Once Upon a Time "The Queen is Dead"

Article first published as ONCE UPON A TIME Review Season 2 Episode 15 The Queen is Dead on Seat42F.

Grade: 92%

This week’s ONCE UPON A TIME is entitled “The Queen is Dead,” and, for the first time, we see Snow’s mother, Queen Eva (Rena Sofer, 24, Covert Affairs), albeit on her death bed. She doesn’t have much time left, and young Snow is desperate to save her mom’s life, the doctor (Duncan Ollerenshaw, Hell on Wheels) being clueless as to an effective treatment. However, when tempted with dark magic, Snow remembers the lesson her mother taught her, and chooses good over evil, allowing her mother to die rather than trade another’s life to save Eva’s.

“The Queen is Dead” reveals that Rumple (Robert Carlyle) isn’t the only one who plays the long game. Cora (Barbara Hershey) murders Eva and poses as the Blue Fairy (Keegan Connor Tracy) to tempt the child Snow White (Bailee Madison). Then, Cora continues to offer Snow chances to make the wrong decision throughout her life, presumably, always trying to ruin Snow’s spirit and turn her dark.

Why does Cora go to such lengths? What does she have against Snow? Does she just delight in destroying a good person, or does it go deeper, an old feud with Eva perhaps? We have to believe that Cora and Eva have a past that causes this rivalry and sets Cora on such a destructive path. Otherwise, she is just plain cruel.

Quick side note, Bailee looks a lot like grown up Snow, so for that, I appreciate the casting, but can’t the actress dial it back just a bit? I know she’s only a child, but the overacting does detract from the story a little, and it’s more obvious here than in past installments.

In modern Storybrooke, Snow (Ginnifer Goodwin) is once again tempted to not do the right thing when Cora and Regina (Lana Parrilla) hold Snow’s old friend and servant, Johanna (Downton Abbey’s Lesley Nicol), hostage, offering to trade Johanna’s life for the Dark One’s dagger, which Snow has, so that they can control Gold. Snow chooses to hand over the weapon, despite the possible repercussions, but Cora murders Johanna anyway, and Snow vows revenge.

ONCE UPON A TIME often flirts with motivation and gray areas, making the good characters not completely good and the bad ones not completely bad. Snow is the epitome of the hero, the lightest of the light, and to send her down such a dark path is surprising and disturbing. If Snow can’t keep her heart pure and pass Cora’s tests, does she deserve to be the ruler of the kingdom? Or, more likely, is this just another obstacle she needs to overcome on her journey?

Snow asks Charming (Josh Dallas) why she should be good if she keeps losing the people she loves as a consequence. What Snow is having trouble seeing right now is that a victory is hollow if you can’t live with yourself afterwards. It’s better to lose righteously, no matter the cost, than to win by cheating. This is a hard lesson, difficult to understand, and one most people will never be able to live up to. If Snow can, in fact, stay true to herself, it’s what will separate her from others and prove that she should be queen.

Regina seems destined to learn the opposite lesson. We see her waver when Cora murders Johanna, but only for the briefest of moments before firmly sticking to her mother’s side. I wish we would get a little more conflict in Regina’s character, considering how hard she has been working to be good, and she clearly doesn’t trust her mother completely. Yes, Regina has spent a long time on the wrong side, and Snow’s approach of “generously” offering her one more chance backfires. But if others would actually be kind to her, and treat her like a friend, even if she hasn’t yet earned it, I do believe that Regina could still be saved.

In New York, Hook (Colin O’Donoghue) catches up with Rumple / Gold and stabs him with a poisoned hook. The only cure is in Storybrooke, and the only transportation swift enough to get Gold home in time is Hook’s ship. Neal (Michael Raymond-James) surprises everyone by offering to sail it.

There is a really great scene in “The Queen is Dead” when Emma (Jennifer Morrison) asks Neal why he would help Gold, his father, whom he hates. Neal tells her that it’s different to hide from his dad versus letting him die, and he’s doing the right thing. This is a moment where we see Neal, despite his flaws, is a hero. He may also be a petty thief, but maybe he has his reasons for that, and he now chooses to save someone he doesn’t like when he can so much more easily allow him to perish. This is an interesting development, as Neal seems a shady character prior to this, even more interesting than learning Neal has a fiancé.

Neal hints that he has many travels between fairy tale land and ending up in New York, and I’m curious to see them. He obviously spends time in Wonderland, given the décor of his apartment, and I find it likely that he is in Oz for awhile, based on past dialogue, even though Oz has not yet been established as a realm in ONCE UPON A TIME. What events have shaped his life? Should Neal be sticking around, as I hope he will, this will have to be explored.

It’s very disappointing that Gold now hates Henry (Jared S. Gilmore) so thoroughly. I had hoped there would be some internal conflict for Gold, since he seems to have a soft spot for Henry before now, and Henry is his grandson. Yet, realizing that Henry will be his undoing, as foretold by the seer, Gold has turned completely, all of the sudden showing a lot of hostility towards the boy, who of course deserves none of it. Unless, perhaps, Gold thinks the poisoning is the ultimate destruction Henry is connected with, which doesn’t seem likely, but could explain the anger in the moment.

It could very well ruin Gold and Neal’s relationship forever if Gold makes a move against Henry, even should he fail, which he most likely will. Neal seems quite happy to get to know his son, and will surely want to protect him. Considering the low regard in which Neal already holds Gold, any attempt Gold makes to hurt Henry will only alienate him further.

