Is KIRSTIE Still a Star?

Article first published as Is KIRSTIE Still a Star? on TheTVKing.

TVLand is known for creating new sitcoms that feel dated. They do this by hiring the stars of old shows and putting them in a familiar tone with similar writing. It's not the freshest, most original method of making television, but it tends to satisfy TVLand viewers, who tune in to watch the classics, if Hot in Cleveland's success is any indication.

The latest entry into this genre is Kirstie, which premiered this week with a double episode, "Pilot; Arlo Moves In." As one might expect, the show stars Kirstie Alley (Cheers, Veronica's Closet), though rather than playing a character named after the actress, her role is that of Maddie Banks, a Broadway star. That's kind of strange, considering that the title of the series really has no connection at all to the story or characters. But it should serve to draw fans of Alley in. Make no mistake, her fans are out there, as she can truly act well when she wants to.

In the "Pilot," Arlo Barth (Eric Petersen), whom Maddie gave up for adoption many years ago, finds his biological mother after the woman that raised him dies and quickly insinuates himself into Maddie's life. By the second half hour, "Arlo Moves In," they are sharing an apartment. Arlo is a man-child who is very rough around the edges, but he'll teach Maddie to care as she tries to teach him how to adjust to her world. It'll probably be a slow learning curve in order to preserve the premise as long as possible.

Maddie really doesn't have friends, just employees who she spends her time with, so she has plenty of room in her life for Arlo. One wonders what she did with all her free time pre-Arlo, but Kirstie doesn't dwell on that, sticking to a few, simple routines Arlo can work himself in to, and putting Maddie out of her element just a little bit to provide some fodder in the other direction.

Kirstie is enjoyable, but it's not because of the story. This sitcom is as formulaic as possible, and the situation feels off, especially because there is no notable connection between Maddie and Arlo in temperament nor in looks. The plot is predictable and thin. Growth will be extremely slow, if it ever comes.

But the cast is terrific. Not Petersen, so much, who serves his purpose, but is overshadowed by the veterans surrounding him. Kirstie plays Maddie exactly how so many have though of her over the years - a diva whose talent doesn't quite measure up to the reality. Rhea Perlman, Kirstie's Cheers co-star, joins her as gruff assistant and friend Thelma. Michael Richards, who had his own fall from grace post-Seinfeld, is Kirstie's weird driver, Frank. The three play parts similar to what they're known for playing, and those skills were honed in a couple of the best comedy series ever made. Toss in hilarious, better-be-recurring roles for Kristen Chenoweth (Pushing Daisies, Wicked) as Maddie's understudy and Christopher McDonald (Harry's Law) as her on-stage leading man, and you have an enjoyable program.

Now, is that enough to build an entirely new show on? Not on any other network, surely, but on TVLand, which hangs on to the past, rather than looking to break new ground or create something special in its own right, it just may have a chance. Especially because, flaws included, it's still better than most of its peers on the network.

Kirstie airs Wednesdays at 10 p.m. ET on TVLand.

Be Careful Hanging Out With RICK AND MORTY

Article first published as Be Careful Hanging Out With RICK AND MORTY on TheTVKing.

Cartoon Network's Adult Swim's latest series, which premiered this week, is Rick and Morty. From the mind of Dan Harmon (Community), Rick and Morty is a twisted tale of a gullible, dumb, naive grandson, Morty (voiced by Justin Roiland, Fish Hooks), being taken along on dangerous adventures by his eccentric, compassion-challenged, alcoholic grandfather, Rick (also Roiland).

Some have compared Rick and Morty to Back to the Future, pointing to the strange relationship between an old man and a young boy, though this show makes the bond more understandable by having the two be related. It's true, the connection between Rick and Morty is the heart of the show, the latter being a willing participant, through more because of familiar duty than desire, in the schemes. But it doesn't paint Rick in a very good light to take advantage of the boy, and so their footing is not equal, making for an unbalanced duo.

This may be a good thing. Were Morty as into the travels and risks as Rick were, the two would likely be in big trouble even more frequently. Rick couldn't take the competition, and while Morty doesn't exactly reign in his grandfather, he doesn't encourage him, either. Thus we have two very different souls pushed together by a blood relation, rather than anything they share in common.

The animation is as crude as the plot and the jokes, which include things such as Rick wanting to smuggle giant seeds up his grandson's butt. They are well matched in rough lines, odd colors, and twisted creations. The places Rick takes Morty are literally out of this world, allowing the animators' imaginations to run wild. To their credit, they definitely get the tone, and provide pictures that match the words.

I actually like it, though, in spite of this. While super weird, it also has that charm and cleverness that is found well-seeped into Community. Harmon extends his talent in a second project, and though the two share little in common, they are likely to earn some of the same types of praise, with words like "original" and "groundbreaking" thrown around. I don't think Rick and Morty is likely to gain quite as large or as passionate a fan base as the live-action sitcom, but it is very enjoyable, more so than I expected it to be.

The voice cast is rounded out by Chris Parnell (Suburgatory) as Morty's father, Jerry, Sarah Chalke (Scrubs) as Morty's mother and Rick's daughter, Beth, and Spencer Grammer (Greek) as Morty's older sister, Summer. All are great, though they don't get a ton to do, at least in the "Pilot."

If you're on the fence about watching Rick and Morty, check it out. You may be pleasantly surprised.

Rick and Morty airs Mondays at 10:30 p.m. ET on Cartoon Network.

GLEE Should Have Skipped Christmas

Article first published as TV Review: 'Glee' - 'Previously Unaired Christmas' on Blogcritics.

