ONCE UPON A TIME "Serenade"

Article first published as ONCE UPON A TIME Review Season 3 Episode 12 New York City Serenade on Seat42F.

*WARNING: The following contains light spoilers for the mid-season premiere of ONCE UPON A TIME. I tease a number of scenes and plots, necessary because this episode is so different from where we last left the tale, but I refrain from giving away any big twists or surprises.

ABC’s ONCE UPON A TIME is doing things a little differently this year, presenting two mini-seasons instead of a full year’s worth of episodes in a single arc. The fall run took our heroes to Neverland as they sought to defeat the cruel Peter Pan. Now, this weekend, the second half begins with “New York Serenade,” bringing with it a new villain, a new curse, and a new mystery.

“New York City Serenade” jumps back and forth between two settings. One year ago, the residents of Storybrooke returned to the Enchanted Forest. There they encounter Aurora (Sarah Bolger) and Phillip (Julian Morris), then set off to find their castle. Snow White (Ginnifer Goodwin) and Regina (Lana Parrilla) have decided to team up for the good of the realm, but an unexpected attack and a powerful shield spell present challenges they didn’t expect.

One year later, in New York, Hook (Colin O’Donoghue) arrives to convince Emma Swan (Jennifer Morrison) that the life she is living, happy with her son, Henry (Jared Gilmore), and doting boyfriend of eight months, Walsh (Christopher Gorham, Covert Affairs), isn’t real. Emma is resistant at first, having no memories of her time in Storybrooke or among the fairy tale people, but a trip to Neal’s (Michael Raymond-James) apartment and a blue potion are Hook’s plan to fix that.

It seems like every episode of ONCE UPON A TIME named after a place just happens to be good. “Tallahassee” and “Manhattan” certainly delivered, as does this newest installment. Coincidence? Perhaps.

ONCE UPON A TIME often divides itself between flashbacks and the present day. Given the structure of “New York City Serenade,” it seems like the flashbacks in the back half of this third season may only go back a few months at a time. We are left pretty much clueless as to what transpires between the events shown in this hour and Emma’s current situation, even though whatever transpired seems to be very important.

Now, I don’t think that means ONCE UPON A TIME will abandon the longer-ago timeframes completely. But like the series Lost, which shares some writers, showing the past prior to the beginning of the series only works for so long before it needs supplemented with something else. “New York City Serenade” is ONCE UPON A TIME’s Oceanic Six moment, and like those plane wreck survivors, Emma and Henry have to go back. Or, at least, Hook will try to convince them to.

I’m not saying “New York City Serenade” copies Lost, though. The story may even be considered the opposite, with some of the Lost obstacles removed in a single hour, and other, different challenges facing the characters. But I digress.

We do get some really great moments in both realms this week. In the Enchanted Forest, Regina and Snow have a really cool scene in which Regina is considering her path, whether to try to cope with the pain of loss, as most people do, or follow her mother’s evil path. There’s another terrific, similar bit involving Hook and Charming (Josh Dallas). Belle (Emilie de Ravin) and Neal share their thoughts about the departed Rumplestiltskin (Robert Carlyle, who does not appear this week, but remains on the cast list). And, what may be best of all, is the part in which Regina, Snow, and the others encounter Robin Hood (Sean Maguire) and his Merry Men, a sequence sparking with chemistry and fantastic dialogue.

There are equally memorable moments in New York between Henry and Emma and between Emma and Walsh. Emma and Henry in their current state, thinking they’ve always been together, have an enhanced relationship based on what was already established for them, making for a neat bond. Walsh, on the other hand, is easily accepted by Henry and he knows and loves Emma, despite her flaws. Emma is fond of him, too. If you’re wondering what kind of guy Emma and Henry could let into their family in such a short time, Walsh is exactly who you’d pick.

Of course, this being ONCE UPON A TIME, there are some really surprising developments, especially late in the hour. All is not as it seems in either setting, and viewers will be left with far more questions than answers. Suffice it to say, the writers have taken advantage of the two-story season and have cooked up something really cool and different for this second arc, serving the characters we love, but not repeating themselves in any way.

This episode is not perfect. Jiminy Cricket has resorted to chirping, presumably because Raphael Sbarge, the actor who plays him, wasn’t available. I also wonder how Emma and Henry can have such a fully furnished and decorated apartment one year after they “lost everything in a fire.” But these are minor gripes, and no glaring missteps stick out.

In short, “New York City Serenade” is an enjoyable, exciting episode that makes a fine return for ONCE UPON A TIME. The series airs Sundays at 8 p.m. ET on ABC.

The "Secrets" of SUITS

Article first published as The "Secrets" of SUITS on TheTVKing.

Some episodes of USA's Suits are more intense than others, with a lot at stake and emotions running higher. And then there are the more typical installments, like this week's mid-season premiere, "Buried Secrets." It may not be a memorable episode that will rank among the show's best, but it's a solid entry with terrific character development, and that's what's most important to keeping a series engaging week after week.

