"Brother's War" on VIKINGS

Article first published as "Brother's War" on VIKINGS on TheTVKing.com

History's VIKINGS begins its second season this week with "Brother's War." Ragnar Lothbrok (Travis Fimmel) faces much upheaval as members of his own family turn away from him. But at least his career as a raider is going well, as both King Horik (Donal Logue) and Jarl Borg (Thorbjørn Harr), both powerful leaders themselves, get on board with Ragnar's plan to sail to new lands.

I have to wonder how good a leader Ragnar will end up being. He can inspire loyalty in his friends and foes, to be sure, but has a major blind spot when it comes to family. He refuses to even consider that his brother, Rollo (Clive Standen), might betray him until Rollo shows up with an army. Ragnare doesn't believe his wife, Lagertha (Katheryn Winnick), is leaving him, even after he catches her packing and she says she's going, until she rides away. His son, Bjorn (Nathan O'Toole), is disgusted by Ragnar's treatment of Lagertha and chooses to go with his mother. If Ragnar can't get his relations in line, what hope does he have with anyone else?

It is a bit odd that no one seems to question Ragnar regarding these desertions. The other vikings all still trust him and follow him. Could it be that, in this time and place, the culture is so different from our current frame of reference that this doesn't matter? I mean, if a political leader these days had falling outs with his family, it would impact his or her career. For Ragnar, this doesn't seem to be the case at all. He doesn't fight their leaving, and I guess because no one sees him losing something he wants to hang onto, he doesn't come across as pathetic.

Not that Ragnar doesn't have a few things going for him. For one, he has been very successful with his missions, winning soldiers because he keeps bringing his men wealth. For another, he seems to have won the heart of the beautiful Princess Aslaug (Alyssa Sutherland), who hails from legendary stock, and is now carrying his baby. Aslaug even seems willing to share Ragnar, though Lagertha will have no part of it. So Ragnar isn't without strength.

There are moments, though, when he truly shines. Witnessing Ragnar's goodbye to his little girl, who died while he was away, is heartbreaking. Unlike in other moments, it doesn't make Ragnar soft to show emotion, finding power in his feelings. The aforementioned blind spot comes from a place of great love, and Ragnar will use that love to drive him forward. 

I guess one thing that bothers me a bit about Vikings is that the character of Ragnar seems a little unrealistic and half-formed. Is he a warrior of legend, or someone who has a rocky personal life? It's not that he can't be both, it's just that Rangar's faults are weaknesses that it's hard to understand his fellows looking past, so it makes the character seem poorly constructed.

Rollo has a similar issue, first turning on Ragnar, then begging his forgiveness. He's willing to die for his sins, but also ready to serve again. Some characters briefly complain about Rollo's pardon, and since Ragnar is not the one who gives it, the sentence being commuted by The Lawgiver (Morgan C. Jones), one is left wondering why Rollo isn't executed and how he can be accepted back into the group?

Unless both of these are just a matter of a race of people living by such different laws and codes that it's hard for a modern mindset to understand. I admit finding many of the motivations and attitudes of the players strange, and that contribute to an overall lack of comprehension. Ragnar couldn't act like this today, but maybe, for the vikings of old, his behavior is perfectly acceptable.

The installment itself is pretty good. I like the battle scenes, appropriately long and action-packed, with real, deadly consequences. The sets and costumes still look cool, and the pacing is quick enough. I'm interested to see how things will play out. Even when I don't think some of the characters are developed well enough, the narrative is still intriguing and entertaining.

Vikings airs Thursdays at 10 p.m. ET on History.

A "Trio" of Uneven GLEE Stories

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

FOX’s Glee‘s latest episode, “Trio,” is uneven, as is par for the course of Glee installments lately. The New York scenes are mostly excellent, depressing, but frustrating, with solid character definition and development. The McKinley stuff is silly fluff that doesn’t make sense. But with the end of the high school setting so close, all viewers can do is grit their teeth and wait it out.

Let’s hit the good parts first. Rachel (Lea Michelle), still furious at Santana (Naya Rivera) for being her understudy and at Kurt (Chis Colfer) for remaining neutral, meaning he didn’t side against Santana with her, latches onto Elliott (Adam Lambert) as her new gay bestie slash personal assistant. Santana strikes back, paying Elliott to run scenes with her. This battle continues until Elliott and Kurt throw up their hands and tell the ladies to go away until they can work out their issues, kicking Santana and Rachel out of the band.

This part of “Trio” is excellent because, as heartbreaking as it is to have Rachel and Santana at each other’s throats once more, acting like they are back in high school, Glee stays completely authentic to both characters. Rachel is overreacting, she’s always been a bit of a drama queen, and is too proud to back down. Santana doesn’t apologize because she doesn’t want to appear weak, and when threatened, resorts to her old lashing out coping mechanism. Santana didn’t mean to hurt Rachel, but now that she has, neither can back down.

There’s a scene in this episode where we see the girls softening towards one another, and they’re almost vulnerable, admitting they don’t have any other gal pals around. Had Kurt and Elliott not walked in, interrupting, they may have made up, rather than trying to save face as they did, driving them further apart. The question is, can that friendship be found again, or will circumstances keep eroding it until it’s too broken to heal?

I love Rachel and Santana as friends, but they also make great enemies. Fans desperately want them to work it out, so they probably will, eventually. But the presentation of two such powerful voices, conflicted by circumstance, is an enticing one, and I’m glad Glee chose to explore this path, even if, hopefully, it’s only temporary.

