Once Upon A Time there was "The Miller's Daughter"

Article first published as ONCE UPON A TIME Review Season 2 Episode 16 The Miller's Daughter on Seat42F.

Grade: 98%

This week’s installment of ABC’s ONCE UPON A TIME, more than most, is about the past. Every episode of ONCE UPON A TIME gives us glimpses of how the characters were, back in fairytale land. But this one, “The Miller’s Daughter,” finds the meat of the plot taking place back then, even as important things happen in the present.

“The Miller’s Daughter” is the classic Rumplestiltskin tale, where the evil imp helps a poor girl spin straw into gold in exchange for her first-born child. But now we learn that the poor young girl was none other than Cora (wonderfully cast as Rose McGowan, Charmed, in flashback). And Rumple (Robert Carlyle) fell in love with Cora, which left him vulnerable to her trickery and cruelty.

We now know why Cora (Barbara Hershey) hates the royals, especially King Xavier (Joaquim de Almeida, 24) and his son, Henry (Zak Santiago). We see her looked down upon and tripped by a young Eva (Eva Allan), who must not have been taught kindness yet. We see her heart turn black and bent on revenge, which is why she removes her heart, which she sees as a weakness, so she can resist the temptation of Rumple’s love and become a royal herself.

I don’t think this is enough to justify Cora’s bad behavior, not by a long shot. She can be annoyed and not like the royal family without becoming so focused on their destruction. Even as a young woman, Cora is not nice. Yes, her lazy, alcoholic father contributes to a heart full of bitterness, but it is her decisions and her attitude that result in her fate. Cora really is just not a good person.

Rumple knows this and knows that she must be stopped. He has a plan for doing so, and that’s to get Snow White (Ginnifer Goodwin) to use a candle to trade Cora’s life for his own. Why does Rumple choose Snow in this moment? Is it because of one of the future glimpses he has seen? Does he take one look at her and realize what a dark path she is considering? Either way, unlikely Snow is his weapon of choice.

Poor Snow is the purest heart in all the land, until “The Miller’s Daughter.” Not only does she curse Cora’s heart, but she lies and tricks Regina (Lana Parrilla) into putting the heart back into Cora’s body to complete the spell. This is an act that will ruin Snow forever. Yes, she may be able to come back from this, but she will always live with the knowledge that she is capable of evil, and that will haunt her for the rest of her life.

How might this change Snow’s marriage to David (Josh Dallas)? He loves her, of course, but he does everything he can to keep her from this act. Now he has to look at his wife differently, her not being the purely good soul he thinks of her as. This will knock her off the pedestal, and could alter their dynamic.

Snow’s actions have an even more dire consequence for Regina. Getting a moment to see that Cora actually does love her (and did love Rumple), and given the knowledge that love would be enough for mother and daughter, Cora then promptly dies in her daughter’s arms. Regina always struggles with her evil side, but having Snow murder Cora so clearly will stamp out any good embers still glowing within her. The feud is no longer about custody of Henry (Jared Gilmore), and no truce will be had. For the foreseeable future, Regina is the evil witch who will do everything she can to destroy Snow.

Snow remains on the side of good and Regina remains on the side of bad, as has long been the story in ONCE UPON A TIME. But now viewers will sympathize somewhat with Regina, knowing Snow makes her into the current monster she is. It means so much more when the story becomes blurry like this, the hero having caused the villain’s descent in such a direct way, not by accident, but through an intentional choice. It’s an interesting move for the show to make, and it really shakes things up as we head into the home stretch of the season.

Rumple, for his part, has never been closer to good, despite turning Snow black, and will definitely be on the right side of the war this time. On his deathbed, he pours out his heart to Belle (Emilie de Ravin), revealing for this first time the depth of his love and desire to be a good man. This happens in front of Emma (Jennifer Morrison) and Bae (Michael Raymond-James), which is enough to soften both towards their son’s grandfather, and to prompt Bae to begin to forgive his father.

Is Rumple’s quest back to the light essentially over? He has Bae, the person he has worked so long and hard to find, and even if Belle can’t remember him, she has to be deeply moved by his words, and will begin to fall for him all over again. Surrounded by family, finally allowed to embrace and show his love, Rumple has a chance to be a hero.

Except, he knows Henry will be his undoing, and despite his doubt in “The Miller’s Daughter” if he should continue living, the Dark One inside of him won’t allow him to give up so easily. I worry this is the wild card left in the year.

Finally, we see Emma embrace her power in this episode. She is able to conjure up a protection spell to save (for a time) Rumple from Cora and Regina just by willing it so. It doesn’t seem a difficult feat for her, and through Rumple’s urging, Emma is getting a small taste of what she can do. I expect this will be explored quite a bit in the coming episodes, as the good guys will need every tool they can to fight Regina, and we’ve barely scratched the surface of what Emma is capable of.

“The Miller’s Daughter” is a compelling tale of good and evil, of love and revenge. It spills a wonderful back story that fills in some gaps in the plot, and changes a couple of characters to their core. Episodes this good, even in ONCE UPON A TIME, which is a great series, are rare. The acting this week, especially from Carlyle, is Emmy-worthy. The writing by Jane Espenson is smart and tight. Brilliant job, all around.

ONCE UPON A TIME airs Mondays at 8 p.m. ET on ABC.

Showdown for The Walking Dead

Article first published as THE WALKING DEAD Review Season 3 Episode 13 Arrow on the Doorpost on Seat42F.