"Buried Secrets" finds the cast segregated, each dealing with their own things. First up is Harvey (Gabriel Macht), who has told Scottie (Abigail Spencer) that he wants to spend his life with her. Step one on that journey is finding her gainful employment in the city before she takes a job elsewhere. Harvey has his eye on bringing Scottie into his own firm, but managing partner Jessica (Gina Torres), wary of Harvey's messy personal life, resists, forcing Scottie into an abnormal contract to cover the firm's butt.

It's not surprising that Jessica goes to these lengths. I will refrain from calling her heartless, but she does have good business sense, and taking Scottie on poses a risk to the long-term security of the company. Having just been through rocky times, Jessica is likely more protective than usual of the organization she has poured her entire life into, and wanting to ensure its continued survival just makes sense to her. She's not a bad guy, and she raises good, logical points when negotiating Scottie's hiring.

That Harvey is the emotional one in "Buried Secrets" says a lot. In the past, Harvey has hurt those he cares about by putting the firm or himself first, so for him to fight so hard for Scottie either shows emotional maturation on his part or a deep love we've never seen from Harvey before. Either way, this is a great development for his character, and whether it lasts or not (I'm guessing not), it will be interesting to watch him go through it.

Scottie and Harvey are almost done before they begin when Harvey makes a move behind Scottie's back. The result is her taking the job and moving to New York, but she's not happy with the way he did it. Thankfully, Harvey is in an apologetic and honest mood, allowing them to work through their differences, rather than sabotaging the relationship. Their banter, including Scottie landing the client that Harvey couldn't, show how they are equals, making her worthy of him and vice versa. Both will have to make sacrifices and it won't be easy, but for now at least, the couple has a real shot at working.

Mike (Patrick J. Adams) and Rachel (Meghan Markle) are much more solid this week. Discussing moving in together, their biggest obstacle is furniture negotiation. Now that Mike's secrets are out and they have both committed to one another, they should have smooth sailing, romantically speaking, for the near future.

Which doesn't make them boring. "Buried Secrets" finds Mike facing the lawyer that handled his parents' death case. Mike has always hated the guy and convinces Harvey to let Mike on the case, which Harvey probably shouldn't do, but the elder lawyer is feeling soft because of the aforementioned plot. The result is a very enlightening story about Mike's past and his view of his family, and on the fringes, Rachel shows the type of support most people only dream about receiving from a partner. It's a good, rich story for Mike, made better by Rachel's presence in it. Rachel is Mike's family now, so this has to last.

The thing that might bring Mike down is his lie about having attended Harvard and actually being a lawyer. For awhile, it's been a stable situation, with all of the main cast knowing except for Louis (Rick Hoffman). Unfortunately, Louis is the one who can't be trusted with that information, and he really begins to get on the scent in "Buried Secrets."

I don't like when Louis is cast as the villain on Suits because he's such a great, layered individual, brilliantly acted. This premiere avoids labeling Louis so simply. He does bad things sometimes, but usually his heart is in the right place. Louis likely thinks he will be protecting the firm by exposing Mike, so as much as fans may not want Louis to uncover the full truth, it's hard to blame him for following the clues. And, of course, it shows much intelligence and persistence to piece together the bread crumbs as Louis does, showcasing some of Louis' best qualities.

Louis' story, which includes a look at his weird, wonderful relationship with Sheila (Rachael Harris) and some amusing exchanges with Donna (Sarah Rafferty), is probably the major arc this half of the season will deal with. It's also a fine example of great storytelling, with no right side or wrong side, a number of intricate, moving parts, and delicate balances which may fall apart. I look forward to how this will unfold, even while dreading Louis figuring out Mike once and for all.

Suits airs Thursdays at 9 p.m. ET on USA.

RESURRECTION Maybe Should Have Stayed Dead

Article first published as RESURRECTION Review on Seat42F.

ABC’s latest high-concept sci-fi series is called RESURRECTION. Like so many failed shows before it, such as FlashForward, The Event, and The River, RESURRECTION tries to tell an intriguing mystery with a large cast, each drawn into the mythology in different ways. An unexplained phenomenon is at the heart of the show, and viewers are asked to ponder who is behind it and what it means.

After viewing the pilot, “The Returned,” I just can’t decide if I like RESURRECTION or not. Tonally and stylistically, it feels a lot like those quickly canceled shows I just mentioned, so maybe there’s an emotional resistance against getting too attached to a show that won’t last. Or maybe the cast, as capable as they seem, just aren’t compelling enough to really hook fans. Or it could be the writing, so vague that the mystery begins to feel like it’s laid out just for the sake of mystery, not with any real, complex plan behind it. Whatever the reason, I’m not sold.

RESURRECTION begins with a young boy named Jacob (Landon Gimenez) waking up in a rice patty in China. He is brought back to the United States, clearly being American, and placed in the custody of Agent J. Martin Bellamy (Omar Epps, House). Instead of turning Jacob over to child services, though, his description not matching any missing persons reported, Marty decides to take Jacob to where he claims home is – Arcadia, Missouri.

