deceased residents, pop up, but so does virtually every ghost seen in the first few episodes, including Nora (Lily Rabe), Charles (Matt Ross, Big Love), Angie (Missy Doty, Shameless), and Maria (Rosa Salazar, Parenthood). As if that isn't enough, the gang of teenagers that chases Tate boasts some recognizable faces, such as Alessandra Torresani (Husbands, Caprica) and Ashley Rickards (Awkward.). One would think that this means "Halloween" is just a stunt episode, but it's not. Each extra performer is used sparingly, but importantly. They enhance the plot without distracting from it. Good thing American Horror Story gets a full two hours to tell this tale, because there is far too much going on for a standard episode length.

     Of course, horror stories are not nearly as scary without death. "Halloween Part 1" delivers a significant, and unexpected, one when Adelaide (Jamie Brewer) is hit by a car. Desperate to save her, her mother Constance (Jessica Lange) pulls Adelaide frantically towards the property where the haunted house sits. This seems to support what has been suspected, that people who die on the property do not follow the same rules as the ordinary dead. Sadly, it looks like Constance doesn't quite make it, and so Adelaide will be absent for the remainder of the series. Unless the creators are just trying to trick the audience, a possibility they could choose to utilize right away, or save for years from now. Or she can still return next Halloween, either way.

     There are further rules revealed for the ghosts in "Halloween." It is already known to viewers that Moira (Frances Conroy) is dead. But it seems that she cannot normally leave the property, except on Halloween, when the barriers are down. She uses this opportunity to visit her mother in the hospital, and ends her mom's life. Her mother asks Moira to come with her to the other side, but Moira says that she can't. Why not? What holds Moira back? The house must have a draw that not only lets the dead speak to the living the dwell there, but also keeps them from crossing over to peaceful bliss. It's evil as well as scary.

     Of course, Hayden causes the most trouble by far. Upset that Larry (Denis O'Hare) kills her, and Ben builds a gazebo over her body, she is determined to let Vivien know that she has Ben's unborn child in her belly. When Vivien doesn't want to listen, Hayden grows more and more upset. It is unclear if she actually microwaves Vivien's dog, making it now one of the house's many ghost inhabitants, or a tomato, as she tells the security officer, Luke (Morris Chestnut, V). I suspect the former. But learning that Vivien is also with child seems to change things for her. She thinks that might be why Ben didn't leave Vivien, though in reality, that's hardly the only reason. Either way, it appears that Hayden may stop causing trouble, at least for now.

     Is Tate a ghost? This is a question that lingers throughout American Horror Story. The teenagers that chase him at "Halloween" claim that he killed them. They also say they would be in their thirties if he hadn't. Since Tate still looks like a teenager, that means he must be dead, too, not aging. A brief cut scene also might back up their story. Unless they have the wrong guy, as Tate says. Since Tate is only seen on the property, except in "Halloween," and he can easily get in through some unknown way, he may very well be a ghost. The teens might only be able to appear on Halloween, not having been killed on the property. Did Tate then go there, maybe because he might live in the house, and kill himself?

     Equally interesting is the revelation that Tate is Constance's son. Constance worries what the news of Adelaide's death might do to him. This would lend credence to the ghost teens' story, showing that Tate has a temper, and can act violently. As such, Constance's conversation with Violet lends as much support to the Tate as a ghost theory as the teenagers hunting him do. Whatever is real or not, Tate is a vital part of the house's story, and thus, an important thread of American Horror Story.

     So what might change, now that Vivien hires Luke to help with security? Clearly, he lends a hand with the angry Hayden, and can cart her away, at least temporarily. But now he's going to suspect some stranger happenings, considering that Hayden disappears from his patrol car as morning breaks. It doesn't make a lot of sense that a security guard can provide much protection against the dead. But if he knows what's really going on, maybe he could be some sort of help. If nothing else, it will give Vivien some peace of mind.

     She'll need all the peace of mind she can get once she's in the house alone without her husband.  Now that Vivien has kicked out Ben, it makes her all the more vulnerable. True, Vivien is a tough lady, and can take care of herself. But when facing off against ghosts, the more help one has, the better. Without Ben around, that is one more protection that she doesn't have. Or maybe she's safer without Ben, considering what the house drives Larry to do when he lives there.

