Summer CAMP

Article first published as CAMP Review on Seat42F.

Grade: 80%

NBC has embraced the summer with the new series CAMP, which premiered this week. Mack (Rachel Griffiths, Brothers & Sisters) is now a single mother and the sole runner of a failing family camp. While she figures herself out, she has to keep the business running and help others, including her son, Buzz (Charles Grounds), and his teenage friends and fellow counselors.

The setting is pretty much the classic image of a summer camp, though there are also adults hanging around. While never having attended such a place myself, nor knowing anyone who has, this is a very familiar environment thanks to countless television shows and movies. Yet, it seems a ripe premise for a light-hearted drama, one that hasn’t been explored quite in this manner, and a totally fitting subject for broadcast networks to delve into if they want to make a play for programming the warmest months.

The focus of the story is on the adults, mainly Mack, and a bunch of young adults or teenagers (some of their ages aren’t completely clear) who work at the camp. This seems like a good pool to draw from because these are the people who stick around, while campers come and go. We don’t really see them doing much work, of course, but it’s an interesting and camera-friendly group.

I do like that the central group avoids stereotypes, impossible to pigeon hole the roles as “jock” or “cheerleader” or “nerd.” It would be so easy to slip into the social stigmas prevalent in this particular age bracket, but while the rival camp across the pond is two dimensional and cartoonish, the principal players are each fully realized individuals, with multiple facets and functional personalities.

Most of the cast is fresh and generally unknown, save Griffiths, who has starred in several shows. By bringing in fresh faces, CAMP avoids preconceived ideas about its characters. None are bad, giving us realistic portrayals of typical kids, though none stand out as super talented either, which admittedly could just be due to the material. They are suitable stock for a summer show, which is truly an ensemble piece, rather than focusing on just one or two of them.

We have Buzz, of course, who is at the age where he really desires to get with girls, but isn’t attractive or charismatic enough to rate their attention, at least not the ones he shamelessly drools over. He, as one would expect, doesn’t notice that there is an average girl, who is in his league, named Grace (Charlotte Nicdao) available. Once he does, and we know that he will eventually, even if she has to get his attention in a big way, they will be perfectly happy together.

Buzz quickly bonds with new kid Kip (Thom Green), whom we learn late in the first hour has struggled with leukemia. Kip is quiet and likes depressing documentaries, and being at the CAMP will help him to come out of his shell and live his life again, or possible for the first time. This will be accomplished in two main ways, one by sharing a cabin with Buzz, who finally gets away from his mom, and two by hanging out with Marina (Lily Sullivan), a down to earth girl scorned by the popular kids, but sure to be liked by viewers.

Rounding out the younger group are Sarah (Dena Kaplan) and Robbie (Tim Pocock). Although they have been an item every summer for the past ten years, they don’t talk during the school year. Robbie is ready for more and enrolls at Stanford, the school Sarah attends. Sarah, going through a rebellious phase after losing her swimming scholarship, fools around behind Robbie’s back with Miguel Santos (Juan Pablo Di Pace), an author at the lake trying to find inspiration.

The biggest problem I have with CAMP is that both Robbie and Sarah have read Miguel’s book and are familiar with his work. What are the chances of that? Unless he’s a best-selling writer and they are avid readers, neither of which is established. As such, the premise is the most hokey of the series.

Over all, though, the story is tame and bland. It’s not bad as a series to watch when nothing else is on, certainly a step above reality swill. But while NBC, ABC, CBS, and FOX’s offerings may be lacking right now, there are amazing, deep, rich dramas airing on cable that are far, far better than CAMP. For the very casual television viewer, CAMP will serve a purpose. For anyone interested in TV enough to find and read this article, just keep your expectations low and it will be pleasant-ish. Unfortunately, ‘pleasant’ doesn’t feel like a compliment given the other available offerings.