Arriving at the house Jacob directs Marty to, they meet Henry (Kurtwood Smith, That ‘70s Show) and Lucille Langston (Frances Fisher, Touch), whom Jacob calls ‘mommy’ and ‘daddy.’ The catch? Henry and Lucille’s eight-year-old son Jacob died more than three decades ago. How can this be him?

Thus, we’re launched into the story. A town still haunted by the death of Jacob and his aunt come face to face with the boy they thought lost, a miracle. All are affected by Jacob’s appearance including his uncle, Sherriff Fred Langston (Matt Craven, Justified), widower of the woman who died with Jacob, Jacob’s cousin, Maggie (Devin Kelley, Covert Affairs), a medical professional, and his childhood best friend, Pastor Tom Hale (Mark Hildreth, V). Another local woman, Elaine Richards (Samaire Armstrong, Dirty Sexy Money), is also part of the cast, but isn’t tied into things until the end of the hour.

The themes explored in “The Returned” include religion and belief, asking viewers to suspend reality in favor of a higher power. Since this is a TV show, the faith is likely only a cover for something more sinister, as other secrets, such as an affair, begin to be exposed, too. So I don’t think RESURRECTION is really going to commit to a god angle for their story.

The problem is, this all feels just a little forced, and motivations aren’t explored fully enough. Why does Marty go against the law and his job description to take Jacob home? It’s easy to see why Marty gets obsessed with the situation after arrival, but hard to understand why his boss might let him continue down this path. Some twists, such as the aforementioned affair, don’t really fit well enough to seem needed, bringing unnecessary drama to the proceedings.

How much of RESURRECTION will come across as phony and how much will follow the rules of the world they establish remains to be seen, “The Returned” being too murky in plot and characters to give us a clear understanding. Yet, the fact that the series does hesitate to explain itself in even the simplest terms makes it feel like there might be no explanation mapped out, meaning the show will meander and play with concepts it doesn’t have a goal of getting deep into. This is just a first impression, and few pilots are outstanding right out of the gate, so I will give it more than one chance.

The challenge RESURRECTION faces, though, is shows like this just don’t seem to work on the broadcast networks. Lost was a fluke and every new effort to recapture its magic falls flat. What’s to stop RESURRECTION from joining that junk heap? I haven’t seen many positive signs yet.

RESURRECTION premieres Sunday at 9 p.m. ET on ABC.

Dystopian COMMUNITY

Article first published as Dystopian COMMUNITY on TheTVKing.

This week's installment of NBC's Community is called "App Development and Condiments." A pair of software developers (Brian Posehn and Steve Agee from The Sarah Silverman Program) introduce Greendale to a new social rating app for their smart phones, MeowMeowBeanz. Soon, as is par for this college, the app makes the campus devolve into a futuristic dystopian society where the highest rated rule the caste system, and the lowers are treated as slaves.

Only at Greendale Community College can the world change so rapidly. It's not like we haven't seen it before, even within this fifth season. A scenario is introduced into the population, and they whole-heartedly embrace it. Until, that is, it gets too dangerous and real and the study group find a way to dismantle the whole system, having worked out their own personal problems. It's the closest thing Community has to a formulaic episode, and it's highly enjoyable.

MeowMeowBeanz is a clever idea. While "App Development and Condiments" doesn't seem to parody any other particular work, it's sort of like if facebook and hot or not went crazy and evolved into a Hunger Games type of world in which everyone is ruled by this bad, useless technology. And having little cat faces all over the dark set is absurd in the best of ways. Toss in some strange future dance and some white curtains, with a flamboyant class just one step below, and suddenly Community has created a familiar and, at the same time, wholly original landscape.

Of course, these are all trappings for the real story. This week finds Shirley (Yvette Nicole Brown) with her feelings hurt because Jeff (Joel McHale) didn't invite her to a dinner he knows she can't attend. Community doesn't do Jeff-Shirley stories often, but whenever they do, it's great. They are such similar people in their love of other people's adoration, while also being completely different in their belief systems and manipulative tactics, and they make for a surprising friendship.

"App Development and Condiments" lets Shirley and Jeff play out their feud on a grand scale, drawing everyone else into the battle. This hyper reality is a major draw of the show, and it's quite fun when a personal beef is taken to such extremes. At heart is the argument which can be solved with a simple apology, but everything has to fall apart before either can swallow their pride enough to mend the bond, forced to take a look at themselves by their friends forcing them to do so.

Everyone has their own way of coping with the circumstances of the episode, showing beautifully the wonderfully varying people who make up the show. Annie (Alison Brie) becomes Shirley's butt-kisser. Abed (Danny Pudi) succeeds because he understands numbers and stats, but then doesn't like being in a position of authority. Professor Hickey (Jonathan Banks) gets ahead by pretending its his birthday, every day for over a week, while Chang (Ken Jeong) discovers people like limping and commits to that fully. Star-Burns (Dino Stamatopoulos) tries to serve everyone at once, spying and sneaking, but never rising far.

