Climbing the FAMILY TREE

Article first published as Climbing the FAMILY TREE on TheTVKing.

HBO's Family Tree is little more than a curiosity for most of the freshman run. It's vaguely amusing in a very understated way, but while the characters resemble those from Christopher Guest films, there isn't a clear zaniness that elicits laughs out loud or quotable lines. It's this bit of pizzazz that is absent, as the story unfolds slowly over eight episodes.

But I feel the season finale, "Cowboys," which aired this week, is different. Maybe it just took me awhile to adjust to the tone and style of the series, but in this last episode, I finally connected with the material. It meant something more, the characters actually mattered, and there was pay-off from the journey we've been on.

Tom (Chris O'Dowd) is on a mission to find out about his family, but by the end of "Cowboys," he isn't looking any longer, at least for this day. He's enjoying the last bit of his trip to California before he goes home, hanging out with his newly-discovered relatives, and spending time with the gal he likes, Ally (Amy Seimetz, The Killing). He's relaxed, luxuriating in a place he enjoys being, with people that he is fond of, even though he's only known them a short time.

This occurs despite the startling revelations Tom inadvertently stumbles onto. Al (Ed Begley Jr.) tells Tom about a bunch of conspiracies, including the faked moon landing and JFK's assassination secrets. This stuff is crazy, and Tom doesn't buy any of it for a moment. Yet, shortly thereafter, he tells Amy that he'll miss Al and the rest of the kin, and Tom means it. It doesn't matter what Al believes, he's family, and Tom is glad to know him.

It's this connection, which we see in the brilliant O'Dowd's face, that makes the whole series mean something. For the first time, we see just how desperate Tom is to be part of the family, and how grateful he is to find his roots. We see how much he loves those whom he is a part of, and likes being around them. His life seems so much better than in the first episode, and without even realizing it, there has been growth and development.

Does that mean Tom will stay in America? At the end of "Cowboys," he is kissing Ally, whom he sleeps with, and says he doesn't want to leave. It's an ambiguous ending, but combined with the stated fondness for his West Coast relations, it seems to indicate that Tom is more than a little tempted not to return to England.

This season of Family Tree split the action between England and the United States, and that worked well. There were wonderful actors playing parts on both sides of The Pond. That could easily continue into a sophomore year, should the show be renewed. If Tom goes home and stays there, that would drop a valuable portion of the cast, and I'd hate to see that happen.

But regardless of how the tale might continue, "Cowboys" is a perfect ending that leaves viewers wanting more. If we're lucky, HBO will grant us that.

LIFE'S TOO SHORT Too Short

Article first published as LIFE'S TOO SHORT Too Short on TheTVKing.

At the end of season one of HBO's Life's Too Short, Warwick Davis (himself) is in a bad place, near bankrupt and divorced, having run away the girl he's into, and his professional career is sputtering. So it's nice to see an immediate bounce back from everyone's favorite dwarf in the finale special, which aired this week, with Warwick's business doing OK, the actor having reconnected with Amy (Kiruna Stamell), and a big opportunity being presented.

It karma is to be believed, Warwick is earning his success. He is finally being nice to others and putting his clients' interests first, and in turn, he is finding good things. It's a lot easier to root for this version of Warwick than the one we saw for the first seven episodes, and so there's a positivity here that is lacking previously. It's uplifting.

But this is a comedy, which milks suffering and sorrow for laughter. As such, it isn't long before Ricky Gervais and Stephen Merchant (themselves) are warning Warwick that his dream of Willow 2 is a lie, and he is being taken advantage of by Val Kilmer (himself). Warwick works really hard, but he just fails, and that's the way it is.

There is something both depressing and poignant when Warwick decides to dissolve his agency and meets with his clients to deliver the news. Life is hard, something most people have to face. While a famous actor is usually considered immune from such struggles, Life's Too Short shows us that is not always how it is in a very relatable story. Warwick must face the truth, and through him, we do, too.

Does this mean that Life's Too Short concludes in a bad place? Sort of. The series is over now and we will never see Warwick make it back to the top. Yet, that is sort of the message conveyed here, that he will likely never be back on top. However, that doesn't mean he should quit trying, because life is all about the journey, not the ending. It's this insight that makes this special so much better than the original batch of episodes.