I think the main difference between now and high school is that neither Rachel or Santana have any enablers. Their friends, Kurt, Elliott, and even Santana’s girlfriend, Dani (Demi Lovato), recognize that this feud is between two good people, and all move to isolate the women until they can come to their senses and realize the importance they have to each other. Cut the oxygen off to the fire, and it will die out.

I have to admit, I’m expecting Santana to instigate the reconciliation. I do think Rachel needs a big slap in the face to knock her down a peg, so I don’t want to see Santana defeated or to have to bow down. I just think Santana is the one who has to be the bigger person here, having caused the rift in the first place, even if it wasn’t intentional, and is more likely to do so.

This part of the episode results in some pretty solid music, as well. I’m not a big fan of Elliott and Rachel’s “Barracuda” just because it doesn’t feel like a Rachel song, but it showcases Lambert well. “Gloria,” an all-out battle between Rachel and Santana with Elliott caught in the middle, is much more entertaining, allowing both girls to showcase their vocal talent. Kurt, Dani, and Elliott’s debut as One Three Hill, “The Happening,” is plain fun, light and amusing, as well as well sung. And then they all participate in the closing song, shared with the McKinley cast, which is awkward, as usual, but it’s a good number.

Back in Ohio, Tina (Jenna Ushkowitz), Sam (Chord Overstreet), and Blaine (Darren Criss) are celebrating and mourning their final weeks together as seniors. They decide they need to do something epic and memorable, and so after Sue shuts down their idea for a lock down, they sneak into the school at night, because apparently McKinley is the only high school left in the nation without a security alarm or cameras, and party down, only to be interrupted by Becky (Lauren Potter).

It makes sense to see the seniors played up as their time comes to an end, even if that means five cast members, just promoted to series regular status in the fall, have had virtually no screen time for awhile. And the antics in the halls are entertaining, very John Huges-esque, which makes sense for the characters’ sensibilities.

Then, Becky turns up, but is never given a good reason for being there. Glee could have explored Becky’s loneliness and desire to bond with her classmates, but it doesn’t. What’s more, the seniors cruelly leave Artie (Kevin McHale) out until the very end of the episode for no stated reason, just another misstep from Glee. And worst of all, Sam and Tina make out, even though they’ve never shown any interest in one another and don’t afterwards, either. “Trio” is a bundle of stupid contrivances that don’t make sense for them.

I have to admit, their music is good, though. I don’t know how any teenagers today are familiar with “Jumpin’, Jumpin’,” but it’s a welcome blast from the past. “Don’t You (Forget About Me)” reinforces the tone the episode is trying to sell nicely, even if the performance is weak. And the end ending “Hold On,” despite unfortunately including the New Yorkers, hammers in the message of this side of the story.

The third plot this week finds Will (Matthew Morrison) and Emma (Jayma Mays) trying to conceive. He puts too much pressure on her at first and, after some advice from Sue (Jane Lynch) and Beiste (Dot-Marie Jones), backs off and concentrates on the romance instead. This results in successful impregnation.

To be sure, the pregnancy story is a little rushed, starting and ending in a single hour. However, Will and Emma have been through enough crap, so they don’t need more heaped on top of them. Plus, Mays has limited availability due to her starring role on The Millers, which is why we’ve barely seen her this season, so it makes sense to get through the story all at once.

There are some wonderful moments present. “Danny’s Song” is sweet and soulful. I absolutely love when Will puts paint on Emma’s nose and she freaks out, a play off the familiar trope bent to stay true to the characters, beautifully played by Mays. The affection between the pair is evident, and it appears their union is strong. It’s nice to see them get a happy ending.

That being said, there are parts of this that are absolutely horrid. How dare Will and Emma have sex in a school, cycles be damned? That has to be illegal and immoral and should result in immediate firing. And on top of that, they don’t even lock the door, allowing Becky to walk in on them? I admit, Sue gets some great lines out of this, but the whole thing is ridiculous and disturbing.

So Glee delivers the good with the bad. Viewers have gotten used to this, but still long for the run of multiple great episodes in a row that occasionally pops up through the series, not currently being delivered. Any chance ditching the Ohio stuff and building towards next spring’s series finale will allow them to finally shed the weird unevenness dragging the show down and allow the show to finally, five years in, reach its potential? Maybe. But for now, we’re still saddled with hours that mix terrific moments with bits that clearly have not been thought through.

Glee airs Tuesdays at 8 p.m. ET on FOX.

House of Cards Season 2 Midpoint Check-in

Article first published as House of Cards Season 2 Midpoint Check-in on TheTVKing.

Note: This review is written after having viewed season two, episode seven of House of Cards, "Chapter Twenty." If you are not that far along yet, please watch some more, then come back to this column.

Season two is shaping up to be a great one for Netflix's House of Cards. There are a number of personal stories interwoven around the main plot, but the central thrust thus far has been a war between Frank Underwood (Kevin Spacey) and Raymond Tusk (Gerald McRaney, Simon & Simon, Major Dad). Which has more influence in Washington: money or power? I believe we'll find out as this year continues to play out.

By "Chapter Twenty," Frank has successfully sabotaged Raymond's sway over President Walker (Michael Gill). Rather than being defeated, though, this makes Tusk more determined to have control, switching his allegiances to the other political party, without it being publicly obvious that he has any affiliation with either side of course. This isn't something Frank can stop, and his meeting with Tusk's business partner, Lanagin (Gil Birmingham, Twilight), as well as Stamper's (Michael Kelly) efforts with another partner, Feng (Terry Chen), come to nothing.