We also have new character Koogler (Arrested Development creator Mitchell Hurwitz), who seems to come straight out of an 80s film, a fact hit home by the fake movie trailer in the tag. Not an actor, it seems unlikely that Hurwitz will become part of the recurring cast, which makes his appearance superfluous. I enjoyed his role, but would rather he not be included at all if his presence isn't going to be explained or repeated.

Lastly, we have Britta (Gillian Jacobs) doing what she does best - championing a cause. In this case, she's the one that brings down dystopia when she stages a revolution. Her fellow students begin to listen to her only when she has mustard on her face, so she embraces that until eventually the effect wears off. But it's great to see self-righteous Britta, desperate for approval, making it less likely to be given.

"App Development and Condiments" does seem like a fairly typical episode of Community, but that isn't necessarily a bad thing. They are layers of story, always present in the best of the series, and some terrific one-liners, such as when Jeff scolds the students for playing through this on a Saturday, when they could have gone home. Tiny bits, like a 4 approving of 'forbidden love' between 4 Jeff and 2 Britta, sell the universe presented. Very good job.

In fact, if I have one complaint about this season, which we are more than halfway through, it's that the Dean (Jim Rash) hasn't really had any story, reducing him back to the small, supporting role he used to occupy. Rash deserves better material, and he is hilarious when he gets it. Let's hope there's at least one meaty Dean story before the end.

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

Blu-ray Review: ‘Doctor Who’ – ‘The Time of the Doctor’

Article first published as Blu-ray Review: ‘Doctor Who’ – ‘The Time of the Doctor’ on Blogcritics.

This past December’s Doctor Who Christmas special featured Matt Smith’s very last appearance (as the lead, anyway) as the Eleventh Doctor. Called “The Time of the Doctor,” it brought him to Trenzalore, the planet of his death, and included a war with his greatest enemies, such as The Angels, The Silence, The Daleks, and The Cybermen. Now, that special is available on Blu-ray and DVD.

At the beginning of the hour, The Doctor (Matt Smith) travels to a busy planet that he is told is Gallifrey, though it clearly isn’t. There, all of his enemies have gathered, and the Papal Mainframe, led by old (though never seen before on screen) friend Tasha Lem (a terrific Orla Brady, Fringe, Jo). Gallifrey is present, trying to break through the cracks in space time, but only if The Doctor tells The Time Lords his name, confirming they have reached the proper universe.

This seems like a good thing, but it’s not because the return of The Time Lords to the universe would reignite The Time War, meaning a LOT of death would follow. Tasha wants to prevent this, even if it means killing The Doctor, which makes her a tad bit dangerous. The Doctor realizes the predicament, and decides to stay at the planet, not making a decision about his people or not, while his enemies attack.

Like last year’s holiday outing, “The Time of the Doctor” is not a fluff, stand-alone installment. Instead, it’s a huge adventure, a culmination of many things. We’d long heard that “silence must fall when the question is asked,” and the unanswered question is “Doctor who?” Now, those things come together, along with a dozen other minor plot threads, all culminating in The Doctor’s last battle.

“The Time of the Doctor” does an excellent job tying up all of the continuity bits, really feeling like a satisfying capper on The Eleventh’s run. Perhaps the battles could have been bigger, but this is also a very personal tale, and on that end, it completely satisfies, not just for The Doctor, but also for Clara (Jenna-Louise Coleman), who has taken awhile to grow on me, but proves her mettle here. It presents The Doctor himself as we’ve never seen him before – settled and aging – and as the tale spans centuries, it really gives us a full view of the incarnation that has now lived at least a third of The Doctor’s total existence thus far.

In this episode, Smith shows us just how great his skill as a performer is. He gets to run the gamut of emotion and experience in his final installment. He plays old and young, he plays brave and desperate, he plays friend and betrayer, he plays hero and the man who has given up. This is a tour de force performance, the kind that makes a career. To get this kind of material for his last hour, and to execute it so well, is incredible.

The very end of “The Time of the Doctor” is the perfect tie back to the beginning of The Eleventh’s story. I won’t reveal the details of it here, but it gives The Eleventh a touching, meta send-off, sure to resonate for both the character and the actor.

There are a scant three bonus features in this release, sadly. The “Farewell to Matt Smith” TV special that aired is included, as is “Behind the Lens” and “Tales from the TARDIS.” The first felt a little light to me, not quite giving the substance I desired. “Behind the Lens” is enjoyable because it’s a behind-the-scenes of this one episode, but at only twelve minutes running time, is a bit too short. I don’t know that “Tales of the TARDIS” really needed to be included here, since it isn’t Matt Smith-specific, but I guess Doctor Who fans in general will like it.

Blu-ray is the format to get this in because “The Time of the Doctor” is so effects-heavy. It’s a beautiful special, with swirling snow and a detailed setting. As usual, there are some dark, shadowy scenes, with crisp definition and layered shading. Plus, a sweeping score enhances without overpowering. A science fiction adventure like this begs for high definition.