     Larry must be permanently changed by the house, unable to leave it, unwilling to stop interacting with the current owners. Larry is probably not a ghost, because Ben interacts with him outside of the home in a previous episode. But he still looks like he's from another time, and is heavily involved in the goings on there, like Constance. Thus, Larry is likely to keep going after Ben for money, if for no other reason than to stay involved. How soon until his continued presence tips off Vivien about Hayden's fate, and Ben's part in it?


     For anyone who likes a good scare, or a decent mystery, American Horror Story is a series to watch. Having just been renewed for a second season, like its ghosts, it is not going anywhere.

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Article first published as TV Review: American Horror Story - "Halloween: Part 1 & Part 2" on Blogcritics.

Bones sifts through "The Memories in the Shallow Grave"

     A woman's body is found by some paintball players in the seventh season premiere of FOX's Bones, "The Memories in the Shallow Grave. The team quickly becomes confused when identifying the remains and solving her murder, since the woman herself lost memories, and lived more than one life. Still, the squints are good, and eventually they sort out the mystery.

     Dead bodies might be interesting, and the meat of Bones's concept, but the one featured in "The Memories in the Shallow Grave" takes a back seat to the relationship between Booth (David Boreanaz) and Brennan (Emily Deschanel). Picking up months after the season six finale, in which Brennan reveals she is pregnant with Booth's baby, the two are now fully committed as a couple, spending all their personal time together, as well as work assignments. It's a little sad that viewers miss most of the adjustment phase, they two already being a pretty happy couple as Bones resumes the new season.

     There is one major stumbling block to this long-awaited union however, and that is where the couple will live. Brennan thinks it is logical for him to move into her place, but he is angry that she seems to make that decision without him. It's a battle of brain versus emotion, an interaction that plays out many times between the partners over the years. This is merely the latest instance that it manifests in. Of course, in the end, Brennan gives in. She has to, because she's wrong. Maybe not for an intellectual standpoint, but relationships are not about intellect.

     Even more interesting, Brennan and Booth both think the other will end up proposing first. It's about time they got together, and they both seem to have decided that their marriage is a foregone conclusion. Which is kind of a relief after so many years of "will they, won't they?" It also makes sense, because it's not like they both haven't had plenty of time to think it over. Instinct says Booth will probably do the asking, but that may not necessarily be true. Brennan is flooded with hormones that make her more in touch with her feelings than usual. Plus, it would be a fun twist.

     It's awesome that they shut Sweets (John Francis Daley) out of the entire matter. He is a friend, yes, but sometimes he seems them more as an interesting case study than people. This is best left for the two of them to work out, without his interference, as much as he'd like to be in the thick of things. Maybe Sweets just needs to concentrate on his own love life instead of theirs, since they've moved past needing his help.

     Elsewhere on the baby train, Cam (Tamara Taylor) in none too pleased when Angela (Michaela Conlin) sneaks her baby into the lab to visit daddy Hodgins (TJ Thyne). Sure, Cam thinks the kid is cute, like most people. She's not immune to the infant's charms. But she's also the boss, and she is correct that babies don't belong in a place of business. Especially not a place like the Jeffersonian lab, with tons of dangerous and fragile equipment and chemicals. As such, it's hard to get upset with Cam, no matter how sympathetic the new parents are.

     Wendell (Michael Grant Terry) is the lucky squintern to appear in "The Memories in the Shallow Grave." He doesn't get anything particularly juicy to do, but watching him try to sooth Cam's ego when she realizes that pregnant Brennan is far more intimidating is great. Plus, it's nice to see him being OK with losing Angela to Hodgins, after a bit of an awkward period.

     Watch Bones Thursdays at 9 p.m. ET on FOX.

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"Forced Family Fun" just another part of Parenthood

     In this week's installment of NBC's Parenthood, "Forced Family Fun," Kristina (Monica Potter), saddened by the way her family seems to be growing apart, makes the whole clan plan to spend an evening together. But stressed out by their complaining, she leaves them standing on the side of the road. Also, Crosby (Dax Shepard) is uncomfortable when Jabbar (Tyree Brown) spends time with Dr. Joe (DB Woodside), Julia (Erika Christensen) worries over Zoe's (Rosa Salazar) diet, and Sarah (Lauren Graham) helps Seth (John Corbett) through rehab.