By contrast, Gold is willing to tell Emma, who tells Snow, where the dagger is. This is a show of trust. It may be for selfish reasons, but I’m not so sure Gold would have given away this information before now, because whoever possesses the dagger can control him. It’s a big sacrifice of free will on his part, and he has to know that giving it over to Emma means she can use it to stop him from hurting Henry, should a showdown occur, and thus lead to his own destruction. So it doesn’t seem like his soul is completely gone, even as it bends the wrong way in this episode.

There is lots brewing in “The Queen is Dead,” and the same arc will likely continue next week in “The Miller’s Daughter,” which, based on the title, should involve Regina and Cora in the flashbacks. ONCE UPON A TIME airs Sundays at 8 p.m. ET on ABC.

All "Clear" for The Walking Dead

Article first published as THE WALKING DEAD Review Season 2 Episode 12 "Clear" on Seat42F.

Grade - 99%

AMC’s THE WALKING DEAD takes a break from the action in last night’s “Clear,” with only four characters appearing. Rick (Andrew Lincoln), Carl (Chandler Riggs), and Michonne’s (Danai Gurira) supply run takes them into the town where Rick and Carl lived, where they encounter an old friend who has become unhinged.

Some fans don’t like these slower, character-driven episodes, but I feel like this is what the series is about. Sure, a huge herd and a burning barn make for fantastic television, but when the series is looked at overall, and one wants to tell others what the point of it is and why it is so popular, I point to the character development. When we see the protagonists struggling with moral quandaries and questioning themselves, this is where the show soars. And because we now get cool zombie stuff during these episodes, in addition to the dialogue that makes us think, “Clear” ranks among my favorite episodes to date.

An often-asked question during the first couple of seasons of THE WALKING DEAD is, “What happened to Morgan and Duane?” We meet the father and son in the very first episode, but then Rick leaves them to search for his family, and they aren’t seen again. Until now.

In the comics, Rick makes a conscious choice, post-prison, to find them. In the show, it’s an accident, coming out of nowhere, which says something about the differences between print and screen Rick. The television version is more flawed, and wrestles with his decisions more. I like this, because Rick is forced to consider the type of man he is, and he can make the choice to change himself.

This year, Rick has been losing it a bit, seeing the ghost of his wife and having trouble leading others when he needs to. But now, he sees Morgan (Lennie James), whose son is killed by his zombie wife, living alone with a huge stock of guns and rantings written on the walls. It’s a “there but for you go I” moment, where Rick glimpses another way his life could have turned out, could still turn out, and it really makes him reassess things.

It’s heartbreaking when Morgan tells Rick he listened to the radio every day, but Rick wasn’t there. Even if Rick’s reasons, being pushed away from town, are sound, he still feels guilty. Could Rick have saved Duane? Could he have made a difference for Morgan? Maybe, and that’s going to haunt our hero. But that doesn’t mean it’s too late to save Morgan now.

Morgan opts not to return to the prison, and who can blame him, seeing the huge stockpile of guns Rick has come for? Morgan says what’s the point, if you get something worth having, someone is going to try to take it from you. He’s right. This is a dark world where one cannot just be left alone, and has to constantly struggle to carve out a decent living for themselves. But Morgan is also wrong because once you stop fighting, you die. Rick knows the value of life, and hopefully he will get to come back for Morgan again, making that decision down the line, proving what a hero he is.

Rick might want to learn a little from Morgan’s set up, too. Spikes and caged rats make for great zombie traps, and after seeing Morgan’s defenses in action, it’s easy to see how he has managed to be OK this long, even by himself. The prison could use a little of this.

Also, I like that THE WALKING DEAD chose not to show zombie Duane. In the comics, this is far enough removed form the Governor and Penny that it works, but here, we would have only drawn parallels, and it would have made Morgan seem dangerous, which, despite Michonne’s declaration, I don’t think that he is. Especially if the series is considering adding Morgan to the cast next year (and they definitely should be), this is a wise move.

While Rick and Morgan have their plot, Carl goes in search of a gift for Judith, a picture of her parents and himself that he knows is in a bar. Michonne accompanies him, much to Carl’s dismay, but it gives them time to get to know each other, and leads to a funny, heartwarming line with a hideous wooden cat.

Up until now, Michonne has felt like an outsider in the group. She’s a very likeable and cool character, but we haven’t cared about her the way one does when reading the graphic novels, nor have the other characters cared for her. “Clear” is the stuff we need, seeing her understanding Rick and Carl, and doing her best to help them. By the end of the hour, Carl gives his approval, saying she’s one of them, and along with a couple of sympathetic words from Michonne to their leader, it’s enough for Rick, who is willing to kick her out of the group prior to this, but likely has changed his mind.

Part of what has been lost in this new world is trust of one’s fellow man. We see the trio coldly drive past a hitchhiker on the way into town, Rick isn’t trusting Michonne, and Michonne and Carl don’t want to trust Morgan. But at the rate the group loses people, they have to add more to their number to survive, and not everyone is bad. At this point, care must be taken to ensure new people can be added, but also that they are screened.

On the way back, they pass the same hitchhiker, torn to bits, and take his supplies. It’s a darkly amusing moment, but it also makes one wonder. Would they have picked him up had he still been alive? Are they ready to turn over a new leaf? Having the hitchhiker survive would have answered something about these characters right away, but I kind of like the fuzzy way this plays out, not telling us everything we want to know, but still having that nice closure at the end of the episode to what is presented at the beginning.