Seven episodes into season five, Glee is still telling a story set last spring, which makes it difficult to do a Christmas episode. The solution? Have Sue (Jane Lynch) record an introduction in which she says the latest installment, “Previously Unaired Christmas,” was the first holiday special made last year, but considered “too controversial” to air (while putting coal in stockings for Lynch’s award-show competition). Now, though, it’s been edited so it can finally be broadcast.

This does adequately explain how there was still a Christmas special last year and another this year set at roughly the same time. But it also takes us out of the story and reminds us that Glee is just a television show. It would be one thing for a variety series to this; it’s quite another when a serial dramedy does so, interrupting flow and feeling very fake.

Yes, Sue’s statement is a total lie, “Previously Unaired Christmas” being freshly filmed only months ago. The most obvious tell is that Heather Morris and Cory Monteith do not appear as Brittany and Finn, respectively, the former actress no longer being on the show, and the latter having passed away. Their unmentioned absences make the premise impossible to accept. Add a very staged way to get Santana (Naya Rivera) in the New York scenes, as her character had not moved there yet, and no mention of Brody (Dean Geyer), whom Rachel (Lea Michele) is serious with at this point of the story, and it just doesn’t hold up.

Now, Glee has always been a little bit cheesy, and some might say that’s part of its charm. The tongue-in-cheek reference when Rachel tells Santana she should drop out of college and come live with them is a fun little poke. And the matter of having religious displays at a public school is brought up and dropped, acknowledging that ridiculousness of the premise, kind of works. But Glee can do better than this, and it leaves one with a sour taste after viewing.

The story begins in New York when Santana brings gifts for Rachel and Kurt (Chris Colfer). She stays a few days in their apartment, and the three get temp jobs working as elves at the mall for an alcoholic Santa. Santana ends up filling in for the red suit, which is both antastic and a terrible idea. They try to salvage the situation with the help of a new “friend” (Bryce Johnson, Popular, Pretty Little Liars), but he just gets them drunk and robs them, leaving Kurt in a naughty, pretty wrong state.

The songs in this thread are good, if thin. “Here Comes Santa Claus” is a pretty straight-forward take, and “The Chipmunk Song (Christmas Don’t Be Late)” is mostly lip-synched, but at least the staging for both is fun. It’s less thrilling that this trio sings “Away in a Manger” with the McKinley crew, a trope that is already feeling tired, but overall, the NYC plot is enjoyable fluff.

In Ohio, the New Directions compete for the best Christmas tree in the school and to participate in a living nativity scene. The former of those stories just gives the show an excuse to tug the heart strings, as driven winner Tina (Jenna Ushkowitz) finds compassion and hands over the prize to poor Becky (Lauren Potter), who really wanted to win but didn’t understand the assignment of a “green” tree. This also gives us a tame “Rockin’ Around the Christmas Tree.” The latter is where the offensiveness that Sue referenced at the start finally becomes apparent.

See, Unique (Alex Newell), Marley (Melissa Benoist), and Tina all want to play the Virgin Mary. That’s weird, because they choose to audition with a mostly-out-of-character, scandalous, vaguely Jamaican rendition of “Mary’s Boy Child.” Marley wins, but she realizes Kitty (Becca Tobin) holds the role in high regard, and so the girls get even worse with “Love Child,” a hilarious and very wrong number, to force Kitty to step in and save the day.

As far as making one feel the Christmas spirit, “Previously Unaired Christmas” does that in the most basic sense, with the annual softening of Sue and the generous acts by others. But the quality of the musical numbers is definitely down, and the tale feels unnecessary and not quite in keeping with continuity. As such, perhaps it would have been better for Glee to take a year off, as much as the format of the series lends itself to holiday cheer more than most shows on TV.

Glee will return February 25th on FOX.

TREME Stands Up and Declares "Yes We Can"

Article first published as TREME Stands Up and Declares "Yes We Can" on TheTVKing.

HBO's Treme, which tells the story of individuals in post-Katrina New Orleans, begins its final five episodes this week with "Yes We Can." The series deserves better than to be canceled after less than four years, but at least they've been granted the opportunity to wrap the story up right. The first episode back is true to form, and represents the start of a new chapter.

After years of struggle, New Orleans is finally returning to normal, if not coming back triumphant. "Yes We Can Can" begins with the election of President Barack Obama in 2008, and finds the citizens of the city celebrating. The leaders who did them wrong are gone, and African Americans are proud to see someone that looks like them in the White House. All around, it's a victory.

This sort of mirrors the lives of those in the story. Antoine (Wendell Pierce) has a job he likes, feeling like a father figure to the students to whom he teaches music. Albert Lambreaux's (Clarke Peters) cancer is in remission. LaDonna's (Khandi Alexander) new bar is almost ready to open, and she and Albert are very happy together.

These people deserve this peace of mind and comfort. They have struggled, rebuilding themseleves in the wreckage of their homes, and it's about time they feel like they're not just living day-to-day anymore. It's been a long road to get back to normality, but one can recognize that that's exactly what has happened in a major way.

Which is not to say that everything is perfect again. LaDonna misses her kids and wishes to bring them home with her, which isn't possible yet. Terry (David Morse) is still fighting corruption and seeking justice, even as his own bosses have turned against him. Sonny (Michiel Huisman) discovers first-hand how bad the police stations are working, or rather, not working. These are real problems that can be attributed to the Katrina chaos.

But notice, that doesn't describe everyone in the cast. Those are just a few characters still battling, and even their lives are not completely focused on such things. Terry's job sucks and is difficult, but he gets to go home to Toni (Melissa Leo) and her warm house at the end of the day. Circumstances are improving for everyone.