In short, this is a visually impressive, powerfully told story that’s weak on bonus features but still worth your time. “The Time of the Doctor” is available now.

Blaring SIRENS

Article first published as SIRENS Review on Seat42F.

USA is trying its hand with sitcoms when the new series SIRENS premieres Thursday evening. The episode sent to critics, and that is currently streaming free on the network’s website, is listed as #1.04 “Rachel McAdams Topless.” I’m not sure that’s going to be the first episode that airs, but it should give us a taste of not only the tone of the series, but who the characters are as well.

At the center of SIRENS are three EMTs. Johnny (Michael Mosley, Pan Am, The Proposal) is having trouble defining his relationship with on-again, off-again girlfriend Theresa (Jessica McNamee, Packed to the Rafters). Or are they dating? It’s not clear. Hank (Kevin Daniels, Modern Family, Ladder 49), Johnny’s best friend, is gay and black, though neither is really played up as a character element in the first episode, with Hank’s role being to deliver the best lines and support Johnny. They are joined by nervous, naïve newbie Brian (Kevin Bigley, Game Change).

Now, that doesn’t sound like a recipe for a particularly original show, and I admit, Brian, especially, is a familiar type. But Sirens doesn’t try for anything fancy. It’s about a group of guys hanging out together, getting into absurd situations, and having way too personal conversations. They have good chemistry, and are enjoyable.

For instance, in “Rachel McAdams Topless,” they try to erase a patient’s computer, only to be scarred by disturbing porn. Then they end up talking about porn and sex for the most of the half hour, as other things they stumble upon also hinge on that topic. So it’s a lot of raunchy, honest talking between buddies.

I happen to find this very funny. I know it’s certainly not everyone’s type of humor, but it’s far better than gross vomit and poop gags. SIRENS rises or falls on how real each of these three men seem and whether viewers will care about them or not. Half an hour in, I do care. They seem nice and are trying their best, never mean-spirited or cruel.

The relationship between Johnny and Theresa is good, too. He swears to her that he’s given up porn for her, a lie of course, which she quickly discovers. But not knowing she knows, he and his buddies try to prevent her from finding out, stumbling on her own embarrassing secrets in the process. Theresa and Johnny learn a little about one another, and it helps them appreciate their partner more.

First and foremost, this makes “Rachel McAdams Topless” a comedy of errors, with one-liners smartly tying into later twists in the story, running gags rather than just a series of punchlines. At times, the situations feel staged, of course, and in this style of narrative, that’s unavoidable. But the energy put off by the cast is infectious, and it keeps moving forward at a pleasing pace.

I’m not sure Theresa is all that authentic a character, possibly more of a guy’s dream of what a woman should be than real. Or maybe she’s someone who just bucks trends and doesn’t conform to what’s currently publicly acceptable to say, a liberated, modern woman. At times, she’s more masculine than Johnny, a relatively new arrangement in society that can still seem novel on television when done right, as it is here.

But SIRENS doesn’t ask us to overthink this stuff. It’s just a goofy comedy designed to make us laugh. I wish it aired on HBO or Showtime so it could actually back up the topics of conversation with visuals; hearing and hinting at things that are never shown make it tamer than it should be. But its sensibilities do seem appropriate to a TBS or basic cable format, so it should work for USA, known mostly for fluffy dramas.

SIRENS premieres this Thursday at 10 p.m. ET on USA.

The WALKING DEAD "Still" Best Show on TV

Article first written for Seat42F.

If you were glued to The Oscars last night, you missed a really great hour of television over on AMC. The latest installment of THE WALKING DEAD, entitled “Still,” follows only Daryl (Norman Reedus) and Beth (Emily Kinney) as they set off in search of her first drink and come to terms with how they each feel about one another and themselves. But we live in the magical era of DVRs and easy internet access, so the mistake of skipping the hour is not irreversible. Go watch it now, then come back to this page when you’re finished.

As “Still” opens, Daryl and Beth are much how we left them. Well, they’re on the run and have to hide in a trunk in an exciting action sequence, but then things get back to ‘normal.’ Daryl is being beyond stoic and silent, while Beth is growing more and more frustrated that they aren’t finding their loved ones. The tension is displayed in different ways. Beth throws a fit, declaring she suddenly needs an alcoholic beverage, though she’s never had one, and stomps off on her own to get it. Daryl’s stress is more subtle, missing a squirrel with his bow and arrow, puzzling for someone with pinpoint accuracy.

Before I break down these emotions, I would like to theorize that perhaps Daryl’s skills are not getting rusty. The arrow he shoots is broken, so maybe it is weakened through too much use, and if so, this could be a real problem for Daryl going forward as his signature weapon begins to fail. Or maybe it breaks because he misses, in which case, his deteriorating mental state is also dangerous.