     Kristina is right that a family needs to make time to spend together, and from her perspective, as of "Forced Family Fun," they aren't. Adam (Peter Krause) has the new business he's trying to get off the ground with Crosby, Haddie (Sarah Ramos) is a senior preparing for college, and Max (Max Burkholder) is still adjusting to being in a mainstream class in a public school, so they are justifiably busy. While at home with the new baby by herself all day, Kristina's not being too selfish to ask for a little time with the others. She isn't even trying to get them to help out with the infant, something she probably needs, as being with someone who can't talk all of the time is driving her a little crazy. Who can blame her?

     It's also understandable that Kristina has the reaction that she does, stranding Adam, Haddie, and Max on the side of the road, albeit, not far from where they live. The chastised relations do their best to make it up to their mother and wife, while Kristina apologizes for her rash actions. No one is really in the wrong more than the others, as Kristina does over react, and the others are trying to please her. Just normal, realistic family problems, with a little bit of early empty nest syndrome thrown in for good measure. They will work themselves out in time, per Parenthood's typical trend, and this is not a situation that bears worrying about.

     Unlike, say, Julia's baby issues. Having to watch someone like Zoe carry an unborn child that Julia is adopting is hard for the resident control freak of Parenthood. Joel (Sam Jaeger) tries to calm Julia, but both realize that they can't let Zoe go on eating raw sushi all the time, as she does in "Forced Family Fun." It's just not good for the baby. Julia tries to appeal to Zoe's sense, promising that she isn't just speaking up because she is getting the baby. And she's probably not. Julia is a warm-hearted individual, who cares for Zoe. But that doesn't mean that Zoe isn't offended when confronted.

     Thankfully, Zoe ends up going over to Julia's house for dinner, showing signs of forgiving the intrusion. She realizes Julia has her best interests at heart, and as Julia fears, Zoe has no one else. As such, it's nice that Julia, and Joel, to a lesser extent, can be there to offer their support during Zoe's pregnancy. Zoe may have been a stranger, but now she's becoming quite close.

     The worry here is, Zoe does not want an open adoption, and neither do Joel and Julia. What will happen if the three become very friendly, and one of the parties begins to change their mind? It makes sense for Zoe to have a relationship with her unborn child down the road, even though it will cause plenty of awkwardness and confusion, when she likes the family so much, and there are two mothers. But that could also interfere with the child's development. It's a tricky situation that bares careful consideration before any more major decisions are finalized.

     Another serious event in this week's Parenthood is Seth's rehab. Sarah wants to be there for the father of her children, but her feelings do not just stem from sharing offspring. If they did, she wouldn't have to be as involved as she is. And frankly, the kids are old enough to make up their own minds about their dad, and follow their own direction. In fact, Sarah is more into Seth's recovery than either of their children. The fact of the matter is, Sarah obviously still harbors romantic feelings for Seth. Which may not exactly be healthy.

     That's why Zeek (Craig T. Nelson), shut out by Sarah for voicing his concerns, asks Adam to have a conversation with his sister in "Forced Family Fun." Both men are worried about what getting back with Seth might mean for Sarah. Given Seth's track record of disappointment and hurt, Sarah should definitely guard her heart if she wants to continue to see him. But shutting off emotion isn't easy or natural for Sarah, and it's much more likely that she will be deeply wounded if Seth slips again.

     Furthermore, Sarah is already in a stable, healthy relationship with Mark (Jason Ritter) in Parenthood. Mark may be quite a but younger than Sarah, but they mesh really well. Mark is being supportive of the whole Seth situation, but he is also growing weary of the number of times he is put in second place for Sarah's attentions. Who can blame him? Sarah already put Mark on hold before, and after reuniting, it really isn't fair for her to keep stringing him along, no matter how sympathetic her dilemma is. Mark is the smarter, more mature choice to make, and Sarah needs to commit fully before she loses him. If she chooses Seth, she'll probably end up without either guy.

     Finally, Crosby has some valid beef with Jasmine (Joy Bryant) in "Forced Family Fun." They previously agree to discuss any potential significant other entering their son, Jabbar's, life. She allows Dr. Joe, whom she is dating, to play with Jabbar without consulting Crosby. But Crosby does arrive twenty minutes early, or else Dr. Joe would have been gone. Jabbar just wants to play, as any kid does, and doesn't understand the situation fully, so it's no wonder that Joe and Jasmine allow it. Which means that there is a legitimate problem where no one is clearly or completely in the wrong.

