"You're No Good" TRUE BLOOD Not True

Article first published as "You're No Good" TRUE BLOOD Not True on TheTVKing.

HBO's True Blood is only three episodes into the sixth season, and already so much has happened that the series bears another review. With the numerous characters and plotlines, not everything that happens in this week's installment, "You're No Good," will be covered in the following article, but most of the important points will be touched on.


Niall Brigant (Rutger Hauer), King of the Fairies, stresses to Sookie (Anna Paquin) that she should be more worried about Warlow than she is. Sookie's retort, telling her grandfather that she has to cope with a lot of dangerous situations, and so tries very hard not to overreact and keep a level head until the truly dire circumstances come along, is funny, self-referential, and perfect. Then Niall tells her Warlow does rate that most dire category, and one's blood runs cold.

Normally, if a character in a story has to tell another character (and the viewers) that a villain is really, really scary, it's a weak job on the script that's to blame. After all, we should already know how scary the baddie is by what's shown. However, there is an exception to this rule, and that occurs here. There is a lot of dangerous stuff on True Blood, and because of who Niall is, his words mean something. As happens very rarely on television, words end up being more powerful than the visuals.

Unfortunately, it's awfully hard to worry about Warlow, despite how he slaughters everyone in the fairy club, when Jason (Ryan Kwanten) is collapsed on the floor. I don't know what is going on with him, but he is not well. And, of course, his symptoms pick the worst possible time to manifest. The trouble level at the Stackhouse homestead has never been higher.

Into this turmoil, Bill (Stephen Moyer) shows up. He couldn't possibly know everything that Sookie is dealing with, and so can be forgiven for seeking her assistance now. He cannot be forgiven, though, for being demanding and rude. It's clear he no longer cares for Sookie in any romantic way, if he ever did. It's sad to see the show's central couple completely done with one another, but "You're No Good" reveals exactly that in a heart-wrenching scene.

Bill is no longer recognizable as Bill. He is ruthless and arrogant and a bit evil. His ability to see the future is as onerous as it is helpful. Perhaps Bill is the only hope for the vampire species, considering all of the humans turning against them, and the weapons being brought to bear. This Bill, more than the old Bill, is equipped to be the right vamp for the job, even if he is still allergic to the sun. But it's still sad to see a beloved character replaced by someone who looks the same, but is drastically different. If he harms the fairy kids, he will completely nonredeemable.

Eric (Alexander Skarsgard), too, is acting strangely. Kidnapping the governor's daughter, Willa (Amelia Rose Blaire), and treating humans with little regard is something pre-Sookie Eric would do. Without Sookie by his side, has he reverted back to his old, bad self? Or is this just what happens when you trap a deadly creature in a corner? Have we seen the last of Ginger (Tara Buck)? Eric's anger is completely justified, but his willingness to hurt the innocent is not.

Yet, Eric's tenderness towards his prisoner is a sign that he hasn't completely changed, as Bill has. Much of his dialogue can be chalked up to posturing. Eric is cunning, and has a plan that he doesn't always share with his friends. Yes, Eric almost kills Willa, but after that, he seems to take a step back from the edge. We'll see if desperation or a noble spirit wins out.

Alcide (Joe Manganiello) is finding it harder than expected to stop his pack from going after people who don't deserve it. When peaceful young men and women show up at their door, the pack wants to tear them to shreds, and mostly does, save Nicole (Jurnee Smollett-Bell, Friday Night Lights). Alcide himself even shows some angry, violent tendencies, though he stops short of hurting anyone. Does the pack make wolves mean, a group egging one another one? Can Alcide control it and his people, as we know he's good at heart?

It's this general darkness that makes season six better than the past couple of years. True Blood is a humorous horror show, and those laughter-inducing bits and lines are still there, such as when Holly (Lauren Bowles) takes up Andy's (Chris Bauer) system of calling his children by number. But there's also real peril and tension when the stakes get high, and unlike past seasons, this year turns up that knob right away.

Take, for instance, Sam's (Sam Trammell) plot of trying to stay hidden in a world where supes are increasingly exposed. He seeks to avoid death, but cannot. He tries to do right by Emma (Chloe Noelle), but is blocked at every turn. No matter how much Sam fights, he just can't do what he wants to do or live the way he wants to live. It seems rather hopeless.

Then Lafayette (Nelsan Ellis), who isn't known for his generosity, offers Sam help. In fact, Lafayette insists on it. Sticking together is the only way to get through the tough stuff, and "You're No Good" lets Sam find help where he doesn't expect it. The fact that Lafayette feels compelled to provide assistance shows us how bad things have gotten, but it also provides that ray of hope that just might get Sam through. We'll see, though, since the body count on True Blood is usually pretty high.

The last thing that must be mentioned about "You're No Good" is the triumphant return of Sarah Newlin (Anna Camp). Now in a position of authority and influence, she rubs it in her ex-husband, Steve's (Michael McMillian), face. Since they are both despicable characters, one can just enjoy the juicy verbal sparring between the two, and the wonderful performances of Camp and McMillian, without worrying whether the characters will be hurt or not. It may be a small thing, or it could grow into something, but having Sarah back is welcome, indeed.