Now, real life isn't always easy and smooth, so there are still, and always will be, challenges. Janette (Kim Dickens) is trying to make a go of a new restaurant after her old partner drove her away. Davis's (Steve Zahn) music career is collapsing. Delmond (Rob Brown) isn't sure if he can leave his father yet and get his career back on track. Annie (Lucia Micarelli) has hit a ceiling in her own advancement.

Yet, these seem like the type of issues the characters would face even if their hometown hadn't been destroyed. This represents movement and vitality. These are the types of obstacles they only dreamed about in the aftermath of Katrina. New Orleans is alive once more.

Of course, besides the great characters, there is plenty of authentic music and guest stars from the area dropping in as themselves. Treme has always been realistic to the scene, and "Yes We Can" is no different in that regard. As much as growth and development furthers everyone's stories, Treme remains the same basic tale it started out as: one of strong, determined people who will survive, no matter what, bolstered by their melodies. Their spirit, while relatable, is also unique, much like their jazz clubs will never turn into a large hall, no matter what Nelson (Jon Seda) and his ilk try to do.

The one thing that feels different is that there seems to be much more interaction between the main players all of a sudden. Treme has usually told many different stories that weave together more because of the setting than because these lives are interwined, with paths only occasionally crossing. Four seasons in, the tiny encounters and interactions have begun to build into something more cohesive. Viewers have always seen the cast as a family, bound together by the series; now the characters actually are relating to one another. What a great, feel-good way to end the show!

Treme airs Sundays at 9 p.m. ET on HBO.

THE GOOD, er, Awesome WIFE Hits 100 Episodes

Article first published as THE GOOD, er, Awesome WIFE Hits 100 Episodes on TheTVKing.

CBS's excellent drama The Good Wife, which is barely a procedural any more, thankfully, has never been better than it is in its fifth season. Recently, the show marked its fall finale with an important milestone: the 100th episode. The installment, which is entitled "The Decision Tree," is both very special and very typical of a standard entry at the same time.

The story is simple enough. Alicia (Julianna Margulies) is surprised to find herself in a legal battle over deceased client Matthew Ashbaugh's (John Noble) will. He left her an extremely sizable sum of money, and Lockhart Gardner insists on trying to deprive her of it. Or, more accurately, a hurt, betrayed Will (Josh Charles) wants to make Alicia suffer.

Will and Alicia's romance is a brief footnote for The Good Wife, but one that was much anticipated, and has had a lasting impact. Their relationship came as Alicia's marriage was falling apart, and when she chose to try to repair it, Will paid the price. Funnily enough, though, Will understood Alicia then. He didn't begin taking the break up personally until Alicia quit his firm.

Why has Alicia striking out on her own hit Will so hard? Did he think that as long as she worked for him he'd have another chance with her? Did he believe that they still cared deeply about one another, even if they couldn't be involved? Is Will starting to suspect (wrongly, of course) that she was sleeping with him just to further her career?

Whatever Will's reasons may be, he is very, very angry at Alicia, and wants to cause her pain. We see this when Will questions Alicia in his head, preparing for court, anticipating her answers and trying to hurt her as much as possible. It's a moving, emotionally charged sequence, which continues when he actually confronts her. Their past comes to back him, something he can't move on from, and it really informs his reaction in the present.

Alicia, for her part, handles Will beautifully. She knows he's off his game, allowing emotion to rule him, and takes a more detached approach. I don't think this paints Alicia as cold, as we see that she does have to steel herself to go into court, tampering down her feelings, not being without them. Instead, it just means she's more mature and can compartmentalize more effectively. And that she's a winner.

As much as Cary (Matt Czuchry) helps Alicia in court this week, a crack in their partnership is exposed as they plan their new firm's Christmas party. The turnout is expected to be low until Cary convinces Alicia to invite Peter (Chris Noth). Then, he jumps the gun and announces Peter's attendance, which inflates their guest list but annoys Alicia, who doesn't want to use Peter to help build the business.

It's easy to put oneself in Cary's shoes, and Alicia's, too. Their law firm has a trump card that can really help them soar, but Alicia is reluctant to play it. In a competitive world, they need to use every resource at their disposal. However, it's also understandable that Alicia doesn't want to be seen abusing her husband's reputation for her own financial gain, and it's up to her to block such an occurrence, as Peter is only too willing to step in, even when it's not wise in regards to his own career. So it's a sort of awkward situation. Alicia and Cary have been through worse, though, so as long as they take time to talk to one another, I think they'll eventually strike a balance that works.

Of course, whether their firm succeeds or flops may not be completely up to them. The new partner Will recruits, Damian Boyle (Jason O'Mara, Terra Nova, Life On Mars), is clever and devious. He seems to want to prove his loyalty by taking down Alicia and Cary. They're smart, too, and his early efforts have inflicted more boo-boos than major wounds, but he may still be sizing up his competition, biding his time before a damaging blow.

Kalinda (Archie Panjabi) isn't sure whether Damian can be trusted. She tails him to try to figure him out, a splendidly hilarious scene that ends in her arrest by Damian's friend, Jenna Villette (Jordana Spiro, My Boys, The Mob Doctor).

Kalinda and Jenna sleep together, which is kinda great. I love their chemistry, Kalinda needs a new partner, and I'll take any excuse to have Spiro on my screen. However, I really thought The Good Wife was building towards a Damian-Kalinda pairing. Granted, Damian seems awfully similar to Kalinda's abusive ex, which was a very unpopular plot arc, but it really felt like that's where "The Decision Tree" was going earlier in the hour.

Damian may not be Alicia's only problem. "The Decision Tree" ends with Marilyn (Melissa George) telling Eli (Alan Cumming) that she's going to name her baby Peter. As Peter's ethics adviser, it seems very unlikely that Marilyn means to say that the baby is biologically Peter's, which would be a huge violation of the public's trust in Peter. On the other hand, Peter does have a history of cheating on Alicia with blondes, and Eli certainly falls for the jibe, spectacularly spitting out in his drink in a hell of a cliffhanger.