Whatever one thinks about Daryl, he is a protector, and so he follows Beth to a country club. Breaking in, they discover a gruesome scene: the staff rose up against the members in a bloody class warm, leaving walkers and disrespected corpses behind. It’s through this that the two venture, never really in too much peril, until they discover a wine bottle, which Beth uses to defend herself, and some dirty peach schnapps, which Daryl smashes in frustration.

The separation between the two groups that died in the building is paralleled in the tension between Beth and Daryl. He thinks of her as a spoiled, rich girl who doesn’t appreciate the opportunities and advantages she had, and should not have survived the apocalypse. She thinks of him as redneck trash that would have ended up in jail had society not collapsed. They don’t exactly say this out loud, but some homemade moonshine drank in a cabin much like the one Daryl grew up in and a version of the game of “never have I ever” bring to the surface some of these misconceptions.

For the record, these two have been through too much in THE WALKING DEAD not to value one another. They may still have some stereotypical notions, but those mostly pertain to who they were before the bad stuff happened. Daryl may still wonder why Beth survived, but she’s clearly grateful for his company. Which is probably why, with some shouting and tears on both sides, they are able to work things out, Beth giving Daryl a comforting hug from behind.

We learn quite a bit about Daryl in “Still.” He was directionless, as suspected, always following his brother, Merle, around and letting Merle make the decisions. Though Daryl avoided prison and probably wasn’t much of a criminal, his choices did lead to perilous situations and could have resulted in early death. He had a hard life, without loving parents, never having taken a vacation, and mostly spending his days drinking and hunting. These things honed him into who he is, which serves the group well now, but he has to overcome some pessimistic attitudes and low feelings of self-worth to get there. He still has anger issued, which he takes out a little on Beth, but he would never really hurt her, and she seems to know this.

Beth has changed, too. She didn’t start out as someone who could handle a walker on her own, but she’s developed beyond her sheltered roots. She still isn’t the strongest in the cast, and as she admits, will probably die sooner rather than later. But she’s lived longer than most would give her credit for, and that betrays a spirit and determination most in her previous circumstances would not have.

“Still” is a cathartic, revealing look at these two characters, who often don’t get a lot of focus or background. As I’ve mentioned in similar episodes before, some viewers will complain about the slowness and lack of other cast members, but I think THE WALKING DEAD is best when it’s a rich character study, as it is here. Both performers shine in the parts they’re given, and the writing is fantastic. Some may be disappointed that the episode doesn’t get them on the path of meeting up with everyone else, but that doesn’t gel with the themes of the hour, and the finale of Beth and Daryl giving their middle fingers to the burning house, saying “f--- you” to their pasts, is perfect. There’s no reason to change it.

One continuity note in this episode bothered me. Beth chooses a white sweater in the pro shop, which is, of course, quickly ruined. Sorry, Beth, that might be your color, but it was a pretty stupid move. After she drops the sweater, though, we see the yellow polo shirt she wears underneath it is badly splattered, too, also destroyed. Yet, in the next scene, the blood has been gotten out and the yellow shirt just looks worn roughly, aged a bit. Really? Does that make any sense? But that’s one minor gripe in an otherwise terrific hour.

We’re halfway through this eight-episode run, and things are no better than when we started. When will loved ones find each other and the group reform? Find out as THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

ALMOST HUMAN Almost Great

Article first published as ALMOST HUMAN Almost Great on TheTVKing.

When FOX's Almost Human premiered, I was skeptical. It had a very cool concept and setting, but seemed bogged down in case-of-the-week procedural crap. As the weeks passed, though, it did move into some far more interesting stories and developed its characters in ways I wanted to see continue. So it's with a heavy heart that I review "Straw Man," last night's season, quite possibly series, finale.

Almost Human is set in the not-so-distant future, though, from the tech shown, one would think it would be a further reach. The idea, though, that technology has gotten out of hand and law enforcement struggles to control it, is solid and an easy leap to make, given the rapid pace of advancement today.

While most of the show is, regrettably, confined to the crimes our heroes investigate, we do get glimpses of the larger world. We know Detective Stahl (Minka Kelly) is genetically engineered, as anyone can be for a price, and her kind live separately from the rest of society, usually considering themselves above "normal" humans. We know there's a wall keeping out the really low dregs of society, making for a pronounced class system. And we know some androids, like Dorian (Michael Ealy) were designed with feelings, so they act more human, but also less stable.

"Straw Man" has some fine movement on these fronts. Besides seeing the how the homeless live, we also see Dorian reviewed by the board that will decide if he will continue to serve as a cop, despite the rest of his line being decomissioned. What emerges is a clear understanding that, unlike the newer models more commonly used, Dorian's type are individuals, meaning some can handle the work and some cannot. Dorian's co-workers love him and he does well so he will continue in his current position. But while I do think they will activate other Dorians following his success, not all can handle this.