So much going on, so much of it keeping viewers on the edge of their seats. True Blood season six is off to a great start! New episodes air Sundays at 9 p.m. ET on HBO.

"A Beautiful Day" Not Destined For DEXTER

Article first published as DEXTER Season 8 Premiere Review on Seat42F.

Grade: 93%

The title of Showtime’s DEXTER’s final season premiere is “A Beautiful Day,” which is misleading because there is nothing beautiful about the days in which the episode takes place, six months having passed. Dexter (Michael C. Hall) is in the darkest place he’s arguably ever been in, with Deb (Jennifer Carpenter) out of touch, off the grid as a renegade private investigator, taking the tough, dangerous cases. And from there, it only gets worse.

It’s not surprising that Deb has taken off. After killing La Guerta (Lauren Velez) to protect her brother, Deb finds she has trouble living with those decisions. The people that do kill in DEXTER tend to be psychopaths, and since Deb is a ‘normal’ person, she can’t find it in herself to accept such heinous crimes. As such, she flees from Dexter and her life as a cop, unable to move past what she has done.

Dexter, on the other hand, is a psychopath. He is someone who doesn’t value life or the feelings of others. He has been able to fake it all these years, but has never learned to truly care, except in very rare cases. With one of those exceptions, Deb, gone, Dexter has a hard time getting by.

Could it be that Deb is the one person that is holding Dexter together all along? Because he values his sister, the girl he is raised with, Dexter keeps himself in check to spare her. Last season, when he ditches the code that Harry (James Remar) taught him, it’s to protect Deb, proving that his feelings for her override pretty much everything else.

Now, with her gone, Dexter is going off the deep end. He snaps at work, says incriminating things, and even puts his son, Harrison (Luke Andre and Evan George Krunthcev), in harm’s way to save Deb’s life. His behavior is erratic and dangerous and he will get himself caught if Deb can’t forgive him and come back sometime soon.

It’s pretty unfortunate that just as Dexter is slipping up, Dr. Evelyn Vogel (Charlotte Rampling, Melancholia) comes onto the scene. Unlike past investigators, Vogel knows right away who Dexter is and what he is capable of. By the end of the first hour, she makes a move that may be either very smart or very dumb, but viewers and Dexter alike will not be kept wandering how close she’ll get all year. Instead, what remains in the dark is her motivation and what she wants.

It’s very likely Vogel has ties to Dexter’s past. She is acquainted with Captain Matthews (Geoff Pierson), and has relics from Dexter’s childhood. What is her connection to Harry, how long has she known about Dexter, and why is she doing what she is doing now?

Also, there is yet another serial killer in town. I can’t help but feel, giving Dexter’s penchant for twists, the fact that this is the final season, and the absence of seeing the killer in “A Beautiful Day,” that this particular murderer just may be someone we’ve seen before. Doakes and the Bay Harbor Butcher are elements of DEXTER that won’t just go away. Perhaps it’s all part of the same plot.

La Guerta’s death has shaken up the department in more ways than just running off Deb. Both Captain Matthews and Batista (David Zayas) have canceled their retirements and returned to the force in order to fill in gaps in the ranks. For Matthews, who was forced out, this makes total sense. But for Batista, who leaves the job after careful consideration, it’s kind of disappointing. I get what the writers are doing, wanting to keep him involved in the show, and given the way he is taking La Guerta’s passing, it makes sense. Yet, it also feels like an unnecessary step backward for him.

As many might have expected by the end last season, Quinn (Desmond Harrington) and Jamie Batista (Aimee Garcia) are now regularly hooking up. It seems mostly about sex, but they are definitely very into one another. I’m not really sold on this relationship, feeling like she can do better, and he should pick someone more age appropriate, but I’ll try to reserve judgment until we see how it all plays out.

We have a couple of new faces around in “A Beautiful Day,” too, as usual, but unlike past years, none of them stand out as well-known casting coups. That’s good, keeping the focus on the central players in the last year, which is important to end the series properly. There’s a good guest turn by Entourage’s Rhys Coiro, but he won’t be sticking around, so it doesn’t detract from this.

It’s too soon to tell if DEXTER’s eighth season will be more like its fantastic seventh or its lackluster sixth. However, with only a dozen episodes left to tell the story, there will definitely be closure. DEXTER feels like it’s moving into its final act, exploring the last corners of Dexter’s personality, making him desperate right before his triumph or downfall, depending on which direction the show goes in. It’ll be interesting for invested fans to find out which choice has been made.

DEXTER airs Sundays at 9 p.m. ET on Showtime.

RAY DONOVAN Chooses "The Bag or the Bat"

Article first published as RAY DONOVAN Review on Seat42F.

Grade: 91%

Showtime’s RAY DONOVAN is a series about an L.A. man named Ray Donovan (Liev Schreiber, Taking Woodstock, Salt) who is a fixer, someone who can solve everyone’s problems but his own. That’s a very familiar type on television today, echoed across a number of networks and programs. So why should you tune into such a familiar concept?

Well, for one thing, it’s Liev Schreiber. Like other top leading men, he is a wonderful actor with range and depth. And he is surrounded by other notable performers, who we’ll get to in a minute. So even though the story is pretty pat, it’s still entertaining to watch actors at the top of their game.