     Dr. Joe is sticking around for at least a little while. Not only is he Jabbar's doc, but he's also been picked up by Kristina for baby Nora. Which is great news, because Woodside is always a pleasure to watch. However, this means no immediate happy reconciliation for fans of Jasmine and Crosby being together. It also means that Jabbar's life is about to get more complicated. If Parenthood chooses to seriously pursue Dr. Joe, the series should consider keeping him permanently, and just letting Crosby move on. Otherwise, adding this much drama puts it as risk of becoming too cheesy, and sends it down the path of so many shows before it.


     Watch Parenthood Tuesdays at 10 p.m. ET on NBC.

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Article first published as TV Review: Parenthood - "Forced Family Fun" on Blogcritics.

"Pot O' Gold" proves elusive on Glee

     FOX's Glee finally returns with "Pot O' Gold." Brittany (Heather Morris) thinks the new Irish exchange student living with her, Rory Flanagan (The Glee Project co-winner Damian McGinty), is a leprechaun. Santana (Naya Rivera) uses that to her advantage to get Brittany, now her girlfriend, to leave the New Directions with her and defect to Shelby's (Idina Menzel) group. Tossed aside, and exposed as non-magical, Rory is sad and bullied. Until Finn (Cory Monteith) befriends him and brings him over to the New Directions.

     Damian is laying on his accent a bit thick in Glee. He was understandable during the reality show this summer, but sometimes one must strain to pick out the words that his new character is saying. The songs chosen for Rory in this episode also fall flat. "Bein' Green," a classic, has weird phrasing. In "Take Care of Yourself," Rory jumps into an odd falsetto. Neither work really well. Which means a very odd, weak opening for someone that should be a really cool character.

     Also lame is Quinn's (Dianna Agron) plot to steal baby Beth back from Shelby. In "Pot O'Gold," Quinn places dangerous and illegal items in Shelby's house, than calls family services to report her. Luckily for Shelby, Puck (Mark Salling) has an affection for her, and removes the offending objects, with Shelby none the wiser about the plot. Quinn will try again, surely, but Puck won't be a part of it next time. Wanting her baby back makes sense for Quinn, who doesn't have a lot going on otherwise, and has been looking for direction. However, it's a huge step down for the character, who is no longer interesting, merely evil. For now.

     It is no surprise that Puck ends up kissing Shelby at the end of "Pot O' Gold." Anyone with eyeballs can see the smooch coming from a mile away, especially when Puck croons "Waiting for a Girl Like You" to Beth in front of Shelby. Feelings about the budding relationship, though, are mixed. Puck is a senior, and Shelby works at his school. True, Shelby only teaches a glee club, which Puck isn't a part of. And Puck is probably eighteen. Plus, Puck already has a track record of going for cougars, of which Shelby might qualify, albeit she is much classier and less slutty than the typical one. Still, there's something vaguely creepy about a student and an older woman. Please drop the Mrs. Robinson story line!

     Blaine (Darren Criss) continues to clash with Finn as the male lead of the New Directions. It isn't so much that Blaine is trying to take over, but that Finn feels outmatched vocally, and he should. Finn is handling the situation like an idiot, unfortunately. But Blaine is mostly staying out of any real bickering, to his credit. Given Finn' previous plots, he will probably come around and apologize, finally showing maturity. Eventually. Until then, it makes Finn quite a bit unlikable, acting like a child.

     Blaine sings "Last Friday Night (T.G.I.F.)" in an effort to raise the club's spirits. This continues Criss's trend of making catchy, mediocre songs actually sound really good on Glee. Unfortunately, there is something missing in this performance. It may be the lack of an all-male vocal backup. Blaine seems a little different and off with all of the girls singing around him. Too bad, because Blaine rocks otherwise.

     Despite the music-enhanced low points of "Pot O' Gold," there are actually some really good, non-music stories going on. The most notable is Burt's (Mike O'Malley) entry into the race against Sue (Jane Lynch). Coming too late to make it onto the ballot, Burt begins the arduous process of campaigning as a write in. This comes after Burt finds local business owners to re-fund the musical that Sue cuts the budget from. Burt stands a chance at winning because he is passionate about the cause, crediting Will (Matthew Morrison) and the glee club for saving Kurt's life.