That doesn't mean Frank is done, by any means. Frank has wormed his way back into Walker's good graces, expertly dismantling a feud and forming a friendship. It's all an act, from Franks' perspective, just another strategic move in his game, but Walker seems completely taken in, and while money can buy elections, those still in office do have influence.

One wonders how this could end up. Frank wins by manipulation, something easy to do in the halls he's so familiar with, but much harder to do on a national scale in terms of elections. On the other hand, Tusk may be shut out of the White House, but he can buy up as many TV spots as he likes, which can sway public opinion. Frank seems to be scoring minor victories, but is losing overall. I wonder who will come out on top?

It's interesting that Frank is building a Civil War battle model in "Chapter Twenty" of a conflict that resulted in heavy losses on both sides and no clear winner. Might this be how House of Cards lets this war play out? Or is this just how Frank sees things as they are, leading to so much frustration that he smashes his work?

We don't yet know Grayson's (Derek Cecil) true loyalty, which could shift the balance. He confesses to Frank that he's been working for Remy and Tusk, but professes that he thinks Frank is the better man to back. I'm not sure if this is true or if Grayson is really good at what he's doing for Tusk. Grayson does get Remy to remove Ellis (Sam Page), an obstacle, from the Underwoods' circle, but is that Grayson playing Tusk or trying to accomplish his mission? This arc still has too much mystery to make anyone comfortable, but it's this kind of suspense that drives the series.

Luckily, Frank has something Tusk lacks: Claire (Robin Wright). Claire isn't directly involved in the current machinations, but she's there to support Frank, taking him on a run to calm him down. She also helps Frank throw a dinner for Walker and the First Lady, Tricia (Joanna Going), whom Claire befriends, giving the couple even more of a bond to the Underwoods. I've learned never to underestimate Claire, so the fact that Tusk may soon be fighting the two of them, not just Frank, is what should have Tusk worried.

I'm a little confused about why Claire is sabotaging Christina's (Kristen Connolly) reputation. Is Christina merely collateral damage, a way for Claire to get in with Tricia? Or did Christina sleeping with her boss really offend Claire so? Or does conflict in his marriage make Walker confide even more in Frank? Or maybe I just missed something.

Something that might make Frank's life more difficult would be a defection in his own ranks. Jackie (Molly Parker) doesn't seem like the loyal little soldier any more. I guess it's true; once a backstabber, always a backstabber. She has a history of this behavior. Her rebellion would only ever be a minor setback for Frank, he's dealt with worse, but she's playing with fire that could destroy her. Do not ever, ever betray Frank. He might push you in front of a subway or fake an overdose. We're not talking career suicide, we're talking literal suicide.

To make matters worse for her, Jackie is shacking up with the enemy, sleeping with Tusk's man, Remy (Mahershala Ali). I like what we see in Remy, that he's not content for casual sex, revealing something more about him than has been obvious, a noble moral compass. But Jackie is probably just trying to advance her status, and not doing a very good job of it since she doesn't fake the emotions that will help her attain her goal. She is no Frank, and these weaknesses will be her downfall.

It does appear that one of the threats to Frank, the media, has been neutralized. With Lucas (Sebastian Arcelus) discredited and in jail and no one coming to his aid, Frank may have defeated this branch of enemy. Or it may just be dormant, meant to be revived later, possibly with the help of Gavin Orsay (Jimmi Simpson), who seems sympathetic to Lucas' cause.

Amid all this chaos, love may be blooming for Stamper and Rachel (Rachel Brosnahan). Suddenly, Stamper is refusing pretty women in China (ridiculous!) and calling her just to check in. His harsh words on her voice mail are clearly just a cover, though. Who would have thought this might happen? Does it have any chance of working, Rachel being broken enough to be drawn to the man who would protect her? Or is this a distracting side story that doesn't mean much?

Speaking of odd subplots, in "Chapter Twenty," Freddy (Reg E. Cathey) finally gets his own focus. There's a really sweet scene with him meeting the Walkers, but more important, he's suddenly in the press and being offered franchise deals. Is this a sneaky plot by Tusk to knock Frank off his game, trying to steal away Frank's beloved ribs? Or is this a completely separate story? The former seems much more likely given the tight writing of House of Cards, but I appreciate that no ulterior motive has been given for Freddy's fame yet, making it seem like he's earned well-deserved recognition.

By "Chapter Twenty," there's plenty of exciting plot to watch, but no real clear vision of how the season will play out yet. This is completely fine, as House of Cards is great at tying up unexpected threads at just the right time, one in which we don't quite see it coming, but it makes sense in retrospect. It's full of incredible writing and acting, and season two has maintained the quality of the first year, even as the mystique has started to fade away, fans finally figuring out what the DNA of the show is. As long as it keeps up the good work, we should all be satisfied.

Both thirteen-episode seasons of House of Cards are available now streaming for Netflix subscribers. Join me in a couple of weeks for my season two finale review, date TBA.

Leaving DOWNTON ABBEY Once More

Article first published as Leaving DOWNTON ABBEY Once More on TheTVKing.

*NOTE: This more an opinion piece than my typical review. As a fan of the series and the characters, it serves as a string-of-consciousness musing about the relationships and some of the threads of this past season. Your opinions may differ.

Now that another season of Downton Abbey, the British period drama airing on PBS, has come to an end, we can look back at the fourth season and reflect on what the show did both right and wrong. Overall, despite a gloomy start, it was a much lighter year than the last, and other than one major misstep, the story was quite good.