I don't think Peter and Alicia could survive him fathering a baby with someone else. They've been through a lot, but this crosses too many lines and shows he hasn't changed as he claims to have done. If Marilyn is carrying his baby it could explain why he's been so overeager to be attentive to Alicia, or he may try to blame her avoidance of his help on why he strayed. But it all adds up to an implosion of their marriage, should Marilyn's implication turn out to be true.

Besides the wonderful recurring parts played by Nathan Lane, Mary Beth Peil, George, Spiro, and O'Mara, "The Decision Tree" gives us more of less-seen great performers like Noble, Stockard Channing, Kurt Fuller, and others. Toss them in with an already-stellar across-the-board cast and a guest appearance by Donna Brazile as herself, this episode is bursting with terrific people doing what they do best, making The Good Wife highly engrossing.

The focus of The Good Wife is now solidly on the characters. When Zach (Graham Phillips) tells his mother she's a very interesting person, he's right, and viewers will agree. It's easy to fall in love with the various parts, and the way each is written so authentically, often leaving disagreements with more than one reasonable side. The writing is as excellent as the acting. As far as broadcast network dramas go, this one is tops.

The Good Wife will return January 5th on CBS.

Lana Parrilla Soars in "Save Henry"

Article first published as ONCE UPON A TIME Review Season 3 Episode 9 Save Henry on Seat42F.

The latest installment of ABC’s ONCE UPON A TIME, “Save Henry,” is more about a mother than the son named in the title. Through flashback, we see how Regina (Lana Parrilla) comes to adopt Henry (Jared S. Gilmore) and how it ties into the larger story. In the present, Regina, Emma (Jennifer Morrison), and Snow (Ginnifer Goodwin) attempt to rescue the boy and escape Neverland.

Regina has long been one of the most fascinating characters on the series. While she has done evil things, I do not believe that she is ultimately a true villain because she still has heart. We see this in the hole she feels in her life when she is absent a Henry. And we see how much she loves young Henry and that she will do anything to get him back.

It’s true, Regina kills the first Henry she loves, her father, in order to enact the curse that creates Storybrooke. This is a truly vile thing to do, and as promised to her by Rumple (Robert Carlyle), Regina soon begins to feel the loss, craving something to plug that hole. She finds that something when she gets Rumple to secure her a baby, which just happens to be the son of the savior that can ruin her.

We witness Regina’s early struggles as a mother, unable to stop her child from crying. Does baby Henry sense the darkness in her? And when she finally connects with him, does he sense the love? This is a woman who would go to the ends of the earth for her child, and would not make the same mistake with him that she made in dealing with the elder Henry.

That’s why, when Peter Pan (Robbie Kay) has the three ladies bound to a tree that feeds off their regret, Regina alone is able to break free. It’s not that she doesn’t have remorse for the mistake she’s made; it’s that her focus is on the greater feelings she has for Henry, which makes the rest of it worth it to her. Her love for Henry is true, and she is rewarded by Henry calling her “mom” as she tucks him in, safe back on the Jolly Roger near the conclusion of “Save Henry.”

Will this relationship be what ultimately can redeem Regina? It’s hard to say at this point. There is little doubt she would do bad again if Henry were threatened. But I’m starting to think that she will not do anything too evil without Henry’s survival on the line. She knows that she cannot keep Henry and fall back to her bad habits, so unless she has a driving purpose, or unless Henry dies, she likely won’t truly cross the line again. Not fully.

A sign of this is the way Regina wipes her own memory of whom Henry’s mother is, even though that hurts her chances of stopping Emma. Like Rumple, who has to put Henry’s welfare before his own in order to repair the relationship with his son, Neal (Michael Raymond-James), Regina puts her existence on the line to protect the son she has fallen for from herself. It’s a selfless, noble gesture, done before we even know Regina has such things in her.

Parrilla is a fantastic actress, and she deftly handles the role with a level of skill nearly unmatched in the show. Once more, I am drawn to the way she can find the subtleties and buried qualities in the part, and make us care about someone that we should have written off long ago. I do think both the story arc of the character and her popularity can be majorly attributed to Parrilla’s impressive talent, and wish for more episodes featuring her soon.

The conspiracy and coincidences in “Save Henry” leave a lot of questions unanswered. Does Mr. Gold always know he is Rumple? Is his knowledge triggered by Emma arriving? Is Regina destined to get Henry, or is this something Rumple builds into the curse? Why does Pan send Michael (James Immekus) and John (Matt Kane) to look for Henry eleven years ago, instead of only recently? These answers matter.

It’s fun to get back to Storybrooke and its charming residents. Granny (Beverly Elliott), Archie (Raphael Sbarge), Dr. Whale (David Anders) and even Sidney (Giancarlo Esposito), or Sidney’s voice, play a role in Regina’s flashback. I didn’t realize how much I missed them until they are glimpsed again in the sleepy hamlet. I’m looking forward to getting back there next week.

The only real complaint I have is that Snow, Emma, and Regina set off on their own to face Pan. I understand Neal staying behind to look after the Lost Boys, and can even see why he shouldn’t be left by himself. But the Boys seem to be mostly defeated, happy to help in return for a home, so more than three people can go after Pan. David (Josh Dallas) or Neal, at least, could have gone, too, leaving the other, Hook (Colin O’Donoghue), and Tink (Rose McIver) to watch the ‘captives.’ It’s another case of using half measures against a foe that has proved deserving of more.