Ray, like a Tony Soprano or a Marty Kaan, is surrounded by people that count on him, and think he is the only one that can help them. There’s his brother Terry (Eddie Marsan, Little Dorrit), a boxer with Parkinson’s. And his other brother Bunch (Dash Mihok, Greetings From Home), who was molested by a priest as a kid, and now suffers from substance abuse problems. And Ray’s biracial half-brother, who he has just found out about, Daryll (Pooch Hall, The Game).

Ray also has his more immediate family, his wife, Abby (Paula Malcolmson, Caprica), whom he has promised to stop cheating on, and his children, Bridget (Kerris Dorsey, Brothers & Sisters) and Conor (Devon Bagby). Ray very much cares about them, even when he and Abby fight, and between them and his brothers, he has his hands full as head of the family.

Then, in the first episode, “The Bag or the Bat,” Ray’s father, Mickey (Jon Voight, 24, National Treasure), whom Ray himself sent to jail, gets out five years early on parole. Suddenly, Ray has another alpha dog to contend with, someone who doesn’t mind being a bad influence, and whom Ray’s family is drawn to, either from a need for acceptance, or because they don’t know any better.

This is a mess, to be sure. Ray has already overcome so much, including his sister’s death, which still haunts him, so one will assume that he can beat Mickey, too. After all, he has to if he wants to maintain his position as protector and leader of the clan. But might this be the straw that breaks the camel’s back? Might Mickey be too much for Ray to handle, with Mickey having had a long time to plan his return, and Ray taken by surprise?

It doesn’t help that Ray’s professional life chooses this exact moment to fall apart, too. Ezra (Elliott Gould, Ocean’s Eleven, MASH), the man who brings Ray to the West Coast in the first place, is going senile and wants to come clean about all the shady things they’ve done, and Ray’s colleague Lee (Peter Jacobson, House) can’t handle Ezra alone. Plus, there’s temptation when a young woman who Ray helped out years ago re-enters the picture with designs on Ray.

So to say Ray is at a tipping point, with everything in his life poised on the brink of disaster, is an understatement, if anything. Ray is facing a lot of challenges on many fronts, and doesn’t quite know how to handle them. A man of few words, all of this plays out mainly on his face, and Schreiber does a stellar job conveying the complex emotions and stresses of the role.

Which is why it’s easy to sympathize with Ray when he gets the simple pleasure of beating a stalker with a baseball bad. Given the option “The Bag or the Bat,” the creep initially chooses the bag, but goes back on his deal, causing Ray to return and cause pain. It’s the moment of the first hour where Ray seems the most raw and pure, totally in his element, blowing off some steam.

Ray’s job may be his salvation. He’s clearly very good at it, even if he gets a little too personally involved with certain clients. In the opening sequence, he solves two very messy situations at once with some creative thinking, proving his sharp with matches his brawn, and that he is a natural born decision maker. Perhaps, if he can pour his energy into his career, ignoring anyone who causes him distractions, he can eventually find the strength to deal with everything else.

Or it will all erupt in spectacular fashion, which is what the people want to see, anyway. Ray Donovan is a man in a precarious position. Only by watching further installments will we learn if he will thrive or crack under the pressure. With a cast this good, and a story well written, I’ll be tuning in to see more.

RAY DONOVAN airs Sundays at 10 p.m. ET on Showtime.

MOVIE 43 Blu-ray Review

Article first published as Blu-ray Review: 'Movie 43' on Blogcritics.org.

Movie 43, a comedy film of small bits packed with big stars, is now available on DVD and Blu-ray from Fox Home Video. Couched in a framing story about three boys’ search online for the very illegal and fictional Movie 43, bizarre bits that are supposed to be funny string along with little to no connection between them for about an hour a half.

Depending on whether you watch the theatrical version of the film or the alternate cut, both of which are included on this release, depends on what framing story you get. Either Charlie Wessler (Dennis Quaid) pitches an ever-changing film to Griffin Schraeder (Greg Kinnear), constantly shifting the characters and premise, or three boys (including The Inbetweeners‘ Mark L. Young) are hacking the internet to find a fictional film called Movie 43 that could destroy the world. Both go meta in a weird way; the other bits of the movie appear to be the same in both editions.

Neither scenario makes much sense, so I do wish the film’s producers had just let the scenes stand on their own. A bunch of different sketches performed by some of the most familiar faces in Hollywood is an intriguing enough concept without forcing them to be strung together. The way this is released, it feels like forced cohesion that doesn’t quite come together.

Because each segment is made by different people, they do feel like they fall across the spectrum, from the absurdly hilarious, to the confusingly weird, to the just plain gross. This is a common issue with every comedy made up of individual segments (just ask Saturday Night Live), and humor is highly subjective, so while I did not enjoy the entire hour and a half, there are some things in Movie 43 that I really loved. Others likely will watch the same movie and value different parts.