“Clear” is an excellent installment, providing plenty to ponder, and is a great way to take a quick break from the showdown with the Governor. This is a demonstration of why this series is breaking all cable viewing records, and why it can resonate even with those who don’t like zombies.

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

Vikings has arrived

Article first published as VIKINGS Review on Seat42F.

Grade: 92%

History Channel enters the foray of original series with VIKINGS, premiering this Sunday, March 3rd at 10 p.m. ET. Set in Scandinavia during medieval times, around 800 A.D., the show follows real-life Viking, and subject of myth and lore, Ragnar Lodbrok (Travis Fimmel, The Beast), as he challenges what he considers an unfit ruler and expands the reach of his people.

The show opens at the end of a great battle, with Ragnar and his brother, Rollo (Clive Standen, Camelot), surveying the bodies on the battlefield. I do think it’s a little unrealistic when a thrown spear easily impales one would-be escapee. However, this scenes does a good job setting a tone of the series, and showcasing its hero in a great light.

In fact, this first episode is a lot of setup. Ragnar sits in council with his fellow Vikings, argues with his lord, consults a seer, visits a shipbuilder, and has sex with his wife, all to demonstrate what type of person he is, presenting various facets of his life. A good pilot introduces us to the protagonist, and over the course of the hour, viewers will get a real measure of what kind of man Ragnar is, a smart, ambitious, brave one, and what he has set his sights on.

Which is not to say that the episode is boring; quite the opposite. It may be a setup, but it’s also well made, and extremely interesting. The world the Vikings inhabit, as well as their morals and values, are quite a bit different than those of modern society. We are given a crash course, seeing the power struggles and their version of justice in action. Yet, there is movement enough in the plot to stay interesting.

Lest anyone worry these strange people will feel unrelatable to modern audiences, Ragnar’s family is given central standing, too. His wife, Lagertha (Katheryn Winnick, Bones) is a fierce shield maiden, unafraid to show her husband affection, fend off two would-be rapists, and use a loom. But when she overrules Ragnar and makes their son, Bjorn (Nathan O’Toole, The Borgias), go to bed, even though Bjorn has just been made a man at the tender age of twelve by their people, it demonstrates that as much as things change, they also stay the same.

I am not familiar with Viking culture, so I cannot say how historically accurate VIKINGS is, but it certainly looks good. Filmed in Ireland, the sweeping scenery is impressive, and the buildings, costumes, and tools used look like they are from an earlier time period. It’s a little like Game of Thrones, and while maybe not at the same level of quality, not to mention comprising a much smaller cast, it’s similar enough that it’s likely to pick up some of the same audience, as long as they can be made aware that it’s airing.

Ragnar himself is the stuff of conflicting legend, and because of that, we can only guess at where the story is going. Sure, he and Rollo will sail east on a ship built for them by the odd and brilliant Floki (Gustaf Skarsgard, Evil), off to raid England and other new lands. And the current lord, Earl Haraldson (Gabriel Byrne, In Treatment), will clash with our hero, proving to be a dangerous foe. But will see Ragnar eventually become king? Will we see his sons grow up to be warriors in their own right? Will we see his eventual death? Until more episodes air, it’ll be difficult to judge what kind of pacing the series’ writers intend to go for in these first nine episodes, let alone over the span of years, should the series prove to be a success.

VIKINGS not only looks good, but it’s also well written. As stated, the pilot really gives us a feel for the time period, locale, and the primary characters, but I also feel that even the supporting players give off a sense of completeness, rounding out the world, making it seem authentic. Haraldson may be evil, but we see his sweet wife, Siggy (Jessalyn Gilsig, Glee), and a flashback to the death of his sons, and realize that there’s a story behind every action and motivation. The acting excellently conveys this mission, and I am already eager to watch the next installment.

My only real complaint is about the accents affected by the various characters. The episode begins with subtitles, with is cool, but I’m glad they fade away relatively quickly. However, each performer has a different take on what a Viking’s English should sound like, and even among each individual, looked at separately, that take does not seem to be consistent throughout the episode. Ah, well. Nothing can be perfect, and accents aren’t so important, especially when the thing wouldn’t have unfolded in English in the real world, anyway.

I have to be honest, I was skeptical to hear History Channel was dipping its toe into historical fiction. But if this is an example of what they have in store, teaching us about a culture and lesser-known hero in such a high quality way, I hope VIKINGS is only the first of many such tales.

There's Nothing on TV

 Article first published as There's Nothing on TV on Blogcritics.

It has become quite commonplace in the past decade or two for people to complain that there is nothing on TV. I hear it from my parents frequently.

Hundreds of channels and not a single thing worth watching. It's a pet peeve of mine to hear this, and it makes the speaker sound ignorant. To those people, I say "nonsense!" There is plenty on. They just have to know where to look.

For some people, it's become a badge of honor to deride television, proclaiming it an inferior form on entertainment. While many of the popular shows of previous decades may have been only entertainment, not for the "thinking man," the modern era has gone in a different direction, getting into heavy drama, and expanding the limits of what makes it on the air. Suddenly, we have plenty to celebrate and honor on our sets.