It is weird that Henry is quickly dying without his heart when others survive for months or years just fine on the show without one. However, that could have something to do with Henry’s heart specifically, which we know is special, or the way Pan wants to use up the energy from it.

I will not complain about how easy Pan is to defeat in “Save Henry.” It certainly seems too good to be true that he is stopped at the tree, but his sneaky twist at the end, taking over Henry’s body and recruiting Felix (Parker Croft), his one loyal servant, to cause more trouble, is a very satisfying continuation of the arc. He is not defeated; he rises again!

ONCE UPON A TIME still has two full hours left in this fall run, airing Sunday nights at 8 p.m. ET on ABC.

I'm "Too Far Gone" to Not Rave About THE WALKING DEAD

Article first published as THE WALKING DEAD Review Season 4 Episode 8 Too Far Gone on Seat42F.

AMC’s THE WALKING DEAD paused for two months with the climatic mid-season finale, “Too Far Gone,” last night. The showdown went pretty much as expected, with some key players breathing their last and a heck of a lot of action. Which does not detract at all from the tension as events unfold, bullets are fired rapidly, and bodies hit the floor.

The Governor (David Morrissey) easily convinces his new camp to attack the prison, and who wouldn’t be convinced by him? He’s a smooth talker who is very good at persuasion. The story that he tells, taken at face value, seems very reasonable, and it’s not surprising that people who have only seen one side of him, a softer side, would fall in line. Especially when his plan supposedly will not involve bloodshed.

Yet, for those of us who have watched The Governor all this time, it’s certain that no matter what he says, this is not how it will play out. When Rick (Andrew Lincoln) doesn’t kowtow to The Governor’s demands, the choices for the one-eyed leader are to compromise or back off. He has never been good at doing either, and faced with these people who took so much from him, he cannot bring himself to do so. Instead, he attacks.

Has The Governor changed? Hershel (Scott Wilson) says he sees development and Rick appears willing to forgive and forget, to a point. The Governor himself does give the prison group a chance at life, which seems like something his self at the time of Woodbury would never have done. I think there has been a shift here.

In some ways, he’s still the same, though. The Goveror will not accept Rick’s offer. One can argue that The Governor knows Michonne (Danai Gurira) would never let him live, and sharing the prison is too dangerous for his own personal safety. However, he could have negotiated specifically about Michonne and found a way around this. If Rick and Hershel supported him, The Governor may have brokered a deal. It may have ended with Michonne striking out on her own, but there would be peace.

There are others in The Governor’s group who probably wouldn’t fall in line, even if The Governor had accepted Rick’s terms. Mitch (Kirk Acevedo), for one, would probably have caused trouble within the encampment and eventually would have had to be dealt with. Most of the others would have been fine, folding into the group the way the Woodbury survivors have done.

Either way, the catalyst for violence is The Governor. In a moment of anger, he slashes Hershel’s neck with a blade, unable to take Rick’s offer at face value, or take it at all. He’s just “Too Far Gone.” There is no way the prison group, who loves Hershel dearly, can take this, and so fighting breaks out, resulting in many, many deaths, including practically all of The Governor’s followers.

The Governor himself is taken down by a combination of Rick, Michonne, and Lilly (Audrey Marie Anderson), which seems appropriate. He’s a big villain, and huge measures must be taken to stop him. Rick and The Governor have had their differences, and so deserve the chance to slug it out. Rick, weakened, would lose this hand-to-hand combat if not for Michonne, who has more reason that practically anyone to hate The Governor. She was willing to give up her vendetta, but with The Governor right in front of her, killing her friend Rick, it must be satisfying to run him through with her sword, as she does.

Lilly gets the last blow in when she shoots the severely wounded Governor at close range. Even before The Governor shoots Meghan (Meyrick Murphy), who has been bitten, in the head, Lilly senses something off about him. As the woman who is closest to him, she sees the change within, the secrets he tries so hard to keep buried. He has personally betrayed her by deceiving her, and she puts him down for it, showing strength it may not have been obvious she had.

Funnily enough, it’s Lilly’s sister, who always seems so tough, that cannot fight. Tara (Alanna Masterson) is fine with The Governor’s plan until the guns are used, and then she flees. Her bravado is a façade, or maybe she just has a moral compass that only allows her to be tough towards those who deserve it. She alone of The Governor’s army escapes, as far as we know, because she runs. Let’s hope Tara and Lilly, who seem like good people, get to join our heroes, though they may be loathe to do so after witnessing so much violence, desiring to stay away from everyone involved in the battle.

Mitch is taken out by Daryl (Norman Reedus). This seems a great match, a lieutenant-to-lieutenant fight, the second-in-commands of both camps facing off. Given the personalities and skill sets of each, though, it’s with little surprise that Daryl handles Mitch quickly and easily, not as even a pairing as their positions might indicate.

Rick is made to be a leader again in “Too Far Gone.” The Governor forces Rick to step forward and deal with him, even though the power in the group has shifted away from a lone person. The thing is, though, Rick is the de facto leader left. With Carol (Melissa McBride) cast out and Hershel dying of a mortal neck wound, the council is in tatters. The others who help lead are not prepared to deal with The Governor, nor do they show any signs of wanting to. When the going gets tough, everyone still looks to Rick to save them. Which he sort of does.

Rick handles it better now. He’s had time to heal and reflect, and while some may take his willingness to cooperate with The Governor as weakness, neither does he back down completely by giving The Governor the prison. He strikes the perfect balance of sanity, compassion, and ferocity. This is who the group needs in charge of them.

If there’s a group to be had any more in THE WALKING DEAD. As the gates of the prison come down, everyone runs in different directions. Some, including the sick like Glenn (Steven Yeun), who aren’t able to fight, take a bus through a previously arranged backdoor exit. Others leave in small groups, still firing their weapons. A few are injured, but have others with them to protect them. This means it may be some time before they reunite, even if they have a pre-established rendezvous, which seems probable.