The finale itself was quite satisfying. Not only do we get the conclusion of some nagging stories, but the cast goes to London, providing a fresh setting. The servants' trip to the beach at the end is even more novel and amusing. There's an exciting story of espionage and scandal that doesn't ruin any of our characters' good names. There are absolutely fantastic moments for both the Dowager Countess (Maggie Smith) and Mrs. Crowley (Penelope Wilton), always welcome. Plus, Shirley MacLaine returned, and Paul Giamatti's part was much better than expected. It was a nice way to go out.

But really, most fans of Downton Abbey watch for the romance. The main thrust of much of the drama of the show revolves around who will be with who, and what will happen for them. There are other stories, to be sure, but not nearly as many that don't involve love, it seems. So how have the various pairings shifted this season?

A major arc this year involved Lady Mary's (Michelle Dockery) re-entry into the dating world. A wealthy widow, heir to a great estate, cannot allowed to remain single long. She was pursued by two suitors - Anthony Gillingham (Tom Cullen, World Without End), someone she considered "one of her own kind," and Charles Blake (Julian Ovenden, Foyle's War), who seemed out to bring down the aristocracy. Despite the easy decision on paper, Mary found herself torn between the two, unable to choose, even by the season finale.

It's nice to see Mary smile and be happy. She grieved an appropriate amount of time for Matthew, and then allowed both men to grow on her in pleasing ways. Both would make a good match, but I'm glad the question hasn't been settled yet, given how much fun it has been to see them both compete. It would not remain fun if it were stretched out after many years, but another season would be perfectly acceptable. Unlike when Mary was last eligible, there isn't any one man she's destined to be with, so there's a bit of suspense in the arc. As a firm supporter of "Team Blake," I was glad to see Charles get a leg up in the latest installment, hoping that's a sign that he could win in the end. But however it turns out, Mary declaring game on at the end was a terrific turning point for her.

Lady Rose's (Lily James) romantic prospects were not so cheery. I really liked her dalliance with jazz singer Jack Ross (Gary Carr, Death in Paradise) while it lasted, but it did seem pretty clear that a major part of Rose's attraction to Jack was the trouble it would cause. Besides, she's young, and it's enjoyable to see her single and carefree during her big coming out party, leaving the door open for times to come.

I'm not a fan of Tom (Allen Leech) and the school teacher Sarah Bunting (Daisy Lewis) being together. It's not that she's not an intellectual match for him; she is. But I don't see the chemistry and can't help but think Tom needs to determine his own path forward between the worlds before getting remarried. The arc of Tom feeling stuck in the middle of his roots and his new life has grown weary, but that's exactly why it's time for him to find a calling to dedicate himself to.

On the other hand, I am certainly in favor of Baxter (Raquel Cassidy) and Molesley (Kevin Doyle) being a couple. Molesely has been through some real down times, and while that befits the personality of his character, he doesn't deserve many of his troubles, and its gratifying to see him smile. Baxter spends much of this year being bullied by Thomas (Rob James-Collier), and it's awesome to see Molesley stand up for her, her knight in shining armor, an unlikely role for him to be cast in. That makes their pairing so perfect. Can we please see them marry next year?

So far, the servants have not had a good run of marriages. The only pair portrayed is Anna (Joanne Froggatt) and Mr. Bates (Brendan Coyle), and they've seen nothing but misery. This season's story of Bates killing Anna's rapist is depressing and sucky, something unnecessarily piled on. Mary almost turning Bates in is also completely unacceptable and out of character. Basically, everything surrounding this plot didn't belong in Downton Abbey and served as the significant weak point in an otherwise good year. Thank goodness it's over.

The other bit of bad luck is that annoying Daisy (Sophie McShera) didn't take the job offer in America, but at least we got rid of the almost-as-annoying Ivy (Cara Theobold) in the process. Now it's time for Mrs. Patmore (Lesley Nicol) to hire some decent help.

The season finale this year hints at something between Mr. Carson (Jim Carter) and Mrs. Hughes (Phyllis Logan). Yes, there have been signs of this before, but never such an obvious moment as when they hold hands while wading into the sea. The show might never "go there" for them, but wouldn't it be sweet if it did? There's obviously deep affection between them, and fans would love to see it. Why not?

Lastly, we get to Lady Edith (Laura Carmichael). Her love lost and her baby given up, she sinks into a dark place. This story was mixed for me. I absolutely loved how Lady Rosamund (Samantha Bond) comes to her aid, and was pleasantly surprised that the Dowager Countess acted mostly without judgment towards Edith. I also liked how Edith ignored them both and went to get her child back, something very much in keeping with her independent personality. The resolution, though, that Edith would have Tim (Andrew Scarborough) secretly raise the child for her was weak sauce. Edith needs to act like a mother, no matter what her family thinks.

In all, though, season four was a good one for Downton Abbey. Some have complained that it's disjointed and makes drama just for the sake of drama, and it does. But it's beautiful and well acted. Even when the writers make dumb mistakes, they usually get sorted out or moved past quickly enough for the show to go on, and there's always other examples of good writing in the same episodes. It's soapy but it's just different enough from other soapy works to really land. I look forward to season five.

Amazing HANNIBAL and the "Kaiseki" Misstep

Article first published as HANNIBAL Review "Kaiseki" at Seat42F.

NBC’s HANNIBAL began its second season last night with “Kaiseki.” The word refers to a multi-course Japanese meal, as well as the skill it takes to prepare such a repast. This seems appropriate, as the hour gives us dish after dish of tasty, chewy drama, all; delivered with the beautifully artistry of a television master. It remains not only one of the best written and acted series on the air, but also one of the best visual and auditory productions overall.