Grade: 98%

AMC’s THE WALKING DEAD builds tension this week in “Arrow on the Doorpost” not with armed conflict, but with a peace treaty negotiation. Andrea (Laurie Holden) arranges a meeting in a barn between Rick (Andrew Lincoln) and the Governor (David Morrissey). They quickly kick her out of the negotiations and, rather than calm fears, their time together only heightens the drama.

I did not think about it until “Arrow on the Doorpost,” but Rick and the Governor have not spent a lot of time face to face. It’s one thing to know about the crazy, dangerous man that lives next door, but it’s quite another to look them in the eye, especially when he only has one. In order to better understand the danger they face, and to decide how to deal with it, Rick needs this time with the Governor, and it builds a relationship between them that the fans want to see. It’s a satisfying and necessary episode.

This also gives a brilliant showcase for Morrissey and Lincoln, both terrific performers. The way Lincoln keeps it together, acting tough, even though he is faced by such a great threat, is wonderful. Morrissey flits around, his character trying on many faces, attempting to find a tact that will get through to the other man. So much is left unsaid, played out in facial expressions and movements, and it’s a triumph for the actors as much as the roles they play.

In the end, the Governor tells Rick he’ll leave the group alone if they hand over Michonne (Danai Gurira), whom took the Governor’s eye. It’s a lie, of course, but how can Rick be sure? If there’s even a small chance that giving him Michonne, which will mean certain death for the woman, will protect everyone else, it’s something Rick has to seriously consider. He has children to think about, as well as people he has known much longer than she’s been around.

Hershel (Scott Wilson) tells Rick that Michonne has saved their lives and has earned her place in the group, and Rick admits that Hershel is right, but still considers sacrificing her. This is where things get tough. Before last week’s episode, Rick probably would have been fine with the deal, not caring about Michonne. Now, though, he likes and values her. Plus, there are her practical skills and the protection she offers the group to consider. She would be sorely missed.

Giving Michonne to the Governor to die will cost Rick a piece of his soul. He is willing to do things that in a non-post-apocalyptic world, some would consider cruel. But leaving a hitchhiker on the side of the road and actively giving a woman to her enemy are two entirely different things. Rick would be making a conscious, preventable decision to let someone he knows be murdered. Her death would be on his hands.

The bottom line, though, is the Governor is not trustworthy. Rick needs to realize this, and also understand that giving up Michonne makes him weaker in the inevitable battle. If the Governor is going to attack them no matter what, and everything Rick knows about the man points to this, there is no sense giving into his demands, especially when said demands hurt Rick’s group as a whole. It’s a no-brainer, and whether Hershel succeeds in talking Rick out of it or it’s a decision the leader comes to on his own, Michonne must not be given to the Governor.

Andrea, for her part, has almost as tough a decision to make. Speaking with Hershel outside of the meeting, Andrea knows she is welcome back with the prison group and must choose sides. The issue is, Andrea hasn’t seen the Governor’s cruelty firsthand, and admitting he’s a monster also admits a failing on her part, as she has put her trust in him, even telling him about Rick’s baby and Shane. She still hopes things are just a misunderstanding between the two groups and can be peacefully resolved, as any other option is a failure, but it’s time for her to accept responsibility for her failure. Her decision to return to Woodbury at the end of the episode is as much about faith in own judgment as it is about faith in the Governor, and it’s the wrong choice to make. I just hope it’s a decision that doesn’t get her killed.

The end of “Arrow on the Doorpost” does give us some hope that the Governor can be stopped. Milton (Dallas Roberts) overhears the Governor tell Martinez (Jose Pablo Cantillo) to kill anyone in Rick’s group he can when they return to hand over Michonne or discuss tactics, and Milton clearly doesn’t approve. After all, he has a nice conversation with Hershel, and I can’t imagine Milton wants to see him, at least, die. Knowing Andrea’s connection to Rick and the others, Milton should definitely grow a spine and confide in her. It’s the only way to stop a slaughter.

It’s true that Andrea and Milton alone don’t stand a chance of accomplishing anything in Woodbury, especially since Milton is not a fighter. However, if Andrea can rally others to her side, perhaps Tyreese (Chad L. Coleman), then maybe something can be done.

Back at the prison, Merle (Michael Rooker) is not happy sitting by while Daryl (Norman Reedus) risks his life protecting Rick at the meet and wants to go after him. No one will help Merle, feeling that Merle will put the others in danger. This is not only a summation of Merle’s standing in the group, realized by the character himself when he can’t get even “outsider” Michonne to join him, but also the beginning of a new threat. Merle isn’t one to be put in his place easily, and if he senses that he has no power or respect here, he could react badly.

The unknown quantity is Merle’s affection for his brother, Daryl. Merle definitely cares about his kin, and Daryl is the reason Merle is at the prison in the first place. Will Daryl be able to keep Merle in line, or might Merle switch back to the Governor’s side at a crucial moment, hoping that a betrayal might be enough to earn him the Governor’s forgiveness, even though viewers at home are pretty sure by now that it won’t.

A touching scene in “Arrow on the Doorpost” is when Glenn (Steven Yeun) reconnects with Maggie (Lauren Cohan). They finally talk about their relationship and their feelings, since things have been strained between them ever since their captivity in Woodbury. It not only lets them work through the issues, but also reaffirms their love for one another. It’s a little unsettling that they leave the watch post to have sex, as that leaves the group in danger, but I guess in this wasteland of a world, you have to take it where you can get it, no? And it’s very nice to see them work things out.