Rick and Carl (Chandler Riggs) get away, but in the process they come across Judith’s bloody baby carrier. Is the infant dead? It seems likely, given the evidence, though there’s always the chance she was taken out of the seat for some unknown reason and then a Walker stepped in it, resulting in the blood we see. In the comics, this is when Judith is killed, albeit in a different way, so that’s another strike against her survival.

Judith should have been taken to the bus by the other kids, but they were convinced to arm themselves and fight by Lizzie (Brighton Sharbino). One has to admire her pluck, wanting to be a fully contributing member of the group and taking Carol’s lessons to heart, but it’s also a very stupid move. She’s no Carl, and doesn’t have the presence to pull it off, surviving through luck more than talent. Not being an able leader of the others. If Judith is dead, it’s Lizzie’s fault.

Plus, now Tyreese (Chad L. Coleman) has to look out for Lizzie and her friends. Lizzie shoots Alisha (Julianna Harkavy), Tara’s girlfriend, saving Tyreese’s life, which is a good thing. But then Tyreese is stuck with several young girls who have been left behind by the larger group. That may not be an easy challenge for him, as we haven’t really seen him around the kids at all.

Especially if one of them proves to be a psychopath. We still don’t know who was feeding the Walkers rats at the fence, though that mystery deepens when Tyreese discovers a dissected rat in the prison. Lizzie seems the obvious choice, though perhaps she’s too obvious a culprit. Either way, there is someone crazy within their midst, and if Tyreese is trying to protect a few children, this will be a challenge he doesn’t need right now.

Perhaps, while scattered, Daryl with find Carol. He seems to accept her banishment OK early in “Too Far Gone,” but that doesn’t mean he doesn’t still care about her. If he’s on his own, or with only a couple of others, it seems a logical move to look for Carol, who can help take care of anyone that needs it. Carol is not in this episode, however it seems highly unlikely she’s done for the season.

Losing Hershel, who is gone for good, is a rough blow. Not just for Beth (Emily Kinney) and Maggie (Lauren Cohan), his loving daughters, but for Rick and everyone else. He was a wise elder, giving good advice and caring for the sick, the only one left with medical training. Hershel’s death presents practical, as well as emotional, issues for the group. He will be deeply missed.

It is kind of surprising that Hershel is the only main character good guy that dies here. With practically all of The Governor’s group taken out, one expects some equal losses on Rick’s side. Aside from a few nameless extras, this doesn’t happen. There are enough bodies to satisfy those just looking for death, but very few really matter in the larger scheme of the story as much as Hershel (and the prison itself, which is now uninhabitable, overrun with Walkers). It may mean more that Hershel goes down alone, but it also stretches the realism just a bit too much.

Overall, that’s a minor gripe, and “Too Far Gone” is a fantastic ending. Carol and the mystery psycho leave hanging threads for the second half, the scattering of the group provides some interesting new plot to start back with, and the stakes are very high, resulting in some very real, lasting losses. It’s a heck of an installment, one that will not be soon forgotten, and a fitting end for the biggest bad the show has produced yet.

THE WALKING DEAD will return the first Sunday in February to AMC.

Death Strikes DOCTOR WHO At "The Tenth Planet"

Article first published as DVD Review: 'Doctor Who' - 'The Tenth Planet' on Blogcritics.

Recently released on DVD, The Tenth Planet is the second story in the fourth season of Doctor Who, and the final episode starring William Hartnell as The Doctor (aside from a three-Doctors special years later). Originally broadcast in October 1966, it features the very first appearance by the Cybermen, a terrifying enemy that will plague Earth for decades to come as one of the shows scariest and most frequently appearing villains.

The Cybermen look quite different in The Tenth Planet than they do in later installments. They are more fleshy, with clothing in place of being wrapped in metal, though some of the familiar elements are present. However they look, they remain a creepy race.

As the serial begins, The Doctor, Polly (Anneke Wills), and Ben (Michael Craze) land in Antarctica in the mid-1980s. At the same time as the TARDIS arrives, an Earth-like planet called Mondas also appears, heading straight towards our world. The emotionless Cybermen come from this planet and quickly take over Snowcap, a base near the South Pole, resulting in the death of Snowcap’s men aboard a probe.

The Doctor and his companions attempt to stop the Cybermen from destroying Earth and making its inhabitants like them. They soon come at odds with General Cutler (Robert Beatty, 2001: A Space Odyssey), who wants to use a very destructive means of stopping the Cybermen, even if these is massive collateral damage on Cutler’s own planet. Luckily, one of Cutler’s men, Barclay (David Dodimead, The Honey Pot), thinks the Doctor has it right and offers his assistance.

They do stop the Cybermen, of course, but at a very high cost. The Doctor, sick, soon dies in the TARDIS, his face changing to appear as another man.

Although the fourth installment of this four-part serial has been lost, the BBC has produced an animated version of it, which is combined with the existing audio recordings, finally allowing the complete story to be put out on DVD.

The disappointing part about Part Four being animated is that it includes the very first Doctor regeneration, as the First Doctor becomes the Second (Patrick Troughton). Because this is such an iconic moment of Doctor Who history, this, more than most things, is sad to lose. Now, the two-disc DVD set does include, as a bonus feature, the fourth episode with audio and stills from the VHS, which boasts a grainy video copy of this sequence, but the version shown when watching the serial itself is an animated version.

The Doctor’s departure is telegraphed throughout these episodes. Besides appearing ill, which Hartnell was in real life, the Doctor is almost completely absent from episode three. For those watching the show, as surprising as it may have been to kill of the titular lead, there had to be some hint that something bad was coming for the beloved Time Lord.