The moments where the human characters are shown talking to or about Dorian are very entertaining. Poor Rudy (Mackenzie Crook) bumbles through his part of the evaluation, but John Kennex (Karl Urban), who is so against Dorian at the start, has only glowing things to say, crediting Dorian for Kennex's own continued service to the badge. While Kennex downplays this when Dorian thanks him, it's too late; Dorian and the viewer know the truth. This is the ultimate buddy cop bond.

Ealy is absolutely terrific as the machine. He can mimic a standard robot beautifully when he thinks he's losing the review, and his interactions with John are so authentic that he feels believable, until the actor tosses in those little, detailed touches that prove he's something else. There's a hard balance to strike in playing a character like Dorian, and Ealy is great at hitting it.

The main plot of "Straw Man" involves Kennex solving the case that disgraced his father, Edward (John Diehl, Miami Vice), and got him killed. With a little help from Dorian and Captain Maldonado (Lili Taylor), who gets some sealed files for him, Kennex clears his old man's name and brings the real killer to justice. It's a triumphant moment for Kennex, personally and professionally, and a high note to end the series on, should it not be renewed.

The problem is, it's all much too quick. As soon as we get any info about Edward at all, John has tied up everything neatly. This is likely because Almost Human isn't sure it's coming back so it didn't want to leave a cliffhanger. The hanging threads from other stories, including that of John's wife and Dorian's implanted memories, aren't mentioned, meaning there are still places for the show to go should it return, but it doesn't feel like it stops abruptly. "Straw Man" is a powerful, moving installment, one which will rank as a favorite among fans. Still, it's sad that such an important character element for the show's lead is treated so lightly, as it deserves much more weight.

The whole show deserves more exploration. While future episodes would involve more stand-alone cases, there are also a great many elements of the technology and society that viewers want to see. How did things develop as they did? What are the moral implications? How can this one department effect change on a grander scale? If it ran for seasons, these questions would be delved into more, making for a very engaging, intriguing show.

Almost Human is not without its weaknesses. The homeless man that Detective Paul (Michael Irby) takes pity on just happens to be the next victim moments later? Ridiculous coincidence. But the humor, heart, good writing, and excellent special effects tip the scales in its favor, not the perfect show, but a darn good one that will be missed when it goes.

Almost Human is currently awaiting news of its fate from FOX.

THOSE WHO KILL Are Featured Too Heavily on Television

Article first published as THOSE WHO KILL Review on Seat42F.

Following Bates Motel tonight on A&E is the new drama THOSE WHO KILL. Other reviewers seem to be mixed on whether this show succeeds or not, but most take one position or the other. I’m torn in the middle, seeing both the positive and negative points made. This is yet another crime drama with a few very formulaic elements and some, at-times, shoddy writing. But it’s also a heck of a character study for its lead, whom is brilliantly acted, and it does veer away from the rote procedural.

As the “Pilot” begins, Detective Catherine Jensen (Chloe Sevigny, Big Love, Portlandia) is examining a mummified corpse. Her fellow officer, Lieutenant Mike Dunn (Christopher Michael Holley, Smokin’ Aces), a seasoned veteran, doesn’t want to expend much effort on what he feels is an open-and-shut unsolvable case. The thing is, even the viewer can tell at a glance by the corpse’s painted fingernails that Dunn’s theory is wrong. Jensen, of course, bulks, finds some more clues, some with the help of her medical examiner friend, Mia (Kerry O’Malley, Shameless), and quickly gets on the trail of a serial killer.

If that paragraph made the show seem predictable, well, that part of it is. Dunn is a ridiculous cop, but one television viewers will be familiar with, and Jensen is a brilliant hero, again, another oft-used type. If there wasn’t more to this story, then THOSE WHO KILL would end pretty quickly. But that’s just the start of things.

Knowing she’ll get little support from Dunn, Jensen enlists an academic, Thomas Schaeffer (James D’Arcy, Secret Diary of a Call Girl), for assistance. He turns out to be just as weird and eccentric as she is, and together, the two come face to face with the bad guy relatively early in the episode. That doesn’t mean the case is over and everything is solved. That just means these guys are good. Very good.

Throughout this first installment, we learn little bits about both Jensen and Schaeffer that are disturbing, more so for the former, but surely more will come about the latter. Jensen cuts herself and keeps pictures of serial killers’ homes on her wall. She is obsessed with a missing brother and a mysterious father (Bruce Davison, X-Men). Schaeffer’s wife (Anne Dudek, Covert Affairs) does not approve of him getting involved in an active case, and her opinion is justified when Schaeffer gets a little too creepy putting himself in the mind of the killer, a la Will Graham in Hannibal, to a much lesser extent. His rocky, but unrevealed, past with Jensen’s boss, Frank Bisgaard (James Morrison, 24), also counts against him.

The parts of THOSE WHO KILL that work best are when the series dwells on the darker nature of its players. Yes, Dexter has already given us just about all the psychopath anyone could want, and Luther and others have played for the more complex version of the part, so it’s not really anything new. But Sevigny is just so darned good that one can’t look away from her performance, even when the script falters.