“Arrow on the Doorpost” is an excellent installment, ripe with heavy drama and wonderful character development. There are some serious questions raised, and it puts everyone in an interesting holding pattern as we near the end of the season. How it will all shake out, and who will be among the bodies left on the floor, as there will surely be more major deaths by the finale, is anyone’s guess at this point.

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

Schindler's List makes my Blu-ray list

Article first published as Blu-ray Review: Schindler's List on Blogcritics.

Few people have not heard of, or, for that matter, not seen, 1993's Schindler's List. It is a critically acclaimed, award-winning (including seven Academy Awards), box office smash that is often mentioned as one of the best films ever made. Directed by the great Steven Spielberg, the movie, celebrating its 20th anniversary this year, finally gets the Blu-ray treatment, released in the high definition format last week.

For those few who have not seen it, or need a refresher, Schindler's List is the tale of Oskar Schindler (Liam Neeson, Taken, Batman Begins), a German who decides he can profit from World War II by opening a factory and hiring cheap Jewish labor. Aided by collaborator Itzhak Stern (Ben Kingsley, Hugo), many are saved from the death chambers by the work, even though being a hero is not exactly Oskar's goal.

Then death intrudes upon Oskar's world. He sees the massacre of many Jewish citizens, and begins to change his mind about the worth of the people he's employed. Befriending S.S. officer Amon Goeth (Ralph Fiennes, Skyfall, Harry Potter), Schindler cajoles and bribes Nazis to keep the Jews in his employment and away from the death camps. He sinks almost his entire fortune into the protection scheme, and does what he can to help, even though, in the end, he doesn't feel like he's done enough.

Schindler's List isn't exactly a true story, as it is based on an historical novel, rather than non-fiction sources. But it does have real-life people portrayed in it, and, of course, the setting and horrors of the war are very much real. Filmed in an artistic black and white, with a truly moving color ending set in the present day, and a sweeping score by John Williams featuring violist Itzhak Perlman, it's impossible to watch this movie and not be moved by the tragic events it depicts.

This Blu-ray release looks stunning, probably the best such release for a black and white film to date. The blacks, whites, and grays are layered magnificently, with much depth and detail. The image is incredibly crisp, without any unintentional blurriness or graininess. The most remarkable thing that can be said about this version is there really is absolutely nothing to complain about in the sharp, clear picture at all.

The soundtrack is equally impressive. For the tiniest whisper to the biggest roar, each are masterfully captured, balanced, and given the presentation they deserve. The score is one of the highlights of the film, and is beautifully integrated. The dialogue is perfectly balanced, and there are not hints of cracks and pops, with even the subtle effects coming through as they should.

The sole complaint that can be lobbied against the Schindler's List 20th Anniversary Edition Blu-ray is that it lacks new special features. The original three extras from previous releases are present: "Voices from the List," a 77-minute collection of interviews with Holocaust survivors; a five minute discussion with Spielberg about his founding of the USC Shoah Foundation; and a promo for the educational IWitness online application. But there's nothing else.

Spielberg has said that he thinks Schindler's List should stand on its own, and that is the reason for the lack of a behind-the-scenes featurette or other documentary. I'm torn on whether to agree with this or not, as it is a powerful and important picture that should be considered on its own merits, even as some would like to see how the director made it. Unfortunately, that choice has been made for us, so I would not expect a release with anything other than these trio of extras anytime soon.

In all, though, this is a terrific edition. The movie really is every bit as good as everyone says it is, an anomaly in the current pop culture scene, and being able to own it on Blu-ray, with such a flawless, impressive high definition presentation, is greatly appreciated. Schindler's List 20th Anniversary Edition Blu-ray is available now.

Take a trip to Africa

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

The latest BBC Earth nature special is Africa: Eye to Eye With the Unknown, now available on Blu-ray and DVD. It may seem a predictable subject, as so many productions about the continent have already been done. In fact, when I think of nature specials, I think of Africa. However, this Africa has plenty of fresh, new material to present, and should not seem boring or like its just re-covering popular topics.
Africa is hosted by the legendary Sir David Attenborough, a frequent contributor to the BBC Earth series. His presence immediately lends a weight and reliability to the material presented, and he also makes an engaging host. As long as Attenborough wants to keep narrating and producing such specials, the public will keep eating them up.

Africa is presented in six parts: "Kalahari," "Savannah," "Congo," "Cape," "Sahara," and "The Future." Obviously, the first five pieces cover the different regions within the vast land mass. Animals and vegetation vary quite a bit from one coast to another, not to mention in between, and this natural dividing point shows us the varying landscapes and the types of creatures that inhabit them.

Among the highlights of these are encounters with animals like kick-boxing leaf frogs, huge penguin breeding grounds, lizards that live on the backs of lions, and chimpanzees that have developed tools to get the honey they crave. We see amazing landscapes, like the largest underground lake on the planet, a climb up steep mountains, a journey into lush valleys, and, of course, the infamous grasslands.

"The Future" is the final part. Rather than just talk in broad strokes about the what the future holds, the series introduces a baby rhino to represent the face of the changes now taking place in this environment. Once a highly endangered species, and while by no means safe now, rhinos have been making a come back. Can we apply what we've learned here to other species? Can we bring back lost landscapes? Is there a way for man to co-exist with the world as it was before we invaded and changed it? "The Future" ponders all of this and more.