The best of the bunch are: “iBabe,” in which a woman (Kate Bosworth) just can’t make a boss (Richard Gere) and his underlings (Aasif Mandvi and Jack McBrayer) understand why teenage boys are getting their body parts mangled in a lower-region fan of an mp3 player that looks like a naked woman; a “Machine Kids” commercial showing sad children hiding inside ATMs and soda vendors; “Super Hero Speed Dating,” in which Batman (Jason Sudeikis) ruins Robin’s (Justin Long) chances with women ranging from Wonder Woman (Leslie Bibb) to Supergirl (Kristen Bell); and “Victory’s Glory,” in which a Coach (Terrance Howard) in 1959 faces an uphill battle in convincing a black basketball team they can beat a white one.

I think I like these four because they take something familiar, and turn it on its head in a clever manner. Wonderful performers lose themselves in these roles for a few minutes, doing something most people don’t expect from them, and doing it well. Throughout the segment, the tension and story ramps up, and there are odd twists.

The parts of the film I didn’t like involve sexual pooping, spilled period blood, and incestual make-outs. I can see how this might appeal to others, but it just crosses the line of my taste and goes too far. The point is, though, there is really something for everyone (except those who only like intelligent, witty stuff), with a broad swath of topics and genres.

The cast is amazing, and includes, besides those listed above, Common, Seth MacFarlane, Elizabeth Banks, Halle Berry, Stephen Merchant, John Hodgman, Anna Faris, Gerard Butler, Snooki, Hugh Jackman, Kate Winslet, Naomi Watts, Liev Schreiber, Emma Stone, Chloe Grace Moretz, Sean William Scott, Uma Thurman, Chris Pratt, J.B. Smoove, and others. It really is a remarkably talented group of people, and while I didn’t appreciate all of the styles of humor represented, I don’t think any cast member felt wooden or out of place in the larger picture.

The extras leave a lot to be desired, unfortunately, Besides a trailer and some previews of other titles, the only bonus included is a cut scene featuring Tony Shaloub and Julianne Moore. This deleted segment is no better or worse than anything in the finished film, so I’m not sure why it isn’t integrated in with the rest.

But what I’d really like to see is the story of how Movie 43 came about, why all of these actors chose to participate, and who championed the idea in the first place. Surely, there is a rich story behind this, given the scope of the project, and I’m very curious about the back story, which is not revealed on this disc.

As far as Blu-ray quality, the picture and effects are great, but there isn’t a lot to push boundaries. It’s a very typical film, visually, with character-driven scenes, so aside from liking a crisp, clear image, there isn’t much argument to made on DVD vs. Blu-ray. The format is consistent, and I didn’t notice any static or graininess from either picture or sound. However, neither is there anything super impressive that makes use of an advanced playback system. Nor would I really expect there to be in this type of movie.

Movie 43 is available now as a two-disc Blu-ray, DVD, digital download combo pack.

MARON Saved By A "Mexican Angel"

Article first published as MARON Saved By A "Mexican Angel" on TheTVKing.

I didn't review the first episode of IFC's Maron because I didn't much care for it and didn't know why exactly. I like Marc Maron, who essentially plays a heightened version of himself, similar to Larry David in Curb Your Enthusiasm, but the pilot was just boring. It didn't make much use of Maron's particular comic style and didn't seem to go anywhere.

However, having recently marathoned the entire first season, which ended last night with "Projections" and "Mexican Angel," I have completely changed my mind. From episode two on, it is immediately clear that Maron goes on the upswing, finding its voice and knowing what it is about. Most episodes are kind of meandering, but each have some very funny things in them, and the wandering feels like a conscious choice, not a plodding misstep.

"Projections" is very interesting. While meeting an old friend for lunch (Eric Stoltz, Caprica), Marc imagines how his live could be differently, including seeing himself as a family man, one half of a gay couple, a cook who has given up on his comedy career, and a successful movie star. None of these make Marc happy, nor is happy in reality, which just proves that he is not destined to be satisfied.

"Projections" is the most unique of the first season episodes. It's not completely new to imagine alternate realities, but the understated way in which Maron, not giving into ridiculous, cartoonish situations, does it, sets it apart. It feels a lot like the artistic Louie, created by Louis C.K. Maron perhaps doesn't reach the levels of hilarity Louie has yet, but it's certainly on the right track, and not at all a copy, no matter the dark, depressing similarities.

They say that if you want to be happy, remain ignorant. Perhaps it's Marc's world-weary, hard-fought wisdom that keeps him from achieving emotional and mental peace. Maybe it's because he can't just do what he loves, having not found enough of a following to be the type of comedian he wants to be. Could he still have hope, or is he just destined to always be this crabby person?

The conceit we need to ignore, which is the same one suspended for Louie, is that this show won't get Marc to where he wants to be. With his very successful podcast and now this series, surely Marc is doing what he wants to do, and probably making a decent living at it (on on track to do so). It definitely seems like Marc has a lot of creative control, given how closely the tone of the show matches his public persona. As long as the series itself doesn't add Maron in, though, in some kind of meta twist, the character of Marc is believable enough to sustain the premise.

Marc does have a shot at improving his outlook, as he sort of lets his younger girlfriend, Jen (Nora Zehetner, Grey's Anatomy), move in with him in "Mexican Angel." Marc isn't sure he wants her there, sabotaging himself, as usual. Yet, he definitely has feelings for her, which he admits after being confronted by the "Mexican Angel" outside. Why can't he just accept how he is? Thankfully, she knows exactly the type of guy Maron is, and despite his outbursts, she sticks by him, somehow making it believable that she would do so.