     Glee may be slightly preachy when championing Fine Arts Education, but it's not wrong. A lot of kids need music, drama, and art. They need passion when having trouble connecting with other material, and struggling to find themselves. Not to mention the benefits, such as kids performing higher in other subjects, when arts ed is added in. Burt is exactly right that, in a time of budget cuts, the arts should be protected, not chopped. It's a timely message in Ohio and the country, and Glee gets mad props for defending it so vigorously.

     The threat from Sue is that she plans to refocus her campaign on her original goal: getting better Special Education programs, in memory of her sister. This is a sympathetic message, and one a lot of people will be able to get behind. Because it's television, and not a huge, nationally-spotlight race, people may even forget just how psychotic Sue's earlier comments sound. But with Kurt and the other seniors graduating, this will probably be Burt's last season on the series. A triumphant move to Washington would be a fitting ending. So let Burt win, and he can help Special Ed as well as Arts Ed. A better choice, over all.

     It seems for awhile like Glee will stop pursuing the love story between Brittany and Santana. Thankfully, that is not the case in "Pot O' Gold." They are out on a date at Breadsticks (of course), and Santana really opens up about her feelings. While less committal, Brittany seems to return those emotions. They make a cute couple, and as long as Brittany really digs girls, which it appears she does (as well as guys), then they can really work. With other love interests removed, there is no reason why the two cannot be together.

     Which makes their triumphant "Candyman," with Mercedes (Amber Riley), so thrilling. They are happy together, mixed only with a little sadness about leaving the New Directions. This girl-power group is formidable, which is apparent not only to the members, but also Shelby, Will, and Finn.

     The only weakness here is that Sugar Motta (Vanessa Lengies) steps aside a bit too easily from headlining the group. If she really has conviction about her talent, as she claims she does, she wouldn't give up so easily. Now it seems like her character is brought in only as convenience to get a second group going, and bring Shelby back. Which might be worth it, anyway.


     Don't miss Glee, Tuesdays at 8 p.m. ET on FOX.

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Article first published as TV Review: Glee - "Pot O' Gold" on Blogcritics.

"The Wake-Up Bomb" explodes all over Covert Affairs

     USA's Covert Affairs returns for a fall run with "The Wake-Up Bomb." On assignment in Venice, Annie (Piper Perabo) loses her target package. Taking things rough, she returns to the states, and indulges in a bit of alcohol. At the restaurant, she meets a charming Spanish chef (Santiago Cabrera, Heroes, Merlin). The next day, by coincidence, Joan (Kari Matchett) assigns Annie to watch the chef. It's really his brother (Matias Padin, Nya tider) who's the villain. Meanwhile, Jai (Sendhil Ramamurthy) makes a play that results in a major promotion, using his father, Henry (Gregory Itzin), as a pawn.

     Jai is turning out to be quite interesting. After being wasted for most of the first season, a fact that does not escape the character's own notice, Jai begins rebelling in season two. With his reputation way down, the only way he sees to raise it again is to trick Henry. Considering there is little love lost between father and son, and the son appears to be in the right, it's hard to blame Jai for his actions. Pretending that he is ready to testify on the hill about Henry being the leak, and quietly making sure his father knows this, Jai is named Director of Special Projects, and gets his own office. Henry actually reacts quite well when he realizes the truth, thinking Jai is finally showing promise. It's that twisted logic that proves Jai is better off without Henry's influence. Hopefully his future activities will help bring Henry down.

     Annie also has family problems, and also because of lies. Annie hopes that apologizing to Danielle (Anne Dudek), after giving her time to cool off, might reverse her sister's decision to kick Annie out of their home. It doesn't, but that's a good thing. Many series would let the status quo reset, but not Covert Affairs. Annie is setting up new digs, and it looks like while Danielle will forgive her sister, opening the door to a renewed relationship, she isn't going to let Annie back on the premises anytime soon. This is understandable, because Danielle has her kids to worry about. It's also realistic, making the case for great chemistry between the girls. Great job, writers.

    Of course, the highlight of almost any episode is any Annie / Auggie (Christopher Gorham) interaction, and "The Wake-Up Bomb" is no exception to this rule. Annie finally begins setting up a safe house, something Auggie has encouraged for awhile. She does slip up and tell him the general part of town it's in, even though he insists no one must know the location, including him. It isn't really a slip up, though. More, Auggie is Annie's closest friend, and the guy she trusts most. His housewarming gift of a bottle opener is as sweet as it is funny. Would the two of them hurry up and get together already? They could certainly handle more than a platonic relationship.