The producers don't just save the plea to save Africa's wildlife for the final hour. The entire series is a love letter to the continent, and a look at how the place is changing. Fifty years ago, Africa would have been a very different series. Fifty years from now, it will probably be drastically different, too, and its up to the humans to determine how that land will look. We like to think of some environments as unchanging, surviving through the centuries, despite us. That isn't the nature of life, and that isn't the story of Africa.

As usual, Africa looks phenomenal. It benefits from the switch to high definition that many BBC Earth shows are now use, and we get a look at a stunningly detailed landscape. The level of crispness and vividness is impressive, and while the picture quality does vary somewhat from scene to scene, based on a number of factors, such as the type of cameras used and the environment being shot, the overall consistency is well above average, and few will find reasons to complain about the colors or sharpness.

The sound is also top notch, Attenborough's voice soothingly interlaces with the sounds of the planet. Mixing has been done well so that we can hear the places being shown as if we are there. Each little noise is picked up as the sounds of Africa are every bit as important to the story as the visuals. It's a fine, naturalistic soundtrack, lacking distracting pops and steep level changes.

Included on this two-disc set (if you buy the Blu-ray version) are lots of special features. Each episode has extra material, and there is an exclusive interview with Attenborough and others. There are outtakes and deleted scenes, as well as feaurettes about how Africa was made, a feat that is sure to amaze on its own. Also, there's some extra stuff about Ethiopia's Harenna Fores that is quite fascinating.

As usual, this is a terrific offering from a quality producer. Africa is available now.

Horror on Television

Article first published as Horror on Television on Blogcritics.

This week's topic is about a television genre that has only recently entered the landscape in a notable way: Horror. Yes, one can argue there have horror series before, and there have been. Tales from the Crypt, Stephen King adaptations, and even some episodes of The X-Files spring to mind. There's also been the comedy attempts, like The Munsters and The Addams Family. But never have there been so many on at once, and certainly not ones made this well or getting this kind of attention.

Some may ask why we even need horror stories, as there are plenty of people who avoid the scary stuff. But fear is a primal part of the human psyche, like love and sadness. Why would we want to leave a part of ourselves unexplored, just because it can be a little unsettling?

Horror is a tricky subject because of the material. Horror films are almost always rated R and contain blood and guts, as well as violence and nudity. This isn't the easiest thing to tone down for the small screen, especially without alienating the audiences who crave it. Any attempt to lessen the shocking material will make the show unwatchable to the target audiences and defeat the purpose. It's adult subject matter, and so must be handled carefully.

The way to get around that, of course, is to develop a very, very good story that can be creepy without being too risque and gross. The reason I never got into the horror genre of films when I was growing up is largely because of the popularity of "slasher" flicks, that shallow fare without much substance, character development, or plot. Instead, it was about the outrageous ways someone could be killed, which will not fly on television, save a subscription channel like HBO or Showtime, which have not quite entered the fray yet.

Even with a good story, though, broadcast network television is not a natural home for such a tale. For one thing, it would have to air at 10 p.m. for decency reasons, so there are very few time slots that could accommodate it. For another, the FCC keeps a tight leash on the basic networks.

Luckily, cable has rapidly been growing in quality and offerings of well-made, scripted series. It is because of cable, which usually plays by the decency standards to satisfy advertisers, rather than because they face fines and penalties, that the envelope can be pushed. If enough people can be made to tune in, advertisers will be found to pay for the programming, guaranteed. Money is important to plenty of companies that don't need to maintain a family-friendly image, and thus an opportunity exists.

Also, while the 1980s and 1990s concentrated a lot on light, fun shows, the last decade has seen a turn to the darker. Horror is a dark genre, and until the taste in popular culture turned away from the sweet and silly, there wasn't much of a push to go in this direction.

That brings us to this millennium, the prime time for horror to become a valid players in the game. It started slow, with series such as Buffy the Vampire Slayer, the Doctor Who episode "Blink," and The Vampire Diaries dipping a toe into the water, while still staying network-friendly. Then shows like Dexter went a step further. But it finally took off fully when FX developed American Horror Story and AMC gave us The Walking Dead.

The Walking Dead and American Horror Story have proven what basic cable can do, between the two of them, opening the floodgates for many more horror series that are already, and will continue to be, nipping at their heels. Interestingly, they are both quite popular, and have gone about their productions in very different ways.

The Walking Dead is about characters. Zombies are present, of course, but that isn't enough to make it the ratings powerhouse it currently is, drawing in the non-horror fans that the show attracts. It's because we get to see the people in that world struggle with fluid morality and what is necessary to survive that we tune in. Every so often, a cool death will occur, but the bread and butter is character development, and it does this extremely well.

American Horror Story, by contrast, is about the horror genre itself. It also boasts compelling people at the center, but it's about taking the standard conventions of a horror film category, and deepening them into something more. Only so much can be done in two hours or less, but with thirteen installments to play with, it can take the familiar conventions and explore them in richer, fuller ways.

Both of these are quality shows that will open the door to others. Since they have been able to make this stuff that is both critically acclaimed and popular, they have created opportunity for others to follow. Among the recent offerings are Grimm, Cult, The River, and The Following, all broadcast shows that seek to get the same viewers, albeit with even more tame violence. The excellent Bates Motel will join them on A&E in a couple of weeks.

Comedy and romance may long have held an important place in our television schedules, but this will be the decade that horror joins them as a serious contender, and scary movie fans finally get to enjoy a weekly series in their favorite vein. Or artery.