One cool thing about The Tenth Planet is the specifically designed title sequences, which only appear in this story. They are not only fitting, but highlight this serial as being very special, which it is. Although, the production of these may have been rushed, as there are a couple of misspellings in them.

There are a ton of bonus features in this DVD set. Besides the aforementioned alternate reconstruction of episode four, there’s an audio commentary with Wills and several guest actors, moderated by Toby Hadoke. PDF materials, a photo gallery, and a tenth anniversary retrospective are included. There’s a “Making Of,” a brief interview with Hartnell, and a profile of Wills. Plus, several other featurettes are present.

Doctor Who The Tenth Planet is an important entry in the Doctor Who saga, and this release is pretty satisfying, considering the circumstances.

GLEE Needs Work to Master Puppets

Article first published as TV Review: 'Glee' - 'Puppet Master' on Blogcritics.

Glee aired a brand new episode on Thanksgiving entitled “Puppet Master.” It’s odd that a series would present fresh programming on a major national holiday, but since that is the case, I guess it’s appropriate that the episode was trippy and surreal. Those tuning in with a full belly of turkey will be forgiven for thinking that the weird story had something to do with their food-induced haze. It did not.

In “Puppet Master,” Kurt (Chris Colfer) is excited to book Pamela Lansbury’s first gig. It’s at a Broadway bar, though, and they are a Madonna cover band, so his band mates aren’t so excited, arguing that this is a bad place to launch themselves. Kurt has other ideas, imagining a packed crowd as he, Rachel (Lea Michele), Santana (Naya Rivera), Starchild (Adam Lambert), and Dani (Demi Lovato) perform a rousing “Into the Groove,” much to audience’s delight.

This is just a dream. In fact, only on person shows up to the actual show. But it’s someone who has a connection, and the performance (which, unlike the dream sequence, we don’t see) is enough to earn them a second booking at much more appropriate venue.

Interestingly, Dani is in the back when the band plays, and is barely in the episode, sitting out more scenes that the other four are in. I wonder if it has to do with Lovato’s availability. Otherwise, it’s annoying to sideline someone who should be a part of the plot, much as the Ohio-based stories so often do.

Kurt is the “Puppet Master” of the group since he’s the one in charge. The others do what he tells them to, and they let him have the final say. This does tie into the title and theme of the overall hour OK, just perhaps not quite as strongly as other subplots.

It’s odd when Glee chooses to show Kurt’s inner vision. It’s not that the show hasn’t done something like this before; in fact, many of the musical numbers seem enhanced by fantasy, not quite realistic. This one just feels different, more out of place.

In fact, this label applies to just about every song in “Puppet Master.” Three of the four McKinley numbers are gas-induced hallucinations. I guess that’s why “Into the Groove” is off. There is no gas leak in New York, so why is a character there experiencing something very similar to what his former classmates are seeing in Ohio?

Even stranger is Blaine’s (Darren Criss) story, in which he suddenly gets bossy, is rejected by his friends, and retreats into the world of puppets. He first sees his classmates in felt form singing “You’re My Best Friend.” Then Blaine builds a Kurt puppet to talk to, and later, constructs versions of the rest of the cast, all exactly matching the ones in his mind.

I really enjoyed the puppet versions of Sam (Chord Overstreet), Will (Matthew Morrison), and the others, and the closing number of the episode, “The Fox (What Does the Fox Say?)” is fun, split between Lima and NYC. However, forcing the connections between the two settings feels just that – forced – and it doesn’t exactly make for the best or most cohesive story.

Blaine has been part of the New Directions’ leadership, but he’s never been one to really try to take over. As such, this “Puppet Master” arc comes out of nowhere. I absolutely get that a kid could be having a rough time and speak up to try to assert some form of control, which is what Blaine seems to be going through. What’s weird is that everyone else acts like this is how Blaine normally is, which just isn’t true. And Tina (Jenna Ushkowitz) quickly forgives him for his creepy interactions with Puppet Tina, who is, for some reason, wearing the exact same clothes as Tina when she finds her.

Perhaps my favorite part of Blaine’s bit is Blaine’s conversation with Brad (Brad Ellis), the piano player. Five seasons in, Brad has appeared in dozens of episodes, but has never had a line of dialogue that I can recall. In “Puppet Master,” he has several. They could be part of Blaine’s imagination, but whether they are or not, the meta feeling one gets seeing Blaine ignore Brad who deserves a little attention, which can be construed as a commentary on Brad’s overall role in Glee, is great.

Jake (Jacob Artist) also has visions. Continuing his recent thread, he wants to get back with Marley (Melissa Benoist), who resits. After a pregnancy scare with Bree (Erinn Westbrook), Jake imagines himself and the two ladies doing a mash up of “Nasty” and “Rhythm Nation,” complete with many female dancers. It’s a pretty enjoyable number, referencing Janet Jackson and her work, which seems a good fit for Jake’s character.

If Jake wants Marley back, he has to get over his pride. I feel like the player persona he gives off is purely a coping mechanism that he reverts to when rejected. But it’s exactly this side of himself that is so unattractive. Now that he’s lost his main plaything, Bree, despite that fact that he claims to be sleeping with the rest of the squad, too, maybe it will be a wake up call for him. He desperately needs one.

Sue (Jane Lynch) has her own rude awakening when Superintendent Harris (Christopher Cousins, Breaking Bad), whom she’s been flirting with, thinks she’s a dude. Sue doesn’t take it well, and tries to find her femininity (with a little help from Unique (Alex Newell)). Her own brush with the poison gas has her dancing with Will to “Cheek to Cheek,” but whether in a dream or reality, she doesn’t quite find herself comfortable or able to pull off a traditional lady look.