It's true, the vast majority of the channels on your cable lineup broadcast drivel. They are full of reruns of shows from the 1980s (edited down since we have more commercials now), reality junk, and talk shows. Does anyone ever even turn on the music channels, of which we all have dozens? Yes, I agree that all of this is a waste. But that doesn't mean there is nothing on TV.

Let's be clear about my definition of what constitutes a good television show. Competition and game shows don't qualify, nor do most shows with a host, save The Daily Show and a couple of others. I also hate sports, and shows that follow the "real housewives" or a "celebrity" around. I enjoy scripted series, with great acting and smart writing. As a fiction from way back, I want my TV series to contain interesting story arcs week to week, and characters that grow, meaning, most procedural crime shows don't do it for me.

Even within those guidelines, though, there are quite a few choice programs. Between my two TiVos, I can record 450 hours of HD, and I'm at 95% capacity right now. That oughta tell you something. If you look for it, there's plenty of good stuff out there.

One issue could be that there is basically nothing on TV except between the hours of 8:00 p.m. and 11:00 p.m. For those of us with TiVos and other DVRs, this isn't a problem, because we record programming during those times, and then view them later at our leisure. So if you do not have a DVR, you're actually hurting yourself, and no wonder you think there's nothing to watch.

As for channels, it used to be the only good things were on ABC, NBC, CBS, and FOX. And there are still some decent offerings on these networks, though there are also a lot of primetime duds. The key is to know the difference.

Grey's Anatomy, nine years in, has never been better. The Office, Community, New Girl, The Big Bang Theory, Nashville, Grimm, Parenthood, Arrow, Once Upon a Time, Bones, Elementary, The Good Wife, Happy Endings, How I Met Your Mother, and Revolution are among the broadcast series I am watching right now.

The best stuff is on AMC, HBO, and Showtime. From Dexter to Game of Thrones to The Walking Dead, each of these has award-winning, high quality stuff. They also offer Breaking Bad, Mad Men, Veep, Californication, The Big C, Hell on Wheels, Shameless, and many more.

There's also fantastic stuff on FX, TNT, and USA, like White Collar, Monday Mornings, Justified, The Americans, Archer, It's Always Sunny in Philadelphia, Louie, Psych, and Royal Pains, to name just a few. With the recent launch of Vikings, History Channel is entering the fray, too after its success with Hatfields and McCoys. That means there are more and more players in the scripted game, and more and more worthwhile shows to choose from.

Yes, that leaves us with maybe a dozen channels, out of the hundreds in a typical cable package, that are worth paying attention to. And some of these cable channels I list only air new fare one night a week. However, there are nights like Sunday, where one can record at least 10 shows in a good week, and that provides plenty to watch during the slow nights.

Reruns can be a problem for some, as there is little more disappointing than turning on your set ready for a new episode, and finding a repeat, or so I remember from the dark days when I used to watch live TV. But if you have a TiVo that holds a bit, you can record and store, as there are plenty of nights too much airs to watch all at once, so you're good to go on any night of the week.

The expansion of cable means that even summer is not a wasteland anymore. Last year, HBO's The Newsroom, USA's Suits, and TNT's Falling Skies were among the many series delivering fresh episodes during the hot months. So even if NBC and ABC are taking some time off, there's something out there to find. Not to mention, anything left over from the spring season can be caught up on then. I still had episodes of Private Practice from April and May to watch in August last year.

And I didn't even mention Netflix and other streaming services, which are great for shows everyone still talks about, now gone off the air, that you haven't gotten around to watching yet. It's never too late to pick up Lost or The Wire. Netflix is also jumping into fresh content, with House of Cards and the upcoming new episodes of Arrested Development, so it looks like there will soon be even more on TV.

The point is, the next time someone says there is nothing good on TV, they only have themselves to blame. There's plenty out there. They just need to make a slight amount of effort to find it. And if you don't want to do the hunting yourself, just follow my reviews and twitter feed. I'll tell you what I consider good on a daily basis, and since, being a reviewer, I watch a lot of shows, surely we'll have some common ground.

Community invaded once more by Germans

Article first published as Community invaded once more by Germans on TheTVKing.

NBC's Community has floundered quite a bit in its fourth season, coming up with stories that generally fit in the tone and scheme of the series overall, but feeling a bit hollow underneath, the characters just not being as smartly written as they are before, and the plot not quite as tight.

I'm happy to report that this week's installment, "Alternative History of the German Invasion," is the first episode to overcome these problems and deliver. I won't claim it's the most creative or funniest installment of Community, but it does get everyone right, is just weird enough to work, and there aren't all the obvious holes I've been able to poke in the other three chapters this year.

The premise is that the study group begins their alternate history class with their new professor (Malcolm McDowell, Franklin & Bash, Entourage), only to find out that the Germans they tussle with in the past are also taking the class. The Germans' new leader (Chris Diamantopoulos, 24, The Office) takes over the group's usual meeting room, and then even their table, too. But when our heroes try to reclaim their designated spot, they learn that the rest of the campus sees them as the villains.

It's interested to get this flipped view of the main cast. We are so used to the story being focused on them, it's odd to step back and see that all of the people around them are sick of it. I guess, in the real world, we would also object to their egocentricity and the tightness of the impenetrable clique. The scenes where the action flashes back to previous episodes, demonstrating how Jeff (Joel McHale) and the others treat their classmates, is eye opening, and will change the way I view Community from here on out.