     The case of the week in "The Wake-Up Bomb" is pretty cool. With Annie open for a new relationship, her chef buddy seems promising. Their chemistry is great. Except, she isn't allowed to date a foreign citizen. And he is a reformed criminal with a brother who isn't so reformed. So, instead, we get an interesting story, with a few twists, and guest starring character that have a bit of depth. This raises the story to a higher level, and boosts Covert Affairs as a better series. With plots of the week at this caliber, it helps keep the show a tolerable procedural. Well, that, and above serial stories are pretty good, too.

     The only very weak point, and granted, it's a biggie, is that Annie just happens to hang out with the chef the night before he is assigned as her target. Seriously? Come on! Coincidences that big just do not happen.

     All in all, Covert Affairs is growing into a better series than it began as. If it continues this trend, it will quickly become a must-see show, something it isn't quite at yet, but on its way to. Watch is Tuesdays at 10 p.m. ET on USA.

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New Girl gets "Naked"

     In the first new episode of FOX's New Girl to air in weeks, Jess (Zooey Deschanel) walks in on Nick (Jake Johnson) dancing "Naked." Her laugh / scream takes away any confidence he has in himself, and ruins his date with co-worker Amanda (Lake Bell, Childrens' Hospital, How to Make It in America). Jess scrambles to fix things between them, but Nick doesn't make it easy, with his refusal to talk about his feelings. Schmidt (Max Greenfield) becomes resentful because he is the only one in the apartment who hasn't viewed Nick's genitals, and Nick refuses to correct that injustice. Winston (Lamorne Morris) ignores all the drama, realizing he has two years of pop culture to catch up on, and glues himself to the internet.

     Lake Bell is amazing. She is sexy, brave with the comedic moments, and a very talented actress. Because she plays someone that works with Nick, it opens the door for a recurring role. Except she's already starring in two cable series currently airing. Which means it is very unlikely that she will ever become someone seen regularly. This is too bad, because Amanda has some potential. Her sarcasm may be a bit that will get annoying quickly, but she could grow and develop. Plus, her awkwardness with Nick after the disastrous bedroom scenes, plural, is good to milk for at least one more installment.

     New Girl has already discovered who it is, just four episodes into the freshman run. That's quite a feat for a new series. It's not a perfect show, yet. With all of Jess's charm, including her ad-libbed singing, she can still get on the nerves when she can't bring herself to say "penis." It's the childishness that is a bit of a turn off. However, Deschanel commits fully to the character, and much of the questionable behavior will likely fade away as the character grows. Her relationship with the roommates, and the types of situations that this situation comedy tackles, though, are solid and enjoyable. Overall, New Girl falls firmly in the 'win' column.

     Is New Girl setting up Nick and Jess for romance? They are the most similar, in terms of dating experience and preference. They also are the most developed characters on the series, with Schmidt and Winston taking more a supporting, goofy role...for now. It would not be surprising if the show goes for a Nick / Jess pairing. But considering the roommate situation, and the series premise, it would inevitably end in a break up, with pining and depression. All this would not be a total mistake, but there's a definite feeling that New Girl will be better if they keep Jess platonic with all three of her co-habitants. Certainly, it would be more original to do so.

     "Naked" brings out the creepy in Schmidt, which is actually a good place to go with that character. Because Schmidt is such a d-bag, fans won't want to see him get lucky with a lot of girls. In fact, he deserves some humiliation first, so he can grow into a better man. Until this happens, making him pathetic, and obsessing over things like seeing his best friend's junk, is pure comedy gold, so there is no reason not to go for it.

     Winston is still somewhat of an enigma. Missing from the first episode, the former professional basketball player (in Latvia, though he's American), isn't a natural fit with Jess. Which works out quite well. He doesn't really gel with this week's plot, so he is given his own. There are a few references thrown in here that will date the episode in syndication, but overall, it works out OK, giving a slight bit of insight into the type of man Winston is, while avoiding forcing him into a situation where he doesn't belong. Good job.

     Watch New Girl Tuesdays at 9 p.m. ET on FOX.