Glee Goes to the Movies

Article first published as TV Review: Glee - "Girls (and Boys) on Film" on Blogcritics.

FOX's Glee is certainly frustrating. After a great fall run, they completely dropped the ball during February sweeps, one of the most important times of the year for television, with several weak episodes in a row. Now, the ratings push being over, Glee returns with another good episode, "Girls (and Boys) on Film."


Part of why this week's installment works so well is the music that is used. The episode features the 500th musical performance ever on the show, as well as many other great numbers inspired by movies. From "Shout" to "In Your Eyes" to "Come What May" to "Unchained Melody" to "Footloose," Glee chronicles some of the best know moments in film involving song. They also toss in a couple of mashups, such as "Diamonds Are A Girls Best Friend" / "Material Girl," the same combo used in Moulin Rouge, and a Tom Cruise tribute of "Old Time Rock and Roll" and "Danger Zone," as well as the old style, beautiful looking dream opening "You're All the World to Me."

That list in the preceding paragraph is quite a long one, and without a weak link in the batch. Many are used effectively for the ongoing stories, while others are entertaining choir room performances. Many of the cast are featured in these numbers, rather than just a couple of them, and everyone must have had a ball filming "Girls (and Boys) on Film," which really translates on screen.

It does strike me as odd that the rest of the student body really gets into "Shout" as the New Directions run down the halls and dance on tables in the lunchroom. Were I their classmate, I would probably groan and say "Here they come again!" rather than clap and bob my head. However, it's so entertaining that I can't complain much, and I'm glad it's included.


I'd also like to mention how much I loved Unique (Alex Newell) headlining "Diamonds Are A Girls Best Friend" / "Material Girl." He has been such a pleasure to have in the cast this year, and her voice is amazing. I do have a little trouble deciding which pronoun to use sometimes when discussing the character, as evidenced by the previous sentence, but whether identifying as male or female, Unique brings something fun and powerful and, well, unique, to the show that I wish was used more.

Several of the romantic duos get screen time this week. Marley (Melissa Benoist) confesses to Jake (Jacob Artist) about her kiss with Ryder (Blake Jenner), which ruins their relationship. I'm disappointed by this plot in general because it does feel like a retread of season one. The quicker Ryder gets out of the picture and Marley is with Jake for good the better, even as I knowGlee won't be quick about it because they have to stretch out the drama.

Even more unsatisfying is Finn (Cory Monteith) telling Will (Matthew Morrison) about kissing Emma (Jayma Mays). It is a dumb mistake in a bad moment on Finn's part to kiss her, and he does everything he can to make up for it since. I understand Finn doesn't want it to come out later, but who is he helping by telling Will now? It just upsets Will, who gives his "pal" the cold shoulder, as Finn deserves. I guess that's what Will gets for befriending a student so closely.


I do like the way Will and Emma resolve their differences. Having her leave him at the alter sucked, but she has a point that Will has changed and has been away for awhile. Yes, she should have talked to him before the ceremony, but I'm glad they're choosing to work through it, hopefully meaning an actual wedding, maybe smaller this time, in the near future, a much better option than a permanent breakup.

It is a little weird that Emma's parents (Don Most and Valerie Mahaffey) pop up this week in "Girls (and Boys) on Film," rather than during the wedding episode. It is firmly established they are at the wedding, but we don't see them. One could argue there isn't really a plot for them in the wedding episode, but then again, there isn't really here, either. Just a confusing choice by Glee.

In New York, Adam (Oliver Kieran Jones) is worried that Kurt (Chris Colfer) may still have feelings for Blaine (Darren Criss). Clearly, whatever is going on between Adam and Kurt is more than just a fling for the senior. Sadly, I'm not sure Kurt sees it that way. What is up this year with Kurt hurting boys who like him? It's sad, and I hope his character gets a reality check soon because neither Adam nor Blaine don't deserve to be strung along. They're good guys, and they deserve better than how Kurt is being right now.


Also in the apartment, Santana (Naya Rivera) begins a campaign against Brody (Dean Geyer), whom, after rifling through everyone's stuff, she suspects is a drug dealer. It's nice to have Santana there to confront Rachel (Lea Michele) about Brody, since Kurt seems to be annoyed by the boyfriend, but not doing anything about it. It does cause tension, but not so much that Santana needs to go.

In fact, Santana's snooping has a happy ending when she is able to comfort Rachel regarding her pregnancy. Rachel and Kurt seem a little distant lately, and Rachel doesn't feel like she can turn to the men in her life, not knowing who the father is. But Santana, despite her grating qualities, is a warm-hearted individual, and cares about Rachel after everything they've been through. Because of this, I think Santana is earning her place in the loft, and hope she sticks around for awhile.

What's more, this episode is genuinely funny. From Santana ransacking the apartment to Finn and Artie (Kevin McHale) pretending to be gingers to get Emma's parents to open up to them, there are some fantastic moments. More of this will only benefit the show as a whole.

That's pretty much it on the story front. "Girls (and Boys) on Film" doesn't have too much time for plot arcs since it spends so much time singing. But what plot is present is good, the songs are great, and I'm looking forward to the next installment again, something I couldn't say throughout the month of February.

Glee airs Thursdays at 9 p.m. ET on FOX.

Community more than just "Cooperative Escapism"

Article first published as Community more than just "Cooperative Escapism" on TheTVKing.