The biggest regret is the way CAMP wastes Griffiths. Her tale, upset over her husband running off with a young foreigner, having hate sex with the rival camp owner (Rodger Corser), and being adored by a far-too-young counselor / handyman named Cole (Nikolai Nikolaeff) is moving and sweet enough, but with her resume, Griffiths can and should do better. I don’t know why she isn’t on another premium cable show, but that’s where I hope she ends up after the single season of CAMP that is likely to run.

CAMP airs Wednesdays at 10 p.m. ET on NBC.

DRUNK HISTORY Now Weekly

Article first published as DRUNK HISTORY Now Weekly on TheTVKing.

Drunk History began on funnyordie.com, was featured on HBO's Funny Or Die Presents, and now has its own weekly half hour on Comedy Central. The premise is simple enough - Derek Waters (Hall Pass) gets a person who knows a bit about American history drunk and has them tell a tale. Actors perform the inebriated bits, with the drunk voice dubbed over them.

Drunk History works for a couple of reasons. One, the people participating know what they are talking about, so while they tell things in an amusing way, there is some truth involved, too. Two, the segments are kept short, with Watergate, Lincoln's assassination, and Elvis meeting Nixon all in the first half hour. Third, the costumes and sets are pretty good. Not realistic-makeup good, but not made-in-someone's-basement cheesy, either, making the look work well. And it's edited, so we get some tangents, but the plots remain cohesive enough to follow.

There are lots of recognizable faces participating in Drunk History. In this first episode, Jack Black (Scott of Rock) is Elvis, Bob Odenkirk (Breaking Bad) is Nixon and 30 Rock's Jack McBrayer is Nixon's aide, Stephen Merchant (Extras) is Lincoln, Fred Willard (Modern Family) is Deep Throat, Adam Scott (Parks and Recreation) and Will Forte (Saturday Night Live) are the Booth brothers, Jonathan Ames (Bored to Death) plays father Booth, and Nathan Fielder (Nathan For You) portrays Woodward. I think having all of these people involved lends the proceedings credibility.

It's also really funny. The narratives are delivered in a whimsical, light-hearted way. It's enjoyable (for a limited amount of time, such as a half hour) to watch people who are wasted, and by taking the words they say and acting them out with pizazz, it's a lot like hanging out with your friends, only more visual.

I could do without the puking on the floor, though I guess that's a necessary risk, as Slightly Tipsy History wouldn't be nearly as good. But the cookie breaks and the dialogue delivery are wonderful. This is an idea that has proven popular in other venues, so it's nice to see it get its due now.

Drunk History airs Tuesdays at 10 p.m. ET on Comedy Central.

Crossing THE BRIDGE

Article first published as THE BRIDGE Review on Seat42F.

Grade: 95%

FX has a treat for summer viewers premiering this week. Titled THE BRIDGE, this latest serialized drama is a hybrid of Justified and The Killing. Loosely based on a Danish / Swedish show, THE BRIDGE follows American Detective Sonya Cross (Diane Kruger, Inglourious Basterds) and Mexican Detective Marco Ruiz (Demian Bichir, Weeds) as they investigate a serial killer after a body is found split in half on the border of their respective countries.

Kruger is brilliant as the impersonal officer with Asperger’s, stealing the show. She has great difficultly relating to people, and takes the rules and law completely literally, unable to even see why an exception should be made to let an ambulance cross the crime scene when it carries a man dying of a heart attack. Yet, Kruger plays the part with such earnestness and authenticity that she comes across as both believable and sympathetic. She is not defined by the condition, but it’s merely part of the larger, fully developed personality.

Asperger’s has been creeping onto television more and more in recent years, most notably in the NBC family drama Parenthood. What’s amazing is that, unlike in the past with other concepts, I can’t recall it being presented in a stereotypical or parody-like manner. Kruger is going to break new ground in expanding acknowledgment and understanding.