Introduced as someone that seems like a crazy stalker, the more we learn about Jen, the less there is to worry about. I think this shift is achieved because Maron does such a great job of letting the viewer see her from Marc's perspective. When we finally find out in the season finale that much of the issue is just an age gap, it makes total sense. But as someone who much closer to Jen's age than Marc's, I'm impressed at how I was immersed into Marc's viewpoint. This, more than anything else, presents the singular, clear voice of the show, and proves the high quality.

Which is why I'm sad that Maron is over for the year. I have not heard if it will be renewed yet, but I sincerely hope that it is. We need more creativity on television, and Maron is fresh and brilliant.

WILFRED Chock Full of "Sincerity"

Article first published as TV Review: 'Wilfred' Season Three, Episodes Three and Four, 'Suspicion' and 'Sincerity' on Blogcritics.

The newest episodes of FX’s Wilfred, which aired last night, are “Suspicion” and “Sincerity.” Not as deep as last week’s one-two punch of a season opener, these are still amusing installments that will satisfy the viewers who watch the show for its comedy, even if they may slightly disappoint those who are looking for the deeper meaning and trippy moments, which are in shorter supply this week.

The first, “Suspicion,” finds Ryan (Elijah Wood) trying to ‘be there’ for his sister, Kristen (Dorian Brown), so that he can be named guardian of her infant son. But, with Wilfred’s (Jason Gann) overly selfish and confusing help, Ryan runs off Kristen’s new love interest, Michael (Barry Watson, What About Brian, 7th Heaven), earning her ire.

The relationship between Ryan and Kristen is a complicated one. Kristen treats Ryan like he doesn’t have his act together and that she knows better than he, and yet, she makes poor decisions, too. Her attitude may be a bit more snobby, but the two have quite a bit in common, and it’s easy to identify them as siblings.

Thankfully, they are able to patch things up by the end of the half hour. This hasn’t always been the case, with their feuds in earlier episodes being arcs, rather than short spats. It’s nice to see that they now have enough understanding between them to be able to forgive and forget, showing growth on at least one of their parts.

Ryan is upset to learn that his father is involved in Kristen’s decision to choose a guardian, with Ryan believing that his dad sabotages Ryan’s chances at the position. Ryan’s father is someone frequently mentioned, but never seen, a figure that Ryan considers cruel, while Kristen defends. Who is correct? Likely, the truth is somewhere in the middle, but until we meet the character, we can’t be sure, even as Ryan demonizes him in “Suspicion.” One thing is certain, after waiting so long for him to show up, he is going to have to make an impact in his very first appearance.

I really like the Wilfred / Bear / Joffrey love triangle in this episode. It takes a trio of characters who seem innocent enough in real life – a dog, a stuffed animal, and a baby – and assigns them sinister and sinful characteristics. All of this may come from Wilfred (or from Ryan’s deranged mind if you think that’s what Wilfred is about), but things play out just realistic enough to make it work, and stil generate laughs at the utter ridiculousness of the scenario.

In episode four, “Sincerity,” Ryan takes Wilfred to obedience school when he learns his high school crush, Kim (Jenny Mollen, Crazy, Stupid, Love.), is the instructor. Kim takes an interest in Ryan, opening up the possibility of a relationship, but she is everything Wilfred hates in a dog owner, forcing Ryan to make a difficult choice.

Ryan will always chose Wilfred over anyone else. No matter how much trouble Wilfred causes his neighbor, the dog has been an invaluable companion to Ryan at a vulnerable time. As such, sex cannot come between them, and Ryan will stay loyal. The same cannot be said about Wilfred, proving that man is dog’s best friend, rather than the reverse, as is commonly quoted.

I love that “Sincerity” pokes fun at the mommy-style dog owners. I agree with Wilfred, that that style of behavior towards ones’ animals is stupid and should not happen. It’s not cute, it’s disturbing. Since Wilfred is a series about a dog, it’s always fun when the series reminds us of that, which is easy to forget since Wilfred is a man in a dog suit. Like the episode right before this one, “Sincerity” succeeds on that front.

Other than that, though, much of the A plot in this half hour falls flat. Kim is not a very interesting character, and she doesn’t have any chemistry with Ryan, making it hard to invest in them. Which is why when Ryan is lukewarm on her, not bending all that far to make her happy, it makes sense. She is clearly a one-time character, and it will be surprising if she returns.

However, she does have purpose. This is the installment where Ryan deals with his unresolved feelings about Amanda, his ex who is now in a nut house. Ryan has been holding some baggage, thinking he is not worthy of love, or capable of having a healthy, sustained union. It’s nice to see Wilfred console Ryan, and Ryan come to terms with himself, no longer believing some negative things.

Wilfred continues to delight in its third year, delivering consistently good programming, with great bits even in a comparatively mediocre episode like “Sincerity.” Wilfred airs Thursdays at 10 p.m. ET on FX.

CROSSING LINES Of Typical Crime Dramas

Article first published as CROSSING LINES Of Typical Crime Dramas on TheTVKing.