Let’s be honest, one would have to be blind to think Sue is a man. Even in her track suits, there is definitely something woman-ish about her. Whether she conforms to stereotypes or not, her gender is not something that anyone has ever questioned, nor could they. The whole thing with Harris is dumb, even if it’s great to get a little bit of vulnerable Sue and a fantastic flashback to her first donning of the current look.

It turns out, the gas leak is a ploy by Figgins (Iqbal Theba) to wrest his office back. This is completely unacceptable. No matter how much Sue deserves to be de-throned, any halfway decent principal would never do anything that poses a danger to the students, and that exactly what Figgins does in “Pupper Master.” He proves himself unfit as principal, and even as a janitor. Sue can’t prove anything, and I assume she doesn’t try because she realizes this. And, admittedly, the episode doesn’t explicitly name Figgins as the cause of the leak, however, it seems to be implied. Because of this, the story is infuriating.

To be honest, in the end, it seems like Glee had the opportunity to have puppets made of most of its key cast members (a trend other shows, such as Angel and Community, have already done better), and decided to come up with, at the last minute, a quick story that made use of them. Perhaps that’s why the installment is sloppy and a bit of a train wreck. Some large plots do get a little screen time, and the musical numbers aren’t all bad. Yet, this episode is not good by almost any general measure. Maybe they’ll do better with Christmas next week?

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

2013 Disney Blu-ray Gift Guide

Article first published as 2013 Disney Blu-ray Gift Guide on Blogcritics.

Walt Disney is always a great source for films, with many memorable classics, as well as new entries coming out all the time. This gift guide highlights some of the most recent releases by Disney that I had a chance to review. Any of them would make terrific Christmas gifts for your loved ones of any age. Plus, each of these come in a Blu-ray / DVD / Digital combo pack, so Disney has you covered no matter how you want to watch the movies.



Mary Poppins 50th Anniversary Edition

Mary Poppins was one of my favorite movies growing up. A mix of the magical with a nonsensical nanny who somehow seems stern, even as she is leading her charges in fun games. It’s the ultimate tale of a governess who fixes a family, full of catchy tunes and heartwarming scenes. While its running time is over two hours, the pacing flows, and no one should get bored.

For the anniversary edition, the picture has been digitally restored. This doesn’t mean it looks perfect, by any means. There is plenty of graininess and blurring to show its age. But it also doesn’t look like a VHS tape, updated to a decent presentation. The soundtrack is clearer than the picture, though perhaps not at the level one may be used to.

These are not complaints. Old movies often look aged, and that’s part of their charm. Mary Poppins could have new special effects added in, but why should it? It’s better to remember this nearly-perfect movie as it is.

Starring the extremely talented Julie Andrews and Dick Van Dyke (the latter plays two roles), and boasting some new extras, including a tie-in to the upcoming movie Saving Mr. Banks, which tells the story of the making this film, this is a solid release.



Monsters University

Monsters University is the result of a Pixar / Disney partnership, so you know it will be good. While not quite living up to Monsters Inc., this prequel, which tells the tale of how Mike Wazowski (Billy Crystal) and Sulley (John Goodman) met in college, is better than expected. After getting off on the wrong foot, the two join a group of misfits and work their butts off for their dreams. This may sound formulaic, but there are quite a few surprises and fun moments.

Monsters University is available in 3D. While the review copy I was sent was not 3D, I did manage to find the title in the 3D format, and I must say that the visuals are amazing! The depth is well presented and the picture is crystal clear. Purely measured against other 3D releases, this is definitely one of the better ones, with most impressive effects. If you have the capability to watch 3D movies in your home, or think you might gain that soon, I definitely recommend going for 3D here. It’s well worth it.

The Blu-ray set contains a lot of extras, including a charming short entitled The Blue Umbrella, which does seem designed just to show us how awesome animation can look, a cool feat.



Mickey’s Christmas Carol 30th Anniversary

I can’t believe this short film, which I fondly recall from my own childhood, is thirty years old! Mickey and friends take on the story of the Charles Dickens book, A Christmas Carol, and give it a relatively traditional telling. With Scrooge McDuck filling in as (who else?) Ebenezer Scrooge, Goofy as Jacob Marley, Mickey as Bob Cratchit, Donald Duck as Scrooge’s nephew Fred, and familiar faces from other Disney movies like Pinocchio and The Wind in the Willows, this is a wonderful, family-friendly telling.

Disney keeps the ghosts from being too scary or Scrooge from being too cruel, but they still get the point across. Toss in a few Disney-style gags, this embodies the best of the older Disney shorts, with a fuller feeling of a film. Obviously, to get through everything in half an hour, the pacing is rapid, but not so much so that it feels rushed.

Visually, it does not look dated. It’s done in an older style of animation, of course, but the lines are crisp and the colors vivid. The soundtrack does feel a little like it’s being played back in a barrel, but it’s still easy enough to catch dialogue and lyrics.

Because of the quick running time, there has to be something else included to make the title worth buying. In this case, not only are there sing-along songs, a welcome inclusion, but also five additional shorts! Starring the likes of Mickey, Donald, Goofy, Pluto, Chip, and Dale, added together, these five roughly equal the running time of the feature. This provides enough material to make for a good release.


Other titles

While I only personally reviewed only the three titles above, there are several other releases which I’m sure are fantastic and am eager to add to my own Christmas list. The Little Mermaid has gotten a Diamond Edition update, and Marvel’s latest super hero flick, Iron Man 3, is out in 3D, too. Both of these movies are very enjoyable, so given Disney’s track record, those discs are likely worth finding, as well.