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Castle plays "Cops & Robbers"

     In the latest installment of ABC's Castle, "Cops & Robbers," Castle (Nathan Fillion) and his mother, Martha (Susan Sullivan) are at the bank when it is taken over by four robbers in hospital scrubs, using famous television doctor names as aliases. Trapper John (Darren Pettie, Mad Men, Ringer) seems to be in charge, and catches Castle on the phone with Beckett (Stana Katic). Thus, Beckett becomes the bad guys' line to the outside, much to the chagrin of the hostage negotiator, Captain John Davis (Dean Norris, Breaking Bad). But Castle realizes that something strange is going on when the thieves ignore money, bring explosives, and purposely trigger the alarm. In the end, with the villains having blown themselves out, Castle and Beckett put together what is really going on, and save an abused woman and child.

     The concept of a main character in law enforcement ending up inside a bank robbery, while their partner on the outside manages to get involved in the hostage negotiation, is far from original. It has been done on numerous occasions, with a number of small twists, but basically, all such stories are the same. Except for "Cops & Robbers." Castle throws a huge twist by making the bank robbery just a cover. In fact, there's a significant portion of the episode that takes place after the explosion, and the leads must still solve a real mystery. In this way, Castle puts its own spin on a familiar trope.

     The chemistry between Castle and Beckett, steadily growing over several seasons, is near bursting at present. Beckett is still lying about remembering Castle confess his love in last season's finale, but it's very clear how much she cares. The duo work together during the hostage situation, sending secret signals, but their understanding of each other goes much deeper than normal co-workers. Many series with two simmering leads keep them apart for many years, and then eventually give in down the line. Only in season four, Castle seems poised to make the shift early, much to its credit. If Beckett doesn't say something soon, and admit she has romantic feelings for Castle, something very obvious, and that he likely already knows, it will be a surprise, and a tragic mistake.

     While on the subject of love, Castle's daughter, Alexis (Molly C. Quinn), ends her own long-distance relationship with boyfriend Ashley (Ken Baumann) this week. Ashley is not seen on screen, nor has be been through much of the drama this year. Their relationship breaks down slowly, and it's more than time for it to come to a close, once and for all, by this episode. Not sure exactly went wrong here, but this story didn't gel all that well, and despite the break up almost seeming forced and out of place, it is still welcome. Is the actor who plays Ashley just not available to give Castle what it needs to make the arc work? Baumann was already starring in The Secret Life of the American Teenager when cast, so it seems unlikely the writers didn't realize consistently getting him was improbable. Or was the point just to make Alexis seem more grown up to her daddy? In that, it worked. As a realistic story one can care about, it does not.

     Martha gets wonderful focus in "Cops & Robbers." Not only does she get to flirt with a bank man, and talk about her acting self, but she gets in on the action, and gets to be there for her son in a way she usually isn't. Fillion and Sullivan have wonderful chemistry, usually featured only in tiny scenes as they cross paths. Witnessing them together in a dangerous situation, seeing them care about each other, and yet still be completely in character, is very gratifying. It may all be a bit contrived, but let's hope the series finds ways to involve Martha more heavily in the future.

     It is fantastic to see Dean Norris in this episode, despite the fact that he is wasted quite a bit, and gets nowhere near enough screen time. He serves a purpose, to be sure. But when landing someone as talented as versatile as Norris to be in your show, you should really take advantage of the gift. Instead, he does the expected, typical thing, and is barely an obstacle for Beckett. Nor does he play any serious important role in the crisis. Ah, well. Still good to see Norris.

     Watch Castle Mondays at 10 p.m. ET on ABC.

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"Witch's Lament" saddens Desperate Housewives

     "Witch's Lament" is the Halloween installment of ABC's Desperate Housewives, and thus is spooky, containing ghosts and dark woods. In the episode, Bree (Marcia Cross) enlists Lynette (Felicity Huffman) and Gaby (Eva Longoria) to help her move Alejandro's (Tony Plana, who also directed this episode) body before Ben (Charles Mesure) disturbs the area with his new condos. Meanwhile, Carlos (Ricardo Antonio Chavira) tries to deny his alcoholism, which is triggered by his murder of Alejandro, and growing worse. He meets Allen (Scott Lawrence, JAG), who is willing to be his sponsor, if Carlos will let him.

     Alejandro's murder is the slow-simmering mystery of the final season of Desperate Housewives. It's not a question of who killed the guy, as that is known by viewers and several characters alike. However, when will the other shoe drop? When will Alejandro be found? Will the wives or Carlos pay for his death? Will Chuck Vance (Jonathan Cake) be the one to catch them, or is there something he can do to help? Would he even want to help anymore?