NBC's newest summer series is Crossing Lines. Yet, the series is neither really NBC's, nor a part of the typical summer schedule. Produced for France and shot in Europe, Crossing Lines boasts an international cast and story that makes it feel much more ambitious than anything other broadcast networks are airing in the summer months.

It's also not a familiar crime procedural. Much of the two hour "Pilot" is given over to character development, and the serial killer the characters are after is secondary to the main plot. Sure, it's the driving force that pulls everyone to one place, but it's really no more than an excuse to put together this remarkable group of people.

When introducing the task force, a gang pulled from a number of different countries, each with their own specializations that will combine to form a whole squad not to be messed with, Crossing Lines goes into a little bit of a stereotype. It's like Ocean's Eleven or The Italian Job or other heist films. Thankfully, the show pulls back from fully committing to that conceit, not serving each character completely in the first hour, because that's such a cliche sequence at this point, it would feel old.

Instead, most of the focus is on former American cop Carl Hickman (William Fichtner, Entourage, Prison Break), who was run out of the force after suffering a terrible hand injury which causes him much pain and makes his skill set only apparent to a unique few. As we meet Carl, he appears to be wasting away working as a garbage collector. Yet, his tale is not exactly what one expects, with a couple of cool twists, especially at the end.

Second most prominent is Louis Daniel (Frenchman Marc Lavoine, The Good Thief), who puts the team together, convincing the International Criminal Court's Michael Dorn (Donald Sutherland, MASH, Dirty Sexy Money) that such a unit is needed. These are two wonderful actors, with complex interactions as intricate as the governmental body that they serve. There is definitely the feeling that Louis' job is on shaky ground, with his mission not firmly established, which adds a bit of drama to the proceedings.

The rest of the contingent isn't quite as compelling, but that may just be because they are supporting players who haven't yet gotten their dues. There's Italian Eva Vittoria (Gabriella Pession, Rossella), German Sebastian Berger (Tom Wlaschiha, Game of Thrones), French woman Anne-Marie San (Moon Dailly, Commissaire Magellan), and Irishman Tommy McConnel (Richard Flood, Three Wise Women). I hope Crossing Lines becomes a true ensemble piece, because as much as I like the leads, developing these other players further will make for a more compelling series, even if I like that the "Pilot" doesn't do so.

Crossing Lines has a sweeping, cinematic feel. Part of it could be because it hops from nation to nation across as Europe, with picaresque scenery and impressive production. But part of it is also the way the characters are written and performed. There's a depth not often present in procedurals, and there is definitely some back story to be explored that will surely come back around to enter into the main story. The fact that the show takes its time with such elements, not just bringing them in for a "special episode," is part of what sets it apart.

It also has some big surprises in store. In the first episode, a major character, who definitely feels like a part of the larger ensemble, dies. This tells us there are real stakes and danger, and that characters may not stick around permanently. A very exciting prospect for a show, and a genre-busting one, should it prove to be more than a one-time occurrence.

I am quite pleased with Crossing Lines, which I knew almost nothing about going in, and certainly did not expect much from when I read the series description. It's fresh, exciting, high quality entertainment on NBC at a time of year in which the Big Four typically give us drivel. And the more U.S. networks import the best of international programmings, the more we benefit. Other countries already consume our hits; let's make it a two-way street, opening up the doors to a lot more talent and ideas than we posses ourselves. The more great minds involved in making entertainment, the better.

Crossing Lines airs Sundays at 10 p.m. ET on NBC.

VEEP Learns How "D.C." Works

Article first published as VEEP Learns How "D.C." Works on TheTVKing.

HBO's Veep ends its second year with "D.C." Selina (Julia Louis-Dreyfus) is ready to announce she won't run for re-election with the president in two years, and so lets her staff go. Then, learning the president is resigning, she asks them all back to gear up for her own run, only to have it fall apart as rumors spread around Washington and the president decides to campaign after all. Of course, none of that matters when the president comes to Selina and announces he's done, so she can try for the presidency.

I have a feeling these back and forth types of situations go on all the time in Washington D.C. It's a city of wheeling and dealing, and one where betrayals happen frequently if someone things they can further their own career. With so many power-hungry, ambitious people in one place, there is bound to be lots of drama.

Veep makes these attitudes hilarious somehow. Even as Selina's staff scrambles to find a life raft off of her sinking ship, we root for them. Selina is a mess, as is very clear in almost every scene in which she appears. Because of this, one can understand and sympathize with those wanting to find a more stable environment where they won't constantly be putting out their fires.

Well, it's easy to pull for most of the staff, anyway. Dan (Reid Scott) jumps ship early and with gusto, even sharing a speech he writes for Selina with Chung (Randall Park, Larry Crowne). I don't know if it's because he doesn't have the history working for Selina, and so never seems as loyal as anyone else, or because he shows so few scruples in his interactions, but Dan is the most unforgiveable of the bunch. Unfortunately for him, this gaff either proves the others are rubbing off on him, or he is just as much of a mess as everyone else, and so belongs there.

It's interesting to see the parallels in "D.C" between Selina and Andrew (David Pasquesi, The Mob Doctor) and Amy (Anna Chlumsky) and Ed (Zach Woods, The Office). Amy hates seeing how Andrew affects Selina, and how they use one another. Ed and her aren't quite so passionate, but they do use each other, much as Selina and Andrew do. Perhaps Amy is emulating her boss more than she thinks.