But beyond that, this plot also ties into the title of the episode and the new history class they have just started, so much so that they assume that the professor is just trying to teach them a lesson, making them seem even more self-involved than they already are. It's a neat trick, looping back in on itself, and something Community has a track record of excelling it, even if they haven't lately.

I love that the Germans are the choice to use as the bad guys because, not only do we get some wonderful Hogan's Heroes (or Hogan's Villians) callbacks, the latest in a long line of TV references the show makes, but it's so unexpected. When reduced to goofy stereotypes with thick, fake accents and fiendish conquering attempts, viewers' minds will automatically pigeonhole the modern day German students into the same category as the wartime enemy of the 1930s and '40s. Thus, when the twist is revealed, it's all the more surprising and brilliant.

Add to that the forbidden friendship that Abed (Danny Pudi) strikes up with one of the rivals (Alex Schemmer, Weeds), and Shirley's (Yvette Nicole Brown) running gag of trying to get home to her kids, only to be blown off on a suggested outing after the conflict, and there are some great layers to the half hour, too.

At the conclusion of season three, Jeff realizes its OK to be nice. He has been trying for the last few episodes to stick to those guns, but without the support of his friends, he has no chance. Thus, it's gratifying to see them all coming 'round once they realize their mistakes, painting and fixing up other study rooms so that other groups on campus might have the same kind of special thing that they have. It's a love letter to Greendale and the fans, and it might just mean that Community leaves these characters as beloved alumni, rather than Seinfeld-esque jerks.

Though, they haven't completely learn their lesson yet, as we see when Abed and Troy (Donald Glover) refuse to do the nice German's podcast in the tag at the end.

I would like (OK, like is the wrong word here) to mention that Pierce (Chevy Chase) seems more and more checked out with each passing week. He is already separating himself from the group and their reality, which is a nice, if regrettable, set up to his impending departure. At least it can be written in a way that makes sense, rather than his absence being sudden and jarring.

Elsewhere, the Dean (Jim Rash) is tasked with caring for Chang (Ken Jeong) during his Changnesia. At first, the Dean doesn't buy that "Kevin" is reformed, assuming this is some evil plot by Chang. Then, when Kevin turns himself in to the police for the past wrongs the Dean tells him about, the Dean finally buys his story, happy to help work with Chang if he has really turned over a new leaf.

I keep waiting for the reveal that this all an elaborate scam by Chang, and I do think that it probably is. But I applaud the way "Alternative History of the German Invasion" keeps us guessing. Even if Chang is the ultimate bad guy, he has gone so far that something like this is necessary to bring him back into the fold, so he gets to show off his genius as well as his ugly intentions. Plus, when the Dean judges Chang for putting his name into words, it's an ironic ball of humor that I cannot get enough of.

Jeong does make some interesting choices in the way that he plays the seemingly brainwashed Chang. Why does he pull the stuffing out of the Dean's pillow? I don't know. But it's these small touches that make the overall picture more odd and enjoyable.

"Alternative History of the German Invasion" may not rank among the best episodes of Community at this point, but I would argue it's the best of the season so far. If it's taken three weeks for the writers to get into the groove, minus those of their number they have lost, that's an acceptable sacrifice, especially if they keep up the consistency and quality going forward. I am happy to let a bit of my pessimism about this season fade away, and am very much anticipating the next zany adventure.

Community airs Thursdays at 8 p.m. ET on NBC.

Blu-ray Review: Easter Parade

Article first published as Blu-ray Review: Easter Parade on Blogcritics.


Many are already familiar with the classic 1948 film Easter Parade, recently released for the first time on Blu-ray. The movie musical, set in 1912, revolves around Broadway star Don Hewes (Fred Astaire, Top Hat), whose dancing partner, Nadine (Ann Miller, You Can't Take It With You), decides to split off on her own. Frustrated, Don grabs a gal from the chorus named Hannah Brown (Judy Garland, The Wizard of Oz) and tries to shape her into a suitable replacement.

Easter Parade is a light-hearted, fun romp. There is plenty of humor, perhaps than in other entries in the genre, and lots of good old Irving Berlin music, including such classics as "Steppin' Out With My Baby," "Shakin' the Blues Away," "Happy Easter," and the title song, "Easter Parade."

Sure, there is conflict; Hannah doesn't do very well when Don is dictating her every move to her. But these are played more for laughs than for a meaty story. And, in keeping with the happy tone, Don eventually embraces who Hannah is, letting her do her own thing, and she soars, becoming the best partner he could ask for. It's kind of an early version of the hot-guy-makes-a-geek-girl-pretty-and-popular-then-learns-a-lesson-from-her tale that became so standard decades later.

There is something to be said about movie musicals of this era. Perhaps they can be considered fluff, as the only drama comes from the slightly rocky relationship road to a happy, romantic ending, but sometimes that's just what's needed to curl up with on a lazy afternoon. The dark, twisty fare filling our theaters today may often involve high quality writing, but viewers don't always want to be depressed by the material. Easter Parade, by contrast, will make you smile and improve your mood.

Just because the story is a little cheesy, and mostly designed to let the cast sing and dance as much as possible, doesn't mean that the acting isn't good, especially because they excel in the singing and the dancing. Garland is a veteran by this point, and knows how to deliver. Astaire is even further into his career, and the two together are terrific. Plus, the supporting cast includes Rat Pack member Peter Lawford (The Thin Man, Ocean's Eleven) as Johnny, Don's best friend.