     In "Witch's Lament," this plot takes a huge twist when Bree, Lynette, and Gaby discover that someone has already dug up Alejandro. Many questions remain, such as who found the body? What did they do with it? Will Alejandro be turned over to law enforcement or used as blackmail? Is there any solid evidence to connect the main characters to the crime? Who is the man chasing them near the grave site?

     Of course, Carlos should have just called the police in the first place. The circumstances and witnesses, his friends, would have likely been enough to clear him on the ground of self-defense. Yet, he didn't, and now it's far too late. Once the truth comes out, and at this point it seems almost certain that it will, someone will pay. Whether it will be just Carlos, who actually killed the man, or all of the wives, too, for helping to cover it up, remains to be seen.

     Carlos is taking the murder harder than anyone, which is to be expected. He is, at heart, a good guy and a religious man, which causes him to feel deep guilt. Although the alcoholic plot has already been covered by Bree in an earlier season, it feels fresh when repeated under these circumstances. Anyone in his position would need some kind of escape from the pain and feeling of responsibility plaguing him, and alcohol is a handy balancer.

     Now there is simply a wait to see what will happen. Can Carlos ever start to feel better without confessing? Alcohol may hurt him, but he is also seeking some sort of punishment. Not as blatantly as Susan (Teri Hatcher) does for her involvement, but the self-destructive path makes sense. If the law doesn't catch him, then he will make sure he pays in another way. This story isn't going away anytime soon, so much is still very up in the air.

     Susan is completely oblivious to all of the major developments this week. She, instead, interns for Andre (Miguel Ferrer, Crossing Jordan), which basically means she has to watch his kid, Jasper (Mason Cook, Spy Kids: All the Time in the World in 4D). Susan is trying to get Andre to like her, so she does whatever he asks. But after seeing how he doesn't even like his son, she makes it her new mission to bring father and son closer together. This fails, too. Susan's intentions are good, but she can't change Andre. He is a personality that she just does not understand at all, which makes it impossible for her to reach him.

     More importantly, though, Andre warns Susan that, to be an artist, she will have to be like him, and there may not be anything she can do to stop it. He seems to scare Susan a little bit, but he's just talking crazy. Susan has been an artist since long before the series began. Even though she is pursuing the interest with renewed energy now, that doesn't mean her approach will be drastically different than it has been all of these years. For Andre to suggest that she's going to lose herself and her family because of an artistic drive at this point in her life seems highly unlikely. This is a plot better suited to someone just out of high school, not close to middle age.

     Lynette also has family problems. Jane (Andrea Parker, The Pretender, Less Than Perfect) offers to make Penny (Darcy Rose Byrnes) a Halloween costume, making Lynette feel like she is being replaced. And she sort of is. Tom (Doug Savant) is getting serious with Jane, who wants to be there for their kids. Lynette scrambles to find Penny a costume, pretending to make it. In the end, Jane must save the day when the costume Lynette gets, giving it to her daughter without first inspecting it, is too slutty.

     Predictably, there is a nice bonding moment between Lynette and Jane as they understand each other, and Jane shows sympathy. But then things take a darker turn as Lynette tells Jane to stop trying to steal her family. Lynette's accusations, at first sounding mean, prove founded when Jane vows to fight for Tom. Tom and Lynette are separated, so it's understandable that Jane would think Tom is available. But she has never tangled with Lynette before, so she doesn't realize just how fierce this mama grizzly can be. Lynette and Tom will probably end up back together in the end, but Jane brings a new threat that will not be easily shoved aside, and is far more interesting than expected.

     Lastly, Renee (Vanessa Williams) makes a fool of herself when taking Chinese sex drugs before a date with Ben. While the pair get off to a rocky start this season, they are relatively solid now. Ben accompanies her to the hospital when Renee has a reaction to the drug, and obviously isn't too bothered. The feelings they share are growing, and won't fall apart without good reason. With this being the final season, and both not being as central as other characters, look for the couple to not have too many obstacles to overcome. Everyone likes a happy ending.


     Watch Desperate Housewives Sundays at 9 p.m. ET on ABC.

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Article first published as TV Review: Desperate Housewives - "Witch's Lament" on Blogcritics.