NBC's Community delivers the second consecutive solid episode of the fourth season this week with "Cooperative Escapism in Familial Relations." It's Thanksgiving, and Shirley (Yvette Nicole Brown) invites everyone to her home for dinner. They accept, except Jeff (Joel McHale), who has a surprise - he's going to visit his estranged father, William (James Brolin, Castle, Catch Me If You Can), this holiday.

Jeff is a shallow jerk of a man, or so we believe for the first couple of seasons. But at the end of season three, Community made a choice to begin to explore his psyche in a real way, allowing for growth and development, and delving into what makes him the way he is. It's great to see "Cooperative Escapism in Familial Relations" continue that trend.

Who Jeff's father is has long been eating at the character, as William abandoned Jeff as a young boy. In this episode, we see a lot of what Jeff gets from his father, but also the type of guy that would disappear from his son's life. It's a complex portrait, developed in such a way that we see the similarities and differences between the Winger men, as well as the cause of them, all in a single episode of a sitcom. It's quite a feat.

At first, William wants to take credit for Jeff. Jeff appears confident and successful, having had a good life, and William thinks that may be what has helped Jeff. By contrast, Jeff's younger half brother, William Jr. (Adam DeVine, Workaholics), who William raised reluctantly, is a blubbery emotional mess. But Jeff sets William straight, baring a lot of his soul, a deeply painful story, and a literal scar. It's a bit of a wake up call for William, though only time will tell if he will squander the second chance he doesn't deserve that Jeff is graciously giving him.

For someone who originally seems sarcastic and closed off, this honesty and rawness from Jeff in the episode is startling and impressive. For the first time, viewers get to really know Jeff. It's a whole new side of the character, and one that explains a lot. This is McHale's masterpiece in the series, and he handles it with brilliance and a huge amount of talent that seems to come effortlessly. Bravo.

It completely adds to this plot that Britta (Gillian Jacobs) follows Jeff to his family's home. Everyone makes fun of her, and rightly so, for her desire to be a therapist, and the poor way that she seems to perform as one. Yet, here, she has clearly gotten through to Jeff, and as reluctant as he might be to admit it, Jeff owes her a huge debt of thanks.

The whole thing perfectly pays off when Jeff prepares a lovely and sincere Thanksgiving for the group, and even invites the Dean (Jim Rash). These are his chosen family, the people that mean the most to him, and he finally ready to start showing it.

Meanwhile, at Shirely's house, the rest of the group finds a horrible mess of an event, and end up hiding from Shirley's family in the garage. Shirley's feelings are hurt, which we eventually learn, since she invited them to have a buffer from her husband's horrible family. At this revelation, they rally and support Shirley the way that they should.

Some of this arc is weak. Having Abed (Danny Pudi) turn their garage stay into a Shawshank Redemption and Prison Break bit is going a little far. There are some solid jokes, such as digging the tunnel behind the poster and the unnecessary map of the house on his stomach. But I do wonder if perhaps Abed is losing it. What I perceive as a hollowing of the character could be symptoms of a larger issue that will have to be dealt with, a continuation of the problems glimpsed in the season premiere. If so, this is a smart, not lame, arc for the character, and would redeem the first couple installments of the season. If not, the writing for Abed is just so much more flat this year, and that's disappointing.

Besides the bigger stories, there are a ton of fun callbacks and references stuffed into the episode. We see Shirley's sandwich shop sign, Abed utters "cool, cool, cool," Pierce (Chevy Chase) tries and fails to engage Abed on numerous occasions with Star Wars references and being meta, and Jeff uses Britta's name as a verb against her. Also, in the opening scene in the study room, inside messages are written on the board behind the cast, including a thank you to fans for tuning in. Awesome.

After a soft opening, spirits are buoyed as Community picks up steam. Maybe the emotional stuff Jeff in particular experiences isn't completely consistent with what the show was, but they have been earned and feel natural at this point. Community airs Thursdays at 8 p.m. ET on NBC.

White Collar's fourth season is now "In the Wind"

Article first published as White Collar's fourth season is now "In the Wind" on TheTVKing.

USA's White Collar completes its fourth go-round this week with "In the Wind." Reese (James Rebhorn) warns Peter (Tim DeKay) not to trust Callaway (Emily Procter, CSI: Miami), who apparently is in the pocket of Senator Pratt (Titus Welliver, Lost, Sons of Anarchy). Since the FBI is closing in on the evidence box in the Empire State Building, and Peter doesn't think he can get around Callaway professionally, he asks Neal (Matt Bomer) to cross the line and get the evidence himself.

"In the Wind" is an action-packed episode. There is a death by shooting, a couple of twists, some running around, and an escaping blimp. There's subterfuge and betrayal, all in a gorgeous location shoot. All of this is very exciting, especially when the evidence is kept out of Callaway's hands in an original way.

But the best parts of "In the Wind" are the emotional moments. Most obvious is that involving the relationship between Neal and his father, James (Treat Williams). Mozzie (Willie Garson) never quite trusts James, and so viewers may be inclined to look at him with suspicion, too. Even as we hope that James turns out to be the innocent man he claims to be, for Neal's sake, we see the signs that everything he says is not on the up and up.

In the end, it's not finding out that James is guilty that hurts. It's the fact that James is not a good guy nor dad, refusing to stick his neck out for Neal. It's understandable that James doesn't want to risk going back to prison, but after all of the pain he has caused Neal throughout his life, when Neal begs him for a favor, and this favor is selfless, James should definitely comply. He doesn't, and I feel like this is the end of their emotional journey as father and son. James can never really return to Neal (even if the actor guest stars again), and Neal can never forgive his father.