Will Graham (Hugh Dancy) is right where we left him – sitting in a jail cell, about to be tried for the murder of several people, more concerned with exposing the truth about Hannibal Lecter (Mads Mikkelsen) than defending himself. To be fair, if Hannibal’s nature is brought to light, Will will get off scot free. But given the care and attention to detail Hannibal puts into covering his tracks and framing Will, that isn’t an easy task.

Jack Crawford (Laurence Fishburne) humors Will, having Beverly (Hettienne Park) swab Hannibal’s DNA and go over his clothing with a fine-toothed comb. But Hannibal is cooperative and seemingly open, making sure Jack never for a moment suspects Will’s accusations are more than the ravings of a mad man.

In fact, everyone seems convinced that Will is crazy. Beverly will consult with him, continuing to recognize his genius, but she’s wary. Dr. Alana Bloom (Caroline Dhavernas) is concerned for Will and shows it by visiting him, taking custody of his dogs, and looking for a plausible defense, but even she thinks he murdered. Her position is that he’s mentally ill and that’s what’s responsible for the horror, not Will himself, but she still doubts him, even though fans know that Will is innocent. Probably.

All of this would make for some really suspenseful drama, waiting for the other show to drop, if “Kaiseki” didn’t screw up the very first scene in the episode. When the premiere opens, Hannibal is slicing some meat and we catch Jack’s reflection in the knife. Then, the two engage in a fight to the death, both slashing and tumbling, before the screen flashes ‘Twelve Weeks Earlier.’ Don’t get me wrong, it’s a wonderful moment, as most of HANNIBAL is, but it’s poorly timed in the narrative arc.

Practically anyone who watches HANNIBAL is already at least vaguely familiar with The Silence of the Lambs and Hannibal films or books, which will (renewal gods willing) make up seasons five and six of this show. As such, we know Hannibal’s misdeeds will be exposed, and we also know that all five of the main characters will survive for quite some time, none being killed off before those seasons. However, this has never detracted from the enjoyment of the show because no one but Bryan Fuller, the brilliant mind behind it, can predict when those revelations will unfold.

“Kaiseki” spoils that. Assuming time in the story matches time in the real world, twelve weeks spells twelve episodes, taking us up to the season two finale. We now can see exactly how the confrontation will play out, and will be able to see it coming. A large part of the pacing is screwed up.

Now, it’s likely this is done for practical reasons. HANNINBAL is a low-rated show, and even with the international partners that help fund it, there’s no guarantee NBC will keep it going. An opener like that will hook those who might complain of slowness, and showing us the end at the start has become a common TV staple. The problem is, it’s now a detestable, predictable trope, and HANNIBAL is way better than that. As someone who doesn’t even watch previews at the end of episodes any more to avoid being spoiled, it really makes me angry they would do this. The only thing that would salvage it a little is if the twelve weeks unexpectedly pass by mid-season, or halfway through season three, rather than leading to the conclusion of this year.

The rest of “Kaiseki” is brilliant. I love the tension between Hannibal and Dr. Bedelia Du Maurier (Gillian Anderson) when he asks her to lie to Jack for him, though the extent of her falsehood is unclear, since how much she knows isn’t revealed. The scene in which Dr. Bloom files a complaint about Jack’s lack of judgment, which the CIA investigator (Cynthia Nixon, Alpha House, The Big C) just wants to make go away, is stellar. Hannibal ‘jokingly’ confessing to Will’s doctor, Frederick Chilton (Raul Esparza), is fun. The moment between Jack and Alana in Will’s house is touching. Finding out Hannibal still considers Will a friend is intriguing. Will’s visions are beautiful, and him recovering a memory is a triumph. Plus, there’s a really cool new killer obsessed with color palettes introduced, which Jack will investigate with the help of Hannibal, who has taken over Will’s job.

The characters are so well defined, and each have moving scenes with others. The cast is fragmented, to be sure, but most people get the chance to interact with most others one on one, pulling us into their dark, twisted world in the best of ways, the subtext as interesting as the dialogue.

I just wish “Kaiseki” hadn’t played to popular bends, and then it would have been perfect.

HANNIBAL airs Fridays at 10 p.m. ET on NBC.

COMMUNITY Celebrates the "Beta Male"

Article first published as COMMUNITY Celebrates the "Beta Male" on TheTVKing.

The latest installment of NBC's Community, the season's mid-point, is titled "Bondage and Beta Male Sexuality." Most of the study group attends a charity show where Professor Duncan (John Oliver) intends to take advantage of a vulnerable Britta (Gillian Jacobs), but both find themselves confronted with self-reflection instead. Meanwhile, Abed (Danny Pudi) bonds with Professor Hickey (Jonathan Banks).

Professor Duncan has always been a bit of a flat character, which makes sense, since he's only a recurring part, rather than one of the personalities at the center of the show. His presence has increased this season, however, and with that comes a bit of depth. Before, he's been a lecherous jerk, but now we see the compassionate, human side of him. I really thought Duncan would sleep with Britta, but that would have sabotaged his development, knocking him back to what he was before this season.

Community loves point out absurdities right in front of our faces. The friendship between Duncan and Jeff (Joel McHale) is one of those. We're told they're friends, but we never see it. They aren't that nice to one another, and they don't help each other out much. "Bondage and Beta Male Sexuality" corrects that. We still don't know what brought them together or why they've stayed close, but we see Jeff try to help Duncan with Britta, and then Duncan stays away from Britta at least partly for Jeff, instead choosing to spend time with a guy who's down.