Setting the part in a police drama is great because Sonya’s skills both help and hinder her in her job. She is meticulous and detail-oriented, so she is likely to be very, very good at catching criminals. Yet, she has problems relating to others, so when she goes to deliver bad news to next of kin in the “Pilot,” we see her weaknesses laid bare. No matter how hard she tries, she can’t relate to others on the same level as most people, and that’s why she needs help. These are tasks she cannot avoid, and her department does not spare her this side of the job, meaning she has to find a way to make it work.

Enter Marco, who is all about the personal relationships. Marco, unlike most of his department, including his boss, is not beholden to criminals and has a strong moral compass. He is a beacon of hope for the struggling city of Juarez, hidden away in the thick smog of the corrupt. Marco does the best he can within the system, and clearly wishes he could operate in a similar manner as his El Paso counterparts.

Marco is the epitome of caring, and so quickly figures out what is going on with Sonya and latches on. I’m not sure if he sees something in her he likes, but he definitely appreciates what she brings to the table, and is attracted to her sense of justice. Together, they will balance each other out and be able to nab the bad guys.

Kruger will get all the attention because she has the character with the hook, but Bichir is every bit as vital to THE BRIDGE as she is. He has a presence that is more than just an interchangeable archetype, and he will control a great deal of the story, despite appearing to play second fiddle. It’s the manner in which Marco deals with Sonya that will define their partnership, and Bichir is very responsible for this element.

Now, the standard male-female partnership is prevalent across the crime genre. What makes THE BRIDGE different is that: a.) both characters are much more dynamic and fleshed out, b.) the show is about them at least as much as it is about the solving the case, and c.) the romantic tension is not played up. I’m not saying that there isn’t a connection between them, but like Holder and Linden on The Killing, that just isn’t the point of the show, unlike, say, Castle, which very much caters to the “will they, won’t they” between its leads.

Marco may just be what Sonya needs at work. Her mentor, Lieutenant Hank Wade (Ted Levine, Monk), who has advised her on all things emotional, is looking towards retirement. He can’t stick around forever, and has other considerations to think about besides Sonya. Sonya must have someone like Hank looking out for her, though, and so Marco may just be the substitute necessary at this time.

One of the best moments in the “Pilot” is when Hank breaks this news to Sonya. She takes it hard, and yet, without a lot of external reaction. We see the thoughts playing across Kruger’s face and the tears in her eyes, and yet she keeps her display within the character. We quickly realize this is about as bad as it gets for her, even showing more sadness here than when mentioning her dead sister. Sonya becomes a person in that scene, even to those who have trouble accessing the series through her until then.

There are also a couple of subplots going on. The aforementioned man in the ambulance dies, leaving his widow, Charlotte Millwright (Annabeth Gish, Brotherhood), whom he asks for a divorce for shortly before passing, to uncover his secrets. Presumably, there will be a connection between Charlotte’s husband and the dead bodies, but at this time, we do not know what it is. Also, a reporter named Daniel Frye (Matthew Lillard, Scooby-Doo), whom the cops strongly dislike, gets involved in a big way through no fault of his own, making for a heck of an exciting final act in this “Pilot.”

Basically, THE BRIDGE is a top notch, high quality crime drama, head and shoulders above what the broadcast networks deliver, in keeping with its FX and AMC peers. The cast is phenomenal and the writing is intelligent. It will likely be nominated for some awards, and many critics, this one included, will sing its praises. Don’t miss it.

THE BRIDGE premieres Wednesday at 10 p.m. ET on FX.

"The Truth Hurts" WAREHOUSE 13

Article first published as "The Truth Hurts" WAREHOUSE 13 on TheTVKing.

For its penultimate season finale, SyFy's Warehouse 13 takes the series to the brink of the biggest cliffhanger in the show's history. In "The Truth Hurts," who the Warehouse's caretaker is up for grabs as three distinct caretakers all exist in the same time and space. Elsewhere, an agent lies dying, and the most dangerous villain yet makes his move.