The favor that Neal asks is to clear Peter's name. James kills Pratt in self defense, but Peter takes the fall for it. The evidence is damning against Peter, and the way it plays out actually feels smart, rather than contrived. Neal very much cares for Peter, and has shown that he will do almost anything for him. Neal is even willing to sacrifice his own father for Peter, which proves once and for all the level of affection between them, despite the sometimes rocky story.

The only thing that feels slightly off in this James-Neal-Peter arc is that Neal seems to suddenly regard Peter as a father figure. Sure, Peter is older and has authority over Neal. But I've always seen the two as best buddies, rather than mentor-mentee. They work in unison, not necessarily as a superior and an inferior. The power shift drawn here is a little weird.

Also, when Peter makes dinner plans with Elizabeth (Tiffani Thiessen), you just know something is going to happen to prevent the date. Usually, White Collar isn't this obvious, so it's a shame a move is telegraphed here, even if the way the story shapes up takes awhile to become clear.

Neal not only gets to connect with Peter and James, but he also has a wonderful scene with Sara (Hilarie Burton) in "In the Wind" in the Empire State Building. The relationship between them has been a highlight of the series, and there is definitely something real that works for the pair. Neal gets to confess his feelings in a very authentic way, even while performing a mission, and she responds to them. It's a shame the show is sending her off to London instead of keeping her around. "In the Wind" feels like a sad, but very well written and performed, ending for the couple.

I am not yet ready to cast judgment on Callaway. I miss Reese as boss, to be sure, despite the small role he usually plays. But Callaway seems like she just might be on the side of justice, and changes the dynamic in the White Collar Division in an interesting way. The evidence Reese brings to Peter makes her look bad, but not so bad that it can't be explained. She does try to keep Pratt away from the evidence that will take him down, and so I think there could be some redemption for her next season, should she stick around.

Ah, next season. I hate when Peter is away from his job, but a murder trial is too rich to just skim over. Let's hope White Collar delivers the goods in this arc, rather than cutting it short, as it sometimes, but not always, does with longer plots.

White Collar will return next fall to USA.

Red Widow surviving, not thriving

Article first published as Red Widow surviving, not thriving on TheTVKing.

ABC's newest "gripping" drama is Red Widow, which offered a two hour premiere this week of "Pilot" and "The Contact." In it,  Marta Walraven (Radha Mitchell, Silent Hill), the grown daughter in a crime family, asks her husband, Evan (Hell on Wheels' Anson Mount), to get her and their three children out of the family business. Evan promises to do so, after warning Marta that they will have to leave everything behind. But before that can happen, Evan is murdered and Marta is forced into being a criminal herself to pay off his debt.

There are multiple sides to this story that Marta is trapped in, pulled in several directions. Her father, Andrei Petrov (Rade Sebedzija, 24, Batman Begins), whom she loves, is heavily involved in illegal activities. Her brother, Irwin (Wil Traval, All Saints) not only worked with Evan, but is now in jail. These characters are presented as loving and sympathetic, as is Marta's sister, Kat (Jaime Ray Newman, Eastwick, Grimm), so we are supposed to root for them, right?

But there are also the bad guys that we don't trust. This includes Evan and Irwin's partner, Mike (Lee Tergesen, Oz, The Big C), whom Marta doesn't trust, and who happens to be married to Marta's best friend, Dina (Suleka Mathew, Hawthorne, Men in Trees). I do wonder how Marta can wrap her head around the fact that Dina loves a man she despises, and if this has caused conflict between them in the past. Or maybe Marta is just now seeing Mike in a different light, after suspecting him of being involved in Evan's death? It's not clear how this dynamic supposedly works prior to the events of the "Pilot."

And then there's Nicholae Schiller (Goran Visnjic, ER), the man that Irwin stole from, but Marta is being forced to work for in Evan's name. There is almost a bit of romantic tension between Marta and Nicholae, at least from his side, but he also radiates a level of danger. This is a Very Bad Man, we're quickly told and shown in an extraneous boxing scene.

I'm going to be honest, Red Widow, while having many good components and interesting performances, does not feel all that unique to me. With Revenge, Scandal, and other like dramas on the air, this one, while somewhat different, isn't stand out enough to earn its place. ABC is starting to reuse its concepts, and making more of the same is not what viewers want.

I find most startling the differences between Schiller and the Petrovs. Even though both operate on the wrong side of the law, they are painted in such different strokes. We know right away who we are supposed to root for and against. The complexity that the series would get on a cable network isn't present here, and that makes it a lot less enticing, and plot twists seem forced.

In "The Contact," Marta makes her first move in Schiller's service, turning Bob (Rodney Rowland, Veronica Mars), a broke, divorced man into her paid-off patsy. It's a challenging assignment, one meant to wake Marta up to the new world that she is living in, and testing her resolve and dedication, done in the name of protecting her family. Yet, it's also completely predictable, and the ending feels like a cop out.

Also, we see Marta being a mother to Boris (Jakob Salvati), who thinks its OK to bring a gun to school, Natalie (Erin Moriarty, The Watch), who somehow stayed in the dark about what her dad did, and Gabriel (Sterling Beaumon, Clue), who is trying to follow in his father's footsteps. It's like the developers of this show had to give Marta these stakes, whom we know will never have anything too bad happen to them, but will likely be used mostly as pawns. Toss in a charming nanny, er, guard named Luther (Luke Goss, Hellboy II), and there's almost an unnecessary family series here, fighting for space within the main story.