Easter Parade does look pretty grainy, even in this new release. It is an old film, and it definitely shows its age, and in a few spots the color isn't consistent. But taking that into account, overall it's not bad. It definitely has more detail and richer colors than are available in past releases, and the flaws aren't enough to take one out of the viewing experience.

The sound is better restores than the picture, in my opinion. Sure, it does still come across as from another era from time to time, but you can clearly hear every note of Berlin's score, and the mix between dialogue, music, and other noises is handled well.

There are quite a few extras included on this new release. There's a commentary by Ava Astaire McKenzie, Fred's granddaughter, and John Fricke, an Oz historian, which may seem a little strange, given that these people had nothing to do with the film, but it's interesting. Also included is a theatrical trailer, radio promo, and an hour-long audio-only broadcast from 1951. Plus, outtakes and dailies from the cut song "Mr. Monotony," a featurette on the film, and an American Masters special about Garland are also included.

Easter Parade is a good selection for those who love mid-20th Century Hollywood movies. It's got the weight of the names behind it, and is thoroughly entertaining. With nice extras and a somewhat better picture, it's especially nice for those who do not yet own this title, but there are a couple of bonuses for fans who are upgrading.

Easter Parade is available now on Blu-ray.

Psych returns to "Santabarbaratown 2"

Review first published as PSYCH Review Season 7 Episode 1 Santabarbaratown 2 on Seat42F.

Grade: 86%

Warning: This review contains spoilers. 

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

USA’s PSYCH picks up right where last year left off in the new season premiere, “Santabarbaratown 2.” Shawn (James Roday) vows to find Henry’s (Corbin Bernsen) shooter, even though Jules (Maggie Lawson) warns him that he’s too emotional to be part of the investigation. Emotional, he is, but he’s also still Shawn, which means he is the best chance of bringing the bad guy to justice.

Most of the time, on television, when the cops are after a perp, anyone who is too close to the case is promptly taken off the job. Sure, it’s practically a cliché at this point that the detective will still pursue whatever leads they can, and most likely catch the villain. But they are usually ordered to stay away, and they sometimes get in trouble for refusing to do so.

PSYCH breaks this streak when Karen (Kirsten Nelson) tells Shawn to go after Jerry (Max Gail), as the police don’t know where to look for him. From a storytelling perspective, this is great because it doesn’t do what everyone else does, and makes it a bit easier for Shawn to stay focused. From a realistic point of view, though, this may be campy, stretching things too far, as Karen couldn’t actually condone Shawn’s actions, even in the roundabout way that she does, and still be considered a smart boss. She has to know she’s setting up a potential disaster waiting to happen. She’s supposed to be a professional!

Henry, too, does the wrong thing, giving Shawn clues from his hospital bed. In Henry’s case, it’s a little more understandable because he has limited contact with the outside world, and Shawn may be the only person that he can pass what he knows onto. But why would Henry want to put his son in danger? Shawn may routinely work with law enforcement, but he doesn’t carry a gun, and he can’t be prepared for this.

Gus (Dule Hill) is worried about him, of course, but Gus also tries to beg out of helping Shawn with his task. Gus can be a wimp, but at a time when his friend really needs him, and this is that time, he should be able to man up. The fact that he does so only reluctantly, with the rules of an out being brought up repeatedly, is disappointing.

PSYCH is a comedy, so we know right from the start that “Santabarbaratown 2” won’t verge too darkly. Yet, we also see Shawn act in a manner he never has before. His jokes have a biting bitterness behind them, not usually present. He acts shaken, and his heart isn’t in being funny. He barely pretends to be a psychic when finding a secret room in Jerry’s house. He seems to crack the one-liners out of habit, or to ground himself, rather than to try to be funny for others, as he usually does. It’s a whole different way to see the character.

For a second, at the very beginning, Shawn really gets raw. Thinking his father might die, he says some deep words. Roday handles the moment fantastically, balancing Shawn’s personality with how anyone would feel in this situation. It’s weird for the role to go in this direction, but also satisfying when we see how much Henry’s injury affects Shawn.

Which is promptly ruined by Woody (Kurt Fuller), entering prematurely with a body bag. And it’s not the last time Woody, whom I normally love, screws up a scene this week.

This continues throughout the episode. For every time Shawn lets his anger out and wrecks Jerry’s house, he also sneaks into a gun club wearing half a fake beard. I understand the desire to keep the tone of the series faithful to the rest of the installments, but shooting Henry in the manner they did breaks that rule. While Shawn shows signs of being changed a bit, no one and nothing else matches this shift. I really wish they embraced the drama in “Santabarbaratown 2,” even if for only one hour.

The worst offense along these lines is bringing back Chelsea (Arden Myrin), Henry’s stalker ex-girlfriend, who stays by his side in the hospital. Even Henry can’t be allowed to wallow and reflect upon what has happened, being dragged into unnecessary punch lines.

The best part of the episode is when Lassiter (Timothy Omundson) helps Shawn. It’s not entirely unexpected, from glimpses we’ve been given of Lassiter’s depth before, and based on the circumstances, but it does make for some very enjoyable moments and terrific dialogue between the characters.

Though, why Lassiter only goes as far as he does, instead of helping finish the job, is confusing, and a bit of a plot hole, even if it gives Shawn the opportunity to confront Jerry himself.

As a PSYCH episode, “Santabarbaratown 2” is good, and ranks as average when held up against other installments. But compared to what it could have been, a brave, new choice that would let the actors and writers try something new, it’s a bit of a disappointment.