The plot that doesn't really work for me this week is Gary (Tony Hale) being torn between Selina and his girlfriend, Dana (Jessica St. Clair, Best Friends Forever). It not only feels too much like Hale's character from Arrested Development, but also doesn't really fit the persona of Gary, whom we've only seen worship Selina. Perhaps it's believable that he would latch onto someone else, but we didn't see that evolution, and Dana's interest in Gary doesn't come across as realistic.

Overall, though, Veep really works in the most unexpected of ways. Louis-Dreyfus is a comic genius, surrounded by other heavy weights. Each nuance and tick lands, and even the most pathetic becomes funny in their capable hands. It may be the earnestness with which the cast plays, which also includes Matt Walsh, Timothy Simons, and Sufe Bradshaw, commits to every situation and moment, or the level of authenticity they bring to their selfish screw-ups, but there are usually several things to laugh out loud at each and every week.

This has only been helped more by bringing in Kent (Gary Cole) and Ben (Kevin Dunn) this season. Like when Parks and Recreation added Ben and Chris, having two established, talented actors expand the world of the show, as well as compliment the core group in their every scene, only makes the series better. I credit them both for season two being a marked improvement over season one.

I don't know what season three will look like, exactly. We may actually get to see Selina run for office, which will be cool, since Veep begins after she loses the first race. With the set up the series has provided, there are a myriad of directions and possibilities to explore, and each has their advantages.

Whatever the reason, Veep is doing very well, and I can't wait to see it come back next spring for a third go-round.

Few "Cha-Cha-Changes" For PERCEPTION

Article first published as PERCEPTION Season 2 Premiere Review on Seat42F.

Grade: 85%

TNT’s PERCEPTION picks up months after the previous season in this week’s sophomore premiere, “Ch-Ch-Changes.” Daniel Pierce (Eric McCormack) is seemingly stable and healthy, having found a medication regime that works for him, and his life is moving on. Which is why he feels strong enough to assist the F.B.I. again when Kate (Rachael Leigh Cook) asks him for help.

In fact, Daniel is more confident and sure of himself than we’ve practically ever seen him. Daniel is a very intelligent person and knows it, but he is willing to push his ideas a lot further this year, especially when Kate’s almost-ex-husband and new boss, Donnie (Scott Wolf, V, Everwood), tries to manipulate the evidence of a court case.

I don’t buy that Donnie and Kate were ever a couple. Donnie’s personality is awful, and that’s immediately apparent. To think that Kate found redeeming qualities in this man for any length of time, let alone enough to marry him, is unthinkable based on her characters that have been established. Sure, Donnie brings some interesting conflict to the series, but the inconsistency in the back story ruins his presence. Why force the history?

The source of Daniel’s happiness comes from his secret relationship with Dr. Caroline Newsome (Kelly Rowan). Previously his psychiatrist and the same woman, sort of, Daniel hallucinates a long-term relationship with, Caroline isn’t completely comfortable with the time they are spending together and the “great” sex they are having. But Daniel doesn’t worry about that, delighting in just being happy and being with a woman that is real.

Or is she? It is not spoiling anything to say Caroline’s existence in Daniel’s company is immediately suspect. After all, PERCEPTION has established a pattern of what Daniel experiences not necessarily being real. And by keeping Caroline separate, away from the other people in Daniel’s life, there is no definitive proof that she exists one way or the other. “Ch-Ch-Changes” leaves viewers guessing for most of the hour, and I won’t say what the result is here.

I will say that, Caroline aside, it doesn’t take long for Daniel’s paranoid schizophrenia symptoms to rear their head. His hand shakes; he hallucinates a patient. Daniel will never be completely stable because that would ruin the conceit of PERCEPTION. It’s just a little sad, for those sympathetic with the character, to see he isn’t doing as well as he thinks he is.

Thankfully, Daniel still has friends, which will provide a support system no matter what might be going on inside of his mind. Kate is closest to him, of course, valuing Daniel’s rare talents. But we also have Lewicki (Arjay Smith), Daniel’s care giver, and Dean Haley (LeVar Burton), Daniel’s boss and old friend, who aren’t on screen nearly enough, but it’s always great when they are. With this layer of protection around Daniel, no matter how crazy he gets, he’ll still have those that look out for him and help him to maintain his life.

The ongoing plot concerning Daniel’s mental illness is an intriguing one. I love how the writers play with fan’s minds, and McCormack delivers a memorable, amazing performance in the role. I wish that this was what the series was actually about, because any time this arc takes center stage, the show gets really, really good.

Unfortunately, TNT doesn’t usually do serial, and the main meat of this episode, as well as all but one of the first season’s episodes, is about a specific case that Daniel works on. The self-contained story this week isn’t bad, and there are some triumphant moments for Daniel, but it just pales in comparison to how well done the other scenes are. PERCEPTION is an example of a wonderful idea mostly squandered.

PERCEPTION airs Tuesdays at 10 p.m. on TNT.

COPPER Is "Home, Sweet Home"

Article first published as COPPER Season 2 Premiere Review on Seat42F.