Jeff's feelings for Britta have long lingered in the background. Last year, amid a weak overall season, the two shared some really great bits. Now, that attraction is brought out again when Britta is admired by her peers. This does make Jeff a little shallow, but it's nice to see him pull back, both out of affection for Duncan and because preying on Britta for the wrong reasons would be bad. They may still end up together, but probably not, and this was not the right time for it.

Britta herself also demonstrates growth. In the past, she'd rush to some guy's arms to make herself feel better when humiliated in front of former colleagues. Or, at minimum, she'd need a good friend to cheer her up. She and Duncan aren't really pals, so he just provides a ride home. There, she engages in introspection, and while this happens off-screen, it's advancement for her. Probably temporarily, somewhat false advancement in a way, knowing Britta, but still, baby steps are good.

Back at Greendale, Abed wanders into Hickey's study before heading to a movie. One has to assume he's lonely and that's why Abed seeks companionship, as he certainly doesn't have any real purpose for going to Hickey. With Troy gone, Abed does seem adrift, his nerdy antics more pathetic these days, and Abed has to sense that, despite his emotional handicaps. Hickey is the only one around, so Abed seeks that connection to another human being.

This has to prove Abed is not too far gone to save. As much as Community viewers enjoy odd Abed, he can never have a happy ending while remaining so detached from reality. This plot has long been building, at least the past couple of years, and with enabler Troy gone, Abed has no choice but to actually confront it.

Hickey, on the other hand, also lacks many bonds to others. He's suffered, to be sure, but he's also soulful, with a creative side that he caters to. He won't put up with Abed's crap, but he does seem willing to help. Through assisting Abed, Hickey might also find purpose in himself, as he doesn't really seem to like teaching at this point. This relationship could lead to real meaning for both.

Then there's the Chang (Ken Jeong) subplot in which he may or may not have gone to the theater and, while there, may or may not have interacted with ghosts. "Bondage and Beta Male Sexuality" doesn't tell us what happened with Chang, but one might think he's having a bit of a breakdown while going through a divorce; at least, that's one theory from the clues presented. At least Chang's delusions aren't mean-spirited this time, but while funny, this unexplained side story is also sad at its core.

I'd rate "Bondage and Beta Male Sexuality" as a middling Community episode. I enjoy it because of the good character stuff, much better than anything last season, but it is lacking any real excitement or outrageous humor (save for the hilarious Duncan / Dean (Jim Rash) tag). It's a more somber note, as much of this season has been, one heralding change for the better, but in incremental movements.

Community airs Thursdays at 8 p.m. ET on NBC.

Traveling THE RED ROAD

Article first published as THE RED ROAD Review on Seat42F.

Sundance’s second original drama, THE RED ROAD, premiered last night. It’s set in a New Jersey town near New York City, but the community is quite rural, with a significant Native American population sort of segregated from the whites in territory, though not in story. The first episode, “Arise My Love, Shake Off This Dream,” introduces us to a number of different characters in both of those communities, each with secrets and connections to a number of other different players. Basically, there is a lot going on.

THE RED ROAD does not stop and lay out what the story and characters are, exactly. We’re dropped into the middle of the tale, and it is very hard to sort things out at the start. Because the action jumps around between so many different people, viewers are left trying to puzzle out the chess pieces on a murky board. Which means it’s not very accessible.

The tone is dark, slow, and dramatic, much like a number of other high-level crime shows. Stylistically, THE RED ROAD fits into a group that includes The Killing, Top of the Lake, Rectify, True Detective, Low Winter Sun, and others. This very clearly shows us that Sundance’s brand will be along the lines of the best of HBO and AMC, very good quality indeed.

But this particular series doesn’t quite live up to that. I’m not sure if it’s just me, but I’m not finding the connections I have in those other shows. The actors do a fine enough job, with several really great showcase moments, so I don’t think it’s their fault. I blame the writing for feeling just a bit shallow and flat in an otherwise realized world. Also, the setting doesn’t seem that defined, with audiences left confused how this can be so close to New York and look so very different.

The stand-out actress is Julianne Nicholson (Masters of Sex) as Jean Jensen. Jean is the wife of cop Harold Jensen (Martin Henderson, Off the Map). They’re going through some strife in their marriage as Jean gets sober, not necessarily well handled, as she has mental problems to boot, and the lack of alcohol may be letting them out in a bigger way than before. So we get a number of crazy-Jean scenes that show us just how good Nicholson can be, which is very.

Henderson does a fine job balancing her out, playing the kind, loving husband. When Jean makes mistakes, Harold tries his best to cover them up and protect her. When their teenage daughter, Rachel (Allie Gonino, The Lying Game), runs off with a Native American boy, Junior (Kiowa Gordon, Twilight), Jean takes off with her rage and a gun, but Harold calms those in Jean’s wake and safely finds the girl. His other daughter, Kate (Annalise Basso, Bedtime Stories), feels comfortable coming to Harold because she trusts him. All of this says a lot about the man.

The third main cast member is Jason Momoa (Game of Thrones) as Phillip Kopus. Phillip has a history with Jean, perhaps romantic, definitely tangled up in her brother’s drowning. Now, he’s fresh out of jail, working for a crook who happens to be his father, Jack (Tom Sizemore, Saving Private Ryan), and not exactly patching things up with his mother, Marie (Tamara Tunie, Law & Order: SVU), and kind of being big brother to Junior, in a way. And before the end of “Arise My Love, Shake Off This Dream,” Phillip has Harold right where he wants them.