PSYCH airs Wednesdays at 10 p.m. ET on USA.

- See more at: http://www.seat42f.com/tv/psych-review-season-7-episode-1-santabarbaratown-2#sthash.k5T5U3s4.dpuf

Archer dines out

Article first published as Archer dines out on TheTVKing.

In the next episode of FX's ARCHER, "Live and Let Dine," the team goes undercover at a fancy restaurant when an Albanian diplomat is threatened. To make matters even more fun, the dining establishment is the setting of a reality TV series entitled Bastard Chef. Of course, there are a couple of twists, and when it's all said and done, the staff of ISIS is just proven as incompetent as ever.

I like that ARCHER is always searching for new ways to spice up their comedy. The way that they excel in fresh settings and unexpected originality, even while doing a sort-of parody, is great! "Live and Let Dine" capitalizes on the recent craziness of celebrity chef television shows, but also gives it enough of its own flavor to avoid being a copy. An exquisite recipe, if I do say so myself!

The Bastard Chef himself is Lance Casteau (voiced by real celebrity chef Anthony Bourdain). He's a tool to everyone except Archer (H. Jon Benjamin) because, apparently, Archer has some newly discovered culinary talents. If only Archer would stop dropping bowls in the kitchen, ruining food and making a mess.

As with most of ARCHER's satirical guests, Bourdain deserves credit for not being afraid to make  fun of himself and what he does for a living. He definitely takes the joke in stride, even going for the promo lines on purpose, and being a extra big jerk.

ISIS could never be a real spy agency because they screw up too much. From the real story behind the threat, to the way they keep blowing their own cover while being filmed, it's often downright ridiculous. I find it highly enjoyable for a comedy, just not very realistic. It's a good thing believability isn't a selling point for ARCHER.

"Live and Let Dine" has all of the elements of a classic ARCHER episode: Archer hitting on Lana (Aisha Tyler); Lana being too aggressive and defying female stereotypes; Archer (and everyone else) picking on Cyril (Chris Parnell); Malory (Jessica Walter) acting inappropriately as the company head to get her own way; Pam (Amber Nash) being somewhat disgusting, but always hilarious; Cheryl (Judy Greer) being somewhat disgusting, but always hilarious; a sex joke that is as disturbing as it is hot; a reference to a recent episode, this time calling back Archer's time running a burger restaurant; and a recurring reference that doesn't quite make sense, this time Spain in the 1930s.

Then, just when you least expect it, ARCHER ties "Live and Let Dine" into a larger, season-long plot. ARCHER hasn't always paid so much attention to continuity, but as it ages, it has to keep doing things to reinvent itself and make sure that the quality doesn't suffer. This year's story involving Barry (Dave Willis) and Katya (Ona Grauer) fits nicely, calling back to previous plots, and deepening the characters.

Of course, comedy is the main goal of ARCHER, and this episode, like just about every other, delivers the laughs in spades. Which is why I continue to anticipate new episodes every Thursdays at 10 p.m. ET on FX. Also, Archer was just renewed for a fifth season.

Guys With Kids throws a "Divorce Party"

Article first published as Guys With Kids throws a "Divorce Party" on theTVKing.

Many scoff at NBC's Guys With Kids. At first, I was one of the many. But something spoke to me, perhaps because I am (emotionally, not financially) at the point in my life where I am ready to have kids myself, so I kept watching. And week after week, the series grew on me. By last night's season, likely series, finale, "Divorce Party," I realized I am going to miss this show.

Now if the target audience is only wanna-be dads, I admit, this is a limited demographic. It's not like it's a particularly smart or high quality show. I find bad sitcoms much easier to tolerate than boring dramas, and the overacting and cheesiness that Guys With Kids brings to the table does lump it in the bad column. However, there is also some heart, and the characters are likeable.

Lately, a through-line is given to Gary (Anthony Anderson), who, tired of being "just" a stay-at-home dad, decides to start his own business. How many parents in their houses all day with only children for company long to contribute something more creatively to the world? Gary's story is the "have it all" inspirational tale, and because it's TV, rather than real life, he will surely succeed, at least in some fashion. Get it? Because his product sort of relates to fashion? Yep, it's  a groaner, but the type that fits with the tone of this series.

Gary needs help, though, so his wife, Marny (Tempestt Bledsoe), arranges for her lazy sister (Tempestt's sister from The Cosby Show, Keshia Knight Pulliam) to help Gary out. It doesn't go so well, since Gary's sis-in-law doesn't understand the meaning of a work day, but of course, this being a feel-good comedy, she ends up helping out in an expected way. I could have done without this too-neat ending to the plot, but it's nice to see TV sisters reunited, their excitement at getting together again feeling genuine.

What Guys With Kids does best is couple chemistry. Gary and Marny may go back and forth with one another, but they are on the same level, and are in it for the long haul. Similarly, Nick (Zach Cregger) and Emily (Jamie-Lynn Sigler) may just be comic relief in most episodes, but they have a similar tone to the characters, and just feel right together. The makeup of these pairings, actors and actresses well attuned to what their TV spouse is doing, helps with believability. All four are fun characters.

The third couple is a little more rocky, and this makes sense, since they are divorced. When first we meet Sheila (Erinn Hayes) she is just Chris's (Jesse Bradford) stuck-up ex-wife who makes Chris miserable and Nick pull out his claws. Yet, after her role beefs up midway through this first season, viewers may start to feel some sympathy for Sheila, who does seem to care about Chris, but may just not know the correct way to show it. Plus, Hayes is always terrific in every role she does, bringing some ineffable quality with her.