Besides series creators Merchant and Gervais and star Warwick, the rest of the cast from the show returns. Cheryl (Rosamund Harris) continues to play the clueless assistant, Steve Brody is the clueless accountant, and Bryan  Medici (Colin Hoult) is the clueless psychic adviser. Sue (Josephine Enright), Warwick's ex-wife also appears, but instead of being the same, as the others are, we see the side of her that worked in a marriage with Warwick, and what their relationship must have been like in the good times. They may never reconcile romantically, but they can continue on as friends.

There is also a really good subplot involving Les Dennis, Shaun Williamson, and Keith Chegwin (themselves). These are three men whose show biz careers are completely dead, until Warwick has an idea to resurrect them. The traveling act they put on is brilliant and hilarious. Yet, when they taste fame again, they are willing to cast Warwick aside to better help themselves. It's another lesson for Warwick, presented in such a way that it's hard to be mad at the men for making this decision.

Life's Too Short is more than just a funny show. It's a complex portrait of a man and an industry, of human nature and of complicated relationships. Everyone seeks their place and those who can help them achieve their dreams. Sometimes, you can do right by others, and sometimes you can't if you want to break the cycle of failure. There isn't right or wrong or good or bad in these situations. There is just life. And you can control your attitude towards it.

I wish the show wouldn't end so soon.

TODD & THE BOOK OF PURE EVIL Rocks On

Article first published as DVD Review: 'Todd & The Book of Pure Evil The Complete Second Season' on Blogcritics.

If you have not discovered the Canadian comedy Todd & The Book of Pure Evil yet, I highly recommend it. It is a bit like early Buffy the Vampire Slayer, a horror comedy set in a school where a gang of kids, including a “chosen” one, battle monsters and the forces of evil. It’s definitely hyper reality, rather than realistic, but it is incredibly enjoyable and very funny with a thoroughly charming cast.

The Complete Second Season, now available on a two-disc DVD set, picks up right where season one left off. Guidance Counselor Atticus Murphy Jr. (Chris Leavins, Traders) is now completely a villain, after slaying his father and taking over the Satanic cult at the old folks’ home. Atticus seeks The Book of Pure Evil, believing that perhaps he can be the Pure Evil One and control the world, but his greatest obstacle is his own ineptitude.

Todd (Alex House, Dark Oracle), meanwhile, whom most believe will be the Pure Evil One, tries to avoid his fate with the help of his crush, Jenny (Maggie Castle, The Time Traveler’s Wife), his best friend, Curtis (Bill Turnbull, Being Erica), Curtis’ girlfriend, Hannah (Melanie Leishman, Detentionaire), and janitor / wise sage Jimmy (Jason Mewes, Jay of Jay and Silent Bob). Together, they uncover pieces of the prophecy, learn about The Book’s past, and fight the disaster of the week that befalls Crowley High.

Season two grows more irreverent than the first. Not only is there the general acknowledgement by the student body that their school is dangerous, but people seem to grow callous to the death going on all around them. It’s a tongue-in-cheek style humor that builds upon itself with recurring gags and returning supporting players.

But there is also more depth among the central players. Todd’s feelings for Jenny grow more complex, and while a tad predictable in the way that it plays out, there is actual movement and addressing of the tension. Hannah and Curtis feel like a very chaste, sweet couple, but we also see their sexy side. Several of the characters learn about themselves, and a few are forced to relive past mistakes. We find out about the origin of the trio (Dan Petronijevic, Steve Arbuckle, and Norman Yeung). And I like what the actors are are all doing immensely, especially Leishman, who seems to have the most range to play with this season.

Among the installments in this 13-episode second year are: “Daddy Tissue,” which reveals just what kind of person Jenny’s father really is; “Fisting Fantasy,” in which the gang gets sucked into a video game that seems to be a cross between their fantasy-themed favorite and the high school; “Loser Generated Content,” where A/V club members direct others’ lives; “2 Girls, 1 Tongue,” the sequel to last year’s musical episode, with even more singing this time, when Charlotte (Angela Jill Guingcangco) returns and swaps bodies with Hannah; “The Toddyssey,” in which Todd visits a post-apocalyptic future; and “Black Tie Showdown,” the tragic and exciting season finale, which ties up some loose ends, and opens up a couple of huge new doors.