I hesitate to say there are any obvious good guys or bad guys in THE RED ROAD. Phillip isn’t exactly on the up and up, but there’s also something magnetic about him. Harold, by contrast, is good to his family, but not always on the right side of the law, so there may be consequences for him. Jean is in a terrible place, causing her to do horrible things, but she might be fine if she can get cleaned up and calmed down. So the show lives in a world of grey.

Too bad it’s not a world that sucks you in. The ingredients are present that this should really be a show to watch, but I just don’t quite feel it. I’ll keep tuning in to see if it changes because it’s still better than most broadcast offerings, but it doesn’t seem destined to the critical darling and award winner that its peers have managed to be.

THE RED ROAD airs Thursdays at 9 p.m. ET on Sundance for the next six weeks.

THE AMERICANS Are Our "Comrades"

Article first published as THE AMERICANS Review Season 2 on Seat42F.

Tonight, THE AMERICANS returns to FX for its second season. The premiere, “Comrades,” pretty much picks up where the first year left off, in that all of the larger arcs are still playing out and nothing major has changed. “Comrades” begins with Elizabeth (Keri Russell) coming home, which makes sense to structure the hiatus that way because, without Elizabeth, there is no show.

Many fans are waiting to see how the relationships may or may not heal, and unfortunately, there’s little of that in the premiere, besides a very racy sex scene (by basic cable standards). Elizabeth and Phillip (Matthew Rhys) seem to be in a good place, but there isn’t a real focus on that. Their time spent together is in service to their mission or in front of their kids, so we don’t get a chance to see for sure what kind of footing they are on with each other. Phillip does not get the opportunity to stop and pour his heart out until he gets ‘home’ to his other wife, Martha (Alison Wright).

This worries me about Phillip and Elizabeth’s future. They definitely like each other and are committed to making their lives together work, but now Phillip is bonding with Martha, perhaps unintentionally, and under an assumed name to be sure, but still, he is making an emotional connection, revealing some of himself. As unlikely as the pairing may be, I could see something blooming there if this pattern continues past episode one.

I guess many affairs happen when one spouse doesn’t feel understood or heard by the other, finding solace in someone else. The situation in THE AMERICANS is anything but a traditional tryst, but I can see signs that it may turn into something resembling that. Which makes sense for the characters and provides much better drama. Or maybe I’m reading into something that isn’t actually there in those few small moments. I guess we’ll wait and see.

Interestingly, Stan (Noah Emmerich) thinks he’s having a real affair, hiding out with Nina (Annet Mahendru) instead of staying home and repairing his marriage to Sandra (Susan Misner). Yet, viewers know that Nina is informing on Stan to the KGB, trying to glean his CIA secrets, so she’s using him. So the setup in “Comrades” is that Stan thinks he’s in loving union but isn’t, and Phillip thinks he’s not but may be. This is some pretty interesting writing.

More tantalizing, though, is that realization by Phillip and Elizabeth this week that their job may not be the one they need to be in to protect their family. So far, THE AMERICANS has kept the personal and the spy lives separate for its lead couple, which is how they want it. But events in “Comrades,” from an early accident in the opening scene, to later, more obvious twists, threaten to bring the two worlds together. This would not be good for anyone, and puts their children, Paige (Holly Taylor) and Henry (Keidrich Sellati), in danger.

Will Phillip and Elizabeth continue their lifestyle if their children cannot be safe? I know they are dedicated to the cause and willing to risk their own lives, but they’re also loving parents, and have natural parental instincts. It seems like this has the potential to be a total game-changer, a reason for them to shift position in their work. I don’t know for sure if anything will really come of this, but if nothing else, “Comrades” will get the characters and the audience thinking about the current status quo, and that’s enough for solid TV.

Of course, Paige is still suspicious of her parents, and so may drag them out into the open whether they want to be or not, or force their hands in making an important decision. But this plot is still early in its development, so it’s hard to say where it will go at this point.

And for those of you who watch THE AMERICANS for good, action-oriented spy sequences, there are those, too, in this premiere. Personally, while I like a good scene that can get the adrenaline pumping, I prefer character studies, and appreciate when the excitement is tied into meaning for the person involved, or changes their perspective in some way. This isn’t always the case in this show, but it does a pretty good job of balancing the two components, personal stories and suspenseful spy stuff, and “Comrades” should satisfy both camps.

THE AMERICANS airs Wednesdays at 10 p.m. on FX.

"The Return" of DALLAS

Article first published as "The Return" of DALLAS on TheTVKing.

TNT's Dallas reboot began its third season this week with "The Return." Picking up twelve hours after season two ended, the characters and situations are pretty much static to how they were left. Which is fine because, on this show, no one is ever done with their secrets and betrayals. More come to light, some are furthered along, alliances begin to fray or shift, and we're right back into the soapy mess of Dallas.

The spectre of JR certainly hangs over the series and always will, long after JR and portrayer Larry Hagman's deaths. Sometimes this is obvious, such as a large picture of the deceased hanging at the offices of the newly-named Ewing Global, or frequent mentions of him in battles of wills between the cast. Other times are more subtle, such as we see a flash of JR in his son, John Ross' (Josh Henderson), face or belt buckle. JR will never be forgotten, he'll always be missed, but the show must go on, and so it does.

A large part of the newest chapter of the story involves the struggle over the future of Ewing Energies. John Ross secures a deal with Ryland Transportation after sleeping with Emma (Emma Bell), but her father, Harris (Mitch Pileggi), is soon out of jail, and so that arrangement surely won't last. John Ross also has a plan to raise come capital, but Bobby (Patrick Duffy) shoots it down, wanting to protect the land around Southfork. Then there's Cliff's (Ken Kercheval) proxy, who joins the meetings to prevent any big changes to the company. So it's a rocky situation that just gets more and more out of control as it goes on.