Late this year, Sheila and Chris decide to have another baby so theirs doesn't get only-child syndrome. At first, they look into artificial insemination, but then Sheila decides they should go the old-fashioned route, making it pretty clear that she's looking for a reconciliation, not just another infant. At least, Nick thinks it's clear, so he arranges for Chris's ex-girlfriend, Sage (Fiona Gubelmann, Wilfred) to re-enter the picture to try to stop Chris from going through with it.

In a show that is all about relationships, I think I might just like the Sheila-Nick dynamic best. Nick doesn't hate Sheila; he's mad because she broke his best friend's heart. Thus, he is determined to prevent her from doing so again. Yes, they are two different people who will never be friends. But I do think their sparring comes from a place of love, and Sheila engages in it so fully because it makes her feel like a part of the larger group.

"Divorce Party" ends on a cliffhanger, with Chris torn between going home with Sheila, or staying at the party with Sage. Sage seems better for him, but television shows never allow their characters to have easy relationships. As the single guy on the series, Chris isn't going to get remarried anytime soon; that would take away the dating angle, which, for some reason, every show must have. Which means he'll probably choose Sage, which won't last. Though, if the series is canceled, as it likely will be, we'll never know.

Will the television landscape be poorer without Guys With Kids? Maybe not. But it's a heartwarming, somewhat amusing tale of young people who really care for each other, who also happen to have young children. Perhaps the run would be limited at the kids grow older, but for now, it's something I enjoy watching. I hope it gets a last minute reprieve.

Also, Guys With Kids has a fantastic theme song, in my opinion, which is a rarity on TV these days.

HBO's Parade's End

First published as PARADE'S END Review on Seat42F.

Grade: 91%

HBO will take its turn presenting the miniseries PARADE’S END this week, its partner in the endeavor, the BBC, having already broadcast it last fall. Perhaps HBO saved it so it would have a rich period piece this winter, just as it had Mildred Pierce last year, or perhaps they wish to attract those in the early stages of Downton Abbey-withdrawal. Whatever the reason, now seems an opportune time to air it.

The title PARADE’S END refers to the excising of the British upper-class way of life, the manner in which the elite of society put on certain airs, stay true to traditions, and worry about the way they are perceived. There is a strict social structure in place in the early twentieth century, mostly destroyed during World War I, and this miniseries tells that tale.

Well, it tells a personal take on characters who make that transition. Yes, the piece is somewhat sweeping, and does have a large-ish cast. But there are really three main players in the story who stand about above everyone else, and who are the case study made an example of here.

Benedict Cumberbatch (Sherlock, Star Trek Into Darkness) plays Christopher Tietjens, a noble Englishman who sticks with the way he is brought up, no matter what. This means he goes through with his marriage to the wicked, manipulative Sylvia (Rebecca Hall, The Town, Frost/Nixon), even though he knows she’s been sleeping around on him, and it’s very likely her pregnancy isn’t a result of his actions.

Their union is predictable unhappy, and Sylvia doesn’t even try to stay faithful, spending much time apart from her groom in the company of other men. Christopher, though, keeps up appearances, even as he begins falling for the sweet, strong-willed Valentine Wannop (Adelaide Clemens, Rectify, Vampire).

Looked at through the modern eye, it’s very hard to understand why Christopher doesn’t just leave Sylvia for Valentine, a topic discussed in the series. Why should he show any loyalty to someone who is so nasty to him? But that’s Christopher’s way of life, so I’m not sure it even occurs to him to end his own suffering, at least not for awhile. Part of the beauty of the piece is the illustration of the type of man Christopher represents, a specific guy from a specific period in time in a specific place.

In fact, PARADE’S END succeeds very well artistically. The sets and costumes are made expertly, and the details that set an authentic tone are present. The writing is smart, and the characters are well defined. Presenting World War I as a catalyst is a good idea, executed with much success.

The cast is fantastic, of course, especially the three leads. For those who are familiar with Cumberbatch’s work, this should come as no surprise. The girls’ talent matches hiw, but this is Cumberbatch’s showcase, and he owns every moment he is on screen, conveying much in his sad eyes.

The supporting players also lend both a fuller picture, and some levity to the proceedings. They include Roger Allam (The Thick Of It, The Queen), Rupert Everett (My Best Friend’s Wedding), Miranda Richardson (Rubicon), Janet McTeer (Damages), Clare Higgins (Homefront), Stephen Graham (Boardwalk Empire), and Rufus Sewell (The Pillars of the Earth), each of whom adds a positive element.

My problem with it is that it’s slow and a bit boring. Like Mildred Pierce, it meanders for quite awhile, and there isn’t a lot of movement. Does it really take five hours for a trio to work out their romantic arrangements? Especially when we, the viewer, know right away the decision that Christopher should make. His struggle is interesting, to be sure, but the running time will likely drive some potential watchers away.

PARADE’S END is strongly British, and not completely accessible. One must pay attention to follow the story, and it isn’t very light-hearted. I enjoyed what I’ve watched of it (I haven’t finished it yet), but it’s a miniseries I’d have to be in a certain mood to really appreciate, for sure.

PARADE’S END airs this Tuesday, Wednesday, and Thursday on HBO.