At the same time as Marta dips her toe into the dark side, she is also being pressured by a federal agent, James Ramos (Clifton Collins Jr., The Event), to cooperate with the government. It turns out, Evan intended to turn in Andrei, Irwin, and the rest in in exchange for his family entering witness protection. Marta is horrified at this "big twist," having trouble believing her husband would turn on their family. This only serves to illustrate just how naive Marta is.

The biggest problem with Red Widow is that Marta is not a compelling character. She's too much of a fictional creation, lacking authenticity. Everything happens around her in broad strokes, because she might not be able to understand or deal with the nuance. The story is lacking because she is lacking. And the show keeps throwing more stuff and more characters at us hoping to distract from how surface everything is, and how weak Marta is as a creation.

Red Widow might still be good; it's not unsalvageable. It just feels too safe for ABC, and lacks the drawing power a new show needs in the current, crowded environment of high-quality TV. The more we see that's better, the more obvious it is when an effort falters. Red Widow's first episodes are quite shaky.

Red Widow airs Sundays at 10 p.m. ET on ABC.

Enlightened may not be the "Agent of Change" it hopes

Article first published as Enlightened may not be the "Agent of Change" it hopes on TheTVKing.

HBO's Enlightened brings its second season (and possibly series) to an end this week with "Agent of Change." The proverbial crap hits the fan as Jeff's (Dermot Mulroney) article about Abaddon becomes public knowledge. Amy's (Laura Dern) part in it is fully exposed, costing her her job. Before she goes quietly or triumphantly off into the night though, she burns a few more bridges.

Amy is a polarizing character you tend to either love or hate. Despite enjoying the show, I don't like the lead very much. I don't know if this is a testament to Dern for creating such a specific persona, one who is realistic and recognizable, even if not very likeable, or if they series' writers misjudge just how far Amy can be taken. I feel like this is why the show struggles to build a following.

That being said, I do still want Amy to have a happy ending. She is the protagonist, and we've spent enough time watching her. She is a pain and her self-righteousness causes more harm than good. But, at the end of the day, she should still find her niche. "Agent of Change" doesn't get her there, but it does leave her in a place of success, at least on certain fronts.

It's funny when Amy gets a meeting with the head of Abaddon, Charles Szidon (James Rebhorn, White Collar, Homeland). It takes no time at all for Szidon to convince Amy that he's a good guy who's trying his best. His earnestness and apparent sincerity could sway fans of the show, too. Yet, Amy should not be moved, given the evidence she's seen. She should be able to look past his words and remember his crimes, figuring he only offers her the dream job because it makes him look good. The fact that she doesn't, changing her mind at the drop of a hat, exposes the flimsiness and weakness of her personality, a lack of utter conviction about anything.

This wishy-washiness extends to Amy's romantic life, too. She is plenty willing to blow off Levi (Luke Wilson), a man who has gone to great lengths to get his life together for her, and whom she has strung along for awhile, when she is sleeping with Jeff. Yet, when Jeff asks for a break, whose house does she go to for comfort? Yep, Levi's. Her actions are not fair to either man.

I don't believe that Jeff doesn't care for Amy. I'm not convinced he's in love with her, but it does seem like he's asking for the time apart for professional reasons, not because he is using her for information. The glowing way in which he writes about her in his article, as well as his query as to whether she is OK after everything blows up, shows us this. If Enlightened does get a third season, it could be interesting to watch Jeff and Levi fight over Amy, especially when the "winner" who gets her could, in actuality, end up the loser.

The most uncomfortable thing Amy does in "Agent of Change" doesn't come from her guy troubles, or her final showdown with Szidon, where she grows a backbone at last. No, the worst scene is when Amy ruins her fragile relationship with Krista (Sarah Burns). Just when they rebuild a friendship, Amy storms into Krista's hospital room, not long after Krista gives birth, and lobbies angry accusations and profanity against an innocent woman. It's totally in character, but it's exactly why Krista has distanced herself from Amy in the first place. There is most likely no coming back from this for Amy.

The best moment of the episode, in my opinion, is when Dougie (Timm Sharp) tries to help Amy get out of the building with her evidence against Abaddon. He tells her that she's been a terrible employee, but he still wants to hang out with her, and he supports her mission. Friends can be found in the most unlikely of places, and to see them come together is heartwarming.

It's also nice that Amy salvages Tyler's (Mike White) budding arrangement with Eileen (Molly Shannon, Saturday Night Live), and, after kicking her daughter out of her home, Helen (Diane Ladd) finds something to be proud of Amy for. These are the touches that makes Enlightened worth watching, even at its most uncomfortable moments.

What would a third season of Enlightened look like? Obviously, Amy would not be at her job any longer, and that would make it hard to keep all of her co-workers in the cast. Tyler and Dougie, at least, lost their jobs, too, so maybe they would latch on to whatever Amy does next. But Krista would likely be gone, which, while I liked her, would not be a big loss, since her arc comes to a close so neatly this week. And obviously Amy would have another cause to go after in some half-thought out way.

"Agent of Change" is nice because it really brings things to a close in a way that makes sense. There may be some things that end uncomfortably, and plenty of balls left up in the air, but if Enlightened should be done, there is enough finished to not be too disappointing.