Because of the ever-shifting relationships and frequent surprises, one never knows in which direction Dallas will go. A lot happens throughout "The Return" to change things over and over again, with the preceding paragraph just mentioning a few of those. Drama drives the show, and there's plenty of that, with more constantly being thrown in to power the engine.

Elena (Jordana Brewster) is the biggest unknown this year. She is still pretending to be the sweet girl the Ewings know, but might she destroy them, having the inside knowledge and access? It seems she could be very dangerous if she really wants to be.

It does seem like "The Return" tries to set up a Bobby / John Ross dynamic that harkens back to the Bobby / JR relationship. It doesn't quite land, though. It may be that the two just are not equals, whether you think Bobby is too smart and experienced to fall for John Ross's stunts, or Bobby is too old to keep up with the younger John Ross' ruthlessness. I understand why Bobby is chosen for this role now, rather than Christopher (Jesse Metcalfe), who has his own story, and isn't currently rising to the level of the other two. But for any lasting chemistry to be established, Christopher will have to fill the Bobby spot in the pairing, rather than using Bobby himself.

Which is not an argument to take Duffy off the show. I really like his character. He just needs to be set up against someone other than John Ross. Maybe Sue Ellen (Linda Gray) could be a worthy foe for awhile? Or maybe the family could finally unite and go against only outside forces, like Ryland and Cliff? One thing is certain, whoever the enemy is will always change from week to week and season to season, so any of these arrangements would probably be temporary.

The boys often rule Dallas so it's nice to see the girls get a chance to shine. There's a fantastic scene in "The Return" where Emma, Pamela (Julie Gonzalo), Ann (Brenda Strong), and Sue Ellen are wedding planning. There's plenty of tension, as Pamela doesn't know that Emma is sleeping with John Ross, yet there's also some affection between the older women and the younger ones. This is a more subtle scene than the conflict the males often bring, but one appreciated nonetheless.

At times, "The Return" gets a little too soapy. Characters don't act as we expect them to. For instance, who would have thought that Elena would ever be able to go evil, no matter what happens? Or Bobby would get so darn angry over minor infractions, rather than building up to a fervor? I do feel like this has markedly gotten worse in the third season than in the previous two. But it's still an enjoyable show, and it has a ways to fall before I stop watching it.

Dallas airs Mondays at 9 p.m. ET on TNT.

"Love" LEGIT

Article first published as LEGIT Review Season 2 on Seat42F.

LEGIT’s second season begins on FXX this week with “Loveline.” It’s as much a continuation of the first year as it is a fresh tale. Jim (Jim Jefferies) appears on the radio show Loveline with Dr. Drew Pinsky (himself). During and after this appearance, past girlfriends haunt him, while Dr. Drew attempts to convince Jim that he has a sex addiction and should seek help.

I love that LEGIT goes this route of continuation, rather than starting over. It provides a cohesion and through-line between the two seasons, and even if you didn’t see the previous episodes, or your memory is a little fuzzy about them, there are still plenty of jokes that can be enjoyed with no background. It’s not the type of show to really do long arcs, but the inclusion of Peggy (Ginger Gonzaga) and Jenny (Bre Blair) are still able to hail back to the previous installments.

Even more of a connecting tissue is the movie that Jim got fired from after his highly inappropriate, but very funny, rape misunderstanding last season. The film is now in theaters, and it turns out to be very, very good, much to Jim’s dismay. This provides no end to the humor at Jim’s expense.

A theme of “Loveline” seems to be ‘poor Jim.’ The main character in LEGIT is likeable enough, but he also has his flaws. He can be selfish and self-absorbed. “Loveline” shows us a different side of him, the kind that unfairly suffers from circumstances often outside of his control. It makes him more sympathetic, and even when he looks a bit pathetic, you still root for him to do well, something that isn’t quite always the case in previous entries.

Of course, that’s not true of everything in the half hour. There is at least one scene in which Jim lies to get what he wants, something we’ve seen is part of his nature. But mostly, this premiere finds Jim more accessible and easy to get behind than before.

Even Jim’s sex addiction issues aren’t an indicator of Jim being bad. For one thing, we’re only told about the worst of his actions. What is shown is actually relatively tame. We know he’s screwed up, but I’m not even convinced that Jim needs help. He may just need to find the right person.

Playing it down could actually backfire. LEGET gets well-deserved credit for the handling of some sensitive issues, especially in the way it portrays people with disabilities, both physical and mental. If the sex addiction story is made light of too much, without any real consequences or development, then it could do disserve not only to that problem, but also the character of Jim.

What I like about LEGIT is that it features fully formed characters. Billy (DJ Qualls) is so much more than what one might expect at first glance, and Steve (Dan Bakkedahl) has plenty of problems and idiosyncrasies, too, his alcoholism brought up again in “Loveline.” Jim can be unfeeling at times, but the way he takes care of Steve and Billy as much as he does proves his humanity and compassion for fellow men. Yes, the show is a comedy and needs to keep being funny, but it could also make the sex addiction thing a season-long plot that shows us something new in Jim.

That aside, though, “Loveline” is absolutely just as hilarious as pretty much any installment of LEGIT so far. It’s an edgy, different show with a specific voice and perspective not often shown on TV. I greatly enjoy it, and this premiere is true to the established form. It definitely bodes well for the coming installments.

LEGIT premieres Wednesday at 10 p.m. ET on FXX.