Although Todd & The Book of Pure Evil will not get a third season, the show’s creators did raise more than $120,000 in an Indiegogo campaign and are making an animated film. So fear not that things end on a cliffhanger, as we will get closure next spring, and if you’re worried about making a big time commitment, you will be able to watch this whole series without one, which the end so near.

There are quite a few features, though none I feel are particularly stand out. Among the common inclusions are audio commentaries on several episodes, deleted and extended scenes and musical numbers, and a blooper reel. But even the featurettes, which include a look at some of the special effects and an “In Memoriam” for the deceased characters, sound cool, but are too short, not revealing all that much. If they were lengthened considerably, they could be interesting, but fail in their current incarnation. With a series that attracts a cult following, it would be nice if some of the extras served that segment of viewer, though these are fluff and do not.

Todd & The Book of Pure Evil The Complete Second Season is available now.

TV Neglects Independence Day

Article first published as TV Neglects Independence Day on Blogcritics.

Think of all of the best television holiday specials of your favorite shows. Christmas will spring to mind, for sure, as will Christmas and Halloween. Possibly, a little Valentine’s Day thrown in for good measure. But who celebrates the 4th of July?

Despite being a major national holiday, the 4th of July falls in the summer months, when network television is taking a break, and so is rarely, if ever, covered on scripted television. True, series in the United States don’t actually air fresh episodes on Christmas or New Year’s, either, but they get close enough to make it work. Besides a few weirdos like this past season of Community, though, most of television tends to keep the action in the appropriate season that the story airs.

Why? A year doesn’t equal a year in many series, and Christmas episodes get the rerun treatment all year ’round. Why is 4th of July so off limits? It’s a celebration of our nation’s birth, and deserves recognition along with the others.

Next year, broadcast television is making inroads into the warm months by airing new episodes of Glee and 24 past the end of May. Combined with the growing popularity of summer cable shows, there is plenty of opportunity to celebrate our country’s independence. Here are some possible ideas on what could be done. Television writers, feel free to run with them, royalty free. Readers, feel free to toss in your own ideas in the comments below.

24 – Jack Bauer is an American hero fighting the terrorists who seek to harm America. What better day for the bad guys to strike to ruin our spirit and morale than the 4th of July? Perhaps next season, which will unfold over the course of a day, could be set on July 4th. Jack is being honored for his deeds, which have come to light after a media hacking scandal, but the party is cut short when a bomb is found on the Washington Mall. And then bio weapons are released in the Capital. And then a mole is found inside CTU. And then the president’s daughter is kidnapped. And then…

Community – In the January season premiere, Greendale is invaded by City College and conquered in an episode set in June, shortly after most of the students (save all of our favorite starring and recurring players) have left town. Then, in February sweeps, it’s the 4th of July, and the study group leads the fight for independence. The Dean dresses as Rosie the Riveter to support the suppliers, and Chang goes undercover as a spy for both sides. In the end, though, it’s Jeff’s big speech that saves the day, evoking much swooning from Nurse Annie.

The Daily Show / The Colbert Report – Have the week off.

Falling Skies – Aliens are attacking on July 4th, which coincidentally is also the New United States’ birthday, honoring the formation of an official rebel army. President Tom Mason tries to enjoy the day with his family, but not only can’t sit still when the perimeter is breached, but leads the attack personally, in which one of his sons is injured, but survives. A couple of supporting characters are killed, then laid to rest in a public funeral, complete with a new style of American flag.

Glee – The New Directions have won Nationals and come home to celebrate with a patriotic theme. Alumni return, mashing up the traditional tunes with modern pop. For some reason, the cast is still hanging out in the school building. Unfortunately, Sue, fed up with our government and authority in general, joins the Tea Party and tries to bring her own values to McKinley, unless they kids warm her heart with some Woodie Guthrie.

The Newsroom – Tired of the way the political parties are bickering and causing strife, Will broadcasts an emotionally moving monologue that laments the way things used to be and encourages everyone to get back into the patriotic spirit. Leona is furious because Will slams a couple of major sponsors during his tirade, the Republicans are furious because he trivializes their positions, and the Democrats are furious because he isn’t hard enough on the Republicans. Sloan is asked in an interview about the treatment of Asian Americans during World War II, and when she complains it hasn’t gotten much better, there’s serious blow back that could cost her her job. Jim and Maggie slip away and have a romantic time watching the fireworks on the roof, until Don shows up and ruins the mood.