It's quite smart to use genre alumni to fill the ranks for the last batch of episodes. Buffy the Vampire Slayer's James Marsters and Anthony Head are the latest to join the cast, both having appeared in multiple episodes this year, and hopefully will return again. Their presence lends little something extra, and because they play such different characters than the ones they are famous for, it helps the show, rather than distracts.

Warehouse 13 needs the help because it is a little hokey. I enjoy it, I really do, but there is something off about it that keeps the story from rising the top of its peer group. Part of it is case-of-the-weeks forced into most of the year's installments. Part of it is weird situations, such as tossing a cancer plot into the last couple of episodes for Myka (Joanne Kelly), despite there not really being a reason for it and it feeling gimmicky. And the other part is when things are done just for visual effect, rather than any actual purpose, such as when onjects are flying off the crashing shelves at the Warehouse to chase the main group out, even though the person doing this likes the Warehouse and has no reason to harm it, and he is letting the group go, so he's not really trying to hurt them, either.

I guess what I'm saying is, it's no Battlestar Galactica, or even Defiance.

But there are also some wonderful moments that make it worth watching. The interactions between the characters have deepened over the years, and their relationships are really something to watch. In particular the Artie (Saul Rubinek) / Claudia (Allison Scagliotti) and the Peter (Eddie McClintock) / Myka stuff is great, and when these are played up, the show is at its best. Their dialogue interchanges are extremely entertaining, even when not authentic. And though Artie and Claudia bury the hatchet very quickly after his betrayal this week, even that doesn't seem rushed, given the circumstances, and it works.

Claudia has had the most dynamic journey on the show, and "The Truth Hurts" begins to bring that to culmination. We have seen bits of greatness in her frequently, and know that she has a destiny. The series has certainly served her role well, and the end of this season finale promises more payoff for Claudia in the last episodes.

But why give her an evil sister? That seems so done before. Why can't a new villain just come in that is completely unconnected to our characters? Or why not just make Paracelsus (Head) the last big bad? He's already well connected to the mythology, and has the means to really cause trouble right on through to the last. Do we really need some family drama from a thus-far-unknown relation tossed in at the last minute?

I am very interested in seeing Mrs. Frederic (CCH Pounder) no longer serving as caretaker. During the run, she has been almost solely defined by her job, seeing little of who she is. Now, she's a person again, with everything that comes with being a normal human being, and that should provide some very interesting plot if Warehouse 13 chooses to pursue it, which it absolutely should.

Basically, Warehouse 13 always has been and remains a 'B' level show. The ingredients are there if it wants to kick it up a notch and rise above its current quality standards, but it doesn't seem likely that it will. "The Truth Hurts" is a perfect example of what the series does right, and also what it does wrong. I expect more of the same, perhaps with a slightly grander scale, when it comes back.

Warehouse 13 will return for an abbreviated final season on SyFy.

DEFIANCE Not "Broken"

Article first published as DEFIANCE Not "Broken" on TheTVKing.

At the start of the season finale of SyFy's Defiance, "Everything Is Broken," one assumes that the biggest threat facing the titular town is the presumably stolen election by Datak Tarr (Tony Curran). How strange, then, that by the end of the hour, Datak is an heroic protector of the settlement, and the threat they are facing is much, much greater.

The danger of the Earth Republic is not something introduced at the last minute, but is instead a shadowy entity oft mentioned, but rarely seen. It doesn't come out of nowhere, but when it makes its play here, it is unexpected so soon, since we do not yet know the players involved in that organization. Because of this, it is painted in a very black-and-white, stereotypical way in "Everything Is Broken," which hopefully with change in season two, once we learn more about the individuals who matter in the group.

Datak is someone viewers might think they know, but may be surprised to see the noble side of him. We know his race cares about money and manipulation, but while we are told pride is also paramount, it's not something really seen in a big way 'til now. Datak is content to work with the Earth Republic to seize the mayor's office and the mines, but they think they can buy him as their puppet, and that is where they are wrong. He is too proud to bow down, and assumes he is in control of Defiance, not them. When they try to pull a fast one on Datak, he strikes back violently.