Grade: 90%

BBC America’s COPPER begins its second season this week with “Home, Sweet Home,” and it’s quickly clear, despite the pleasing episode title, that things are anything but serene in Five Points. Sex, drug use, waiting for execution, murder, and serious maiming are just a few of the things that occur in the first few scenes of the season. Which indicates that we’re in for another, even rockier ride than last year.

The villain causing much of the trouble is Buzzie Burke (Noah Danby, Defiance). Buzzie has been under the protection of community leaders, but now is causing too much trouble to be ignored. Detective Kevin Corcoran (Tom Weston-Jones) is reluctant to go after him in an official capacity, having been rebuffed in the past for doing so, but considering that Buzzie chooses Eva (Franka Potente) to hurt, someone Kevin is protective of, Kevin has no problem with taking Buzzie down.

What Buzzie does to Eva is graphic and disturbing, and when combined with his later actions in “Home, Sweet Home,” it seems we are dealing with a ruthless psychopath. The fact that he’s been allowed to live and do whatever he wants this long is unacceptable. He is a sign of a larger symptom, the semi-lawlessness of the neighborhood, and that has got to change.

Enter General Donovan (Donal Logue, Terriers). Donovan has been tasked with cleaning up the police department in the area and restoring order. His methods are confusing, beating an officer one moment, then offering him words of encouragement the next. He seems determined to make sure his men are doing their jobs and refrains from consuming much alcohol, but he is also not a paper pusher or pious or weak man. He has fortitude and determination, but his moral code remains somewhat shaded.

This might be just what Five Points needs. Donovan is encouraging of Corcoran, and misses being a copper himself, so he’s sympathetic to the job. Yet, his elbow rubbing with the high society folk make him somewhat suspicious. Sure, Corcoran is friends with Robert Morehouse (Kyle Schmid), and that doesn’t reflect poorly on him, but there’s something about the way Donovan is actually part of that world that sits weirdly. However, we also see Donovan generously help out a working man, so perhaps he is exactly what he purports to be.

Unfortunately for Morehouse, though, he has someone under his roof that is definitely not on the up and up. Morehouse’s fiancé, Elizabeth Haverford (Anastasia Griffith), may give him great and copious love making sessions, but she is much less forthcoming about her feelings and actions. She is nervously awaiting the axe, as the man she conspired with in the burnings in New York is captured in Detroit, and she fears that her part will be exposed. She likely hopes the wedding takes place first, so Morehouse will be motivated to protect, rather than shun, her.

Francis Maguire (Kevin Ryan) awaits a more literal execution, sitting in jail, expecting to be sentenced to death. Maguire is a main character in season one, and he does some things that make viewers root for him before his downfall. Yet, Kevin’s feelings of betrayal at the hands of Maguire are also justified, so a legal punishment isn’t unwarranted. It’s hard to say what exactly Maguire’s plot will be this year, but given the end of “Home, Sweet Home,” he definitely won’t just be sitting in jail, and we may have reason to support him once more, as O’Brien (Dylan Taylor) covertly does.

I do think Eva is involved with what Maguire does while in prison. She is a very tough cookie, and not one to sit idly by and wait for others to take care of the threats against her. Knowing her life and her business are in jeopardy, she takes steps to secure both. With Buzzie out of the way, Eva’s operation grows, but I really think she is more concerned with self-preservation than becoming a major entrepreneur. Unlike most women of the time, she has the ability to handle herself in a way many men would not be able to. Amazing is an absolutely appropriate word to describe her character and strength.

Although Eva is independent, she doesn’t need to be alone. Corcoran may have cut off their intimate relations now that his wife, Ellen (Alex Paxton-Beesley), is found alive and returned home, but Corcoran isn’t happy with Ellen. Eva is a much better match, her passion and intelligence matching Corcoran’s own, whole Ellen is a somewhat pathetic woman. Corcoran can do better.

Elsewhere, Dr. Freeman (Ato Essandoh) is asked to take over a medical practice in the Five Points. He is reticent, having moved to the country for the sake of his wife, Sara (Tessa Thompson), who is just about the polar opposite of Eva. The patients need Freeman, and while it may be inconvenient for him to commute, and though he doesn’t reveal his decision this week, it’s likely he will accept the job, out of obligation to his profession, if for no other reason. It’s in keeping with the nobility Freeman has.

Despite Sara’s weaknesses, she has shown the gumption to survive and make it through ordeals. She still is haunted by the sight of her brothers’ deaths during the riots, but she agrees to go to work in the city, for Elizabeth, no less. And it looks like she may be good at it, leading to more than a temporary assignment. This provides a possible way for the Freemans to return to the old neighborhood, coming “Home, Sweet Home,” if you will.

I’ll admit, I liked season one, but didn’t love it. However, the season two premiere of COPPER is an exciting story providing movement and intrigue for a number of characters, and introducing at least one new one I’m eager to learn more about. It presents a totally different world than the modern one, with vastly diverging values and codes. The show does have heroes and villains, but sometimes both labels describe the same person, which is interesting. As such, I look forward to what may develop next.

COPPER airs Sundays at 10 p.m. ET on BBC America.