True Blood – Arlene and Terry take the kids to a 4th of July parade, and Terry notices something strange that he doesn’t mention to anyone. And that’s the only part of the hour that even vaguely touches on the holiday, as the rest of the episode is spent on the season’s eight large arcs, spread out among the thirty main characters.

Game Over For THE GOODWIN GAMES

Article first published as Game Over For THE GOODWIN GAMES on TheTVKing.

FOX's The Goodwin Games brings their brief, seven episode run to a close this week with "The Box." Although very funny and sweet, the series by How I Met Your Mother creators Carter Bays and Craig Thomas was basically given a vote of no confidence by FOX, placed on the summer schedule to be burnt off. Thus, before it even began airing, the show was doomed.

The Goodwin Games boasts an awesome cast. Ugly Betty's Becki Newton, Scandal's Scott Foley, and Cloverfield's T.J. Miller play three siblings named Chloe, Henry, and Jimmy Goodwin, respectively. When their father (Beau Bridges) passes away, he leaves them a series of challenges to complete in order to get his sizable (and previously secret) inheritance. The "Goodwin Games" are designed to let the adult brothers and sister reconnected with each other and themselves, righting the wrong paths they are all on.

From the beginning, I was a little skeptical of Miller alongside the other two, who were already beloved and respected. But as the weeks went by, he proved he could hang at their level, too, eliciting some of the biggest laughs of the show. Each have their own foibles and idiosyncrasies, but when they combine, they are strong, able to better help fix each other than themselves. Not to mention, hilarious.

In the series finale, which doesn't feel a lot like a series finale, all end up some degree above where they begin. Henry is forced to take time off work by his boss (Laurie Metcalf), meaning he will finally spend some time with the other two, as previously his mind is frequently elsewhere, and he is commuting two hours each way to his job as a surgeon. This also lets him relax enough to reconnect with his ex, Lucinda (Kat Foster), and discover that they didn't need to break up after all.

Henry is uptight and fancies himself better than others and his hometown. Even though we don't get to see his continued growth, "The Box" shows us the turning point, when he shifts his energies and begins to open his eyes. We know he will continue on this journey, and while there may be twists along the way, he is going to get back with Lucinda, the right woman for him, unlike his current and unseen fiance, and he'll come to see there is more to life than being the best surgeon he can be.

Chloe, meanwhile, gives up her dreams of being an actress, returns to college, and falls for a childhood pal named Ivan (Adam Rodriguez, CSI: Miami). Her plot is about bursting her bubble, too, like Henry's, although she isn't any good at what she is doing, unlike him and his career. Instead, she has been wasting her talents, namely her brilliance in mathematics, and now she can begin to put them to good use.

There is clearly opportunity here for a swap between Chloe and Henry down the road, with Chloe becoming driven in her field, and Henry growing too complacent and directionless after a break. It's a crying shame we won't get to see that develop.

Jimmy has to prove himself responsible for his daughter, Piper (Kaitlyn Maher). "The Box" doesn't really address this, but shortly before the last episode, Jimmy gets a rude awakening when he realizes that Piper's mother (Janina Gavankar, True Blood, The League) is right, he isn't a good influence on Piper. So he sets off to find a job and become stable so that he can be in Piper's life.

I like that Jimmy and Piper aren't able to reconnect so easily, with an acknowledgement about what a bad father Jimmy is. I also like that Jimmy isn't able to turn things around so quickly, becoming a bartender and sleeping with his father's lawyer, April Cho (Melissa Tang), not exactly getting to a good environment right away. It leaves him some room to expand and improve, as it should be.

It's these detailed characters, each with so much to offer, wonderfully performed by three amazing actors, that make The Goodwin Games so alluring. They all go from goofy to sincere, from crazy to wise, in moments with utter authenticity. The premise is clever, with lots of appearances by Bridges' deceased father in ways that make sense, and one can see not only some movement in these seven episodes, but also oh so many possibilities as to where they could go. This could easily have run for seven seasons and been entertaining the entire time.

Sadly, this is not to be, and The Goodwin Games has crossed the finish line.

Looking on the bright side, at least the cancellation leaves Scott Foley open to return to Scandal, where he has been upgraded to series regular. Newton should bounce back, as she did after her previously failed and charming Love Bites, making her a hot property for next year's pilot season. And Miller, perhaps not considered a popular casting choice previously, has some cred he can lobby into another role.

"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.