It's hard to believe the Earth Republic won't just execute Datak on the spot, but that seems unlikely from a storytelling perspective because he is a rich character whose new side has just been exposed. He is also someone who wields a lot of control of the townsfolk, and his absence would create a large power vacuum. Instead, there will likely be a revolt against the Earth Republic, and whether Datak is instrumental in the cause, or a symbol to fight for, he will be involved.

If Datak were ever to go down, it would finally give the chance for his wife, Stahma (Jaime Murray) to flourish. She says that she is content standing behind him, and seems happy with her own earned power and games. However, she is also very clearly still subservient to her husband. Murray does a fantastic job of making Stahma complex and alien, interweaving themes of love and fear within the chemistry she has with Curran, so one is never quite sure when Stahma is posturing or when she truly believes what she claims to believe. One thing is certain, though, is that she could easily handle herself in a leadership position should the opportunity arise.

Murray is not the only one doing an amazing job of creating new perspectives. The writing and acting on Defiance make the alien characters seem far more exotic and foreign than in most science fiction enterprises. It's not just the prosthetics, but how these beings see the world that sets them apart. If there's one thing Defiance is doing right (and I would argue there is far more than one thing), it is creating the true tapestry of extraterrestrial races.

Stahma is devoted to Datak. She not only poisons Kenya (Mia Kirshner) to atone for her betrayal, but she stands by Datak's side as the Earth Republic soldiers move on. At both times, Stahma has the chance to escape Datak to her own benefit, but chooses him instead. No matter what we see between them, theirs is a real marriage.

I don't think Kenya is dead either, by the way, as we don't see the body post-poison. More likely, she is tied up somewhere and will be used as a bargaining chip if Defiance is wrestled back from the Earth Republic quickly. If not, she will probably be freed to fight alongside the others.

Of course, there may be no need for the citizens to rise up because Irisa (Stephanie Leonidas) is in control of a very powerful weapon. It is a shocking payoff to her arc this year, and allows the character to step up in a big, impressive way. We don't know for sure what Irisa can do with her new power, but I'm excited to find out, and surely she will use it to protect those she cares about, and by extension, Defiance.

I'm torn on the decision to make Doc Yewll (Trenna Keating) a good guy. It's a little predictable that the gruff physician is kind at heart. But I really like the story of redemption, that she is once very, very bad, and now wants to change, something you don't expect from the type of character she is painted as. And others have already been revealed to be secretly evil, so we don't need her to be as well. Also, Keating somehow manages to get past the heavy makeup and deliver the kind of break out performance that deserves recognition, and by keeping her with the heroes, it allows the character to continue on the show. So the path she is on is an interesting one.

"Everything Is Broken" stops short of permanently killing any of the main players, including Nolan (Grant Bowler), even though we think he is dead at one point, and he gets a very moving death scene. On one hand, this feels like a cheat, as most shows will strive to keep the main cast intact, lowering the stakes of danger, even with the plot calls for death. On the other, Defiance has assembled a fantastic ensemble, and it's hard to imagine the character-driven series without any one of them. To truly be great, Defiance will have to sacrifice a main player or two in the near future. But for now, this can be excused, since the show works so well as is, and a number of important recurring parts have fallen prior to this finale.

The only real complaint I have about "Everything Is Broken" is the scene in which Nolan and Irisa are running out of the tent with guns, ducking behind vehicles. It feels designed solely to match up with the video game, increasing the cross marketing between the Defiance series and interactive experience. But it goes too far while doing so, feeling staged and forced, the direction and movements of the characters not seeming natural for the scene.

Other than that, I am extremely pleased with the first season of Defiance, a show that SyFy should be proud of, and look forward to its return next year, as it has been renewed.

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.