And falter it does. Besides Dunn’s unrealistic dismissiveness, there is a terribly botched capture attempt, a run-in that should have ended the episode, a few leaps of logic to move the plot along, and the setting itself of run-down Pittsburgh. Bisgaard tells Jensen she should feel responsible for every death until they capture their man, bad advice that no ordinary cop could take to heart and stay sane. But at least the main cops actually call for backup when going into a dangerous situation, and said backup arrives in a timely manner, a situation almost unheard of in the television crime body of work.

The hardest thing THOSE WHO KILL has going for it is that it’s another crime show. The genre is tragically bloated, so it’s almost impossible to add anything new to it. Networks need to stop trying, immediately and almost permanently. The good thing is that it’s paired with a show that has a similar tone and sensibilities, albeit with a bit more originality and teen angst, and the cast, especially Sevigny, is amazing. Her contribution cannot be overstated. So it has a chance. It’s certainly the second best series A&E has made, a bit above Longmire, and miles over The Glades.

THOSE WHO KILLS airs Mondays at 10 p.m. ET on A&E.

I've "Not Forgotten" BATES MOTEL

Article first published as BATES MOTEL Review Season 2 on Seat42F.

A&E’s BATES MOTEL has been “Gone But Not Forgotten,” but now it’s back with a second season. After a brief, dark opening, the show picks up four months after the events of last year’s finale. Miss Watson’s (Keegan Connor Tracy) murder remains unsolved, and Norma (Vera Farmiga) wonders why Norman (Freddie Highmore) seems so obsessed with his former teacher. Meanwhile, Bradley (Nicola Peltz) is being released from a mental hospital after trying to kill herself (the aforementioned prologue), and now that she’s out, she isn’t about to just return to the life she lived.

It’s kind of sad to see Bradley turn into such a different person. Surely it’s fun for Peltz to play, and she does just as convincing a job with bad Bradley as she did with good Bradley. But the sweet, popular girl that everyone liked, even those whose love interests looked at Bradley a little too long, has been replaced by someone completely self-destructive. This means that one of the two lights on the show has dimmed considerably, a regrettable thing in a dreary drama.

That being said, the hallmark of a good character is growth, and for Bradley, she’s going through quite a bit of it. Realizing she didn’t really know her father and now won’t get the chance to, she is determined to uncover his lies and get revenge for his death. This is a stronger, more determined Bradley, and if she goes a little off the rails, or even a lot, well, there’s plenty of time left for redemption.

There is still some hope for Bradley. A couple of times in “Gone But Not Forgotten,” we do see glimpses of the old Bradley. So if she survives her coming ordeals, which are kicked up quite a notch by the end of the hour, there is still some chance that she can recover herself. But that’s a real ‘if’ in a show like this.

Norman does offer to help Bradley, but is he in a position to do so? He’s got his own serious problems. We don’t know for sure if he killed Miss Watson, having only seen him in her house and then running through the rain while she lay dead. However, it seems like a solid bet since Norman has a history of blocking out the memories of killing people, such as his own father. “Gone But Not Forgotten” doesn’t clear up the mystery. It seems destined to hang around awhile, much like last season’s murder.

Norma seems relatively sure Norman did the deed, and equally determined not to let her son find out. I know she wants to be a good mother and protect Norman, but is covering up his crimes the way to do it? Shouldn’t she be trying to get her boy help so he can move past his homicidal tendencies? Or does she worry he’s a psychopath and really just not know how to deal with that, and so buries her head in the sand to get by?

Norma spends much of this premiere fighting against the bypass, now starting construction, which will draw business away from their motel, which seems to be doing OK for now. This is an important cause to her livelihood, but I’ve got a feeling that she pours herself into such things to avoid processing what Norman does. She’s selfish at times, but knowing Norman has killed has to affect her more than she lets on, and keeping active will prevent too much quiet introspection.

We get less of Dylan (Max Thieriot) and Emma (Olivia Decody) in the first episode back, but that makes sense, since Bradley, Norma, and Norman have enough important story to fill the installment. Dylan is still fighting his feelings for Bradley, out of respect for Norman, while working the pot business and Emma is still pining over Norman and being jealous of Bradley. So they’re status quo for now.

BATES MOTEL does a nice job of setting up suspense, then letting it play out in unexpected ways. Sherriff Romero (Nestor Carbonell) is investigating what happened to Miss Watson and he’ll probably eventually get to the truth. But there’s no rush, other threads continue, and any breaks in the case will likely happen when we least are looking for it. It’s not as high quality as some other shows, as it does sort of stick to a formula, but the writers do know what they’re doing and it’s quite enjoyable overall.

The only question I’m left with is, as much as Norman seems to keep getting involved in shady stuff, how will he eventually be the unassuming motel proprietor? Will everyone that has reason to be suspicious of him eventually die, finally allowing him to fade into the background of the town? He does seem to keep bringing more trouble on himself, though, and as Norma won’t be around to deflect attention forever, there has to be some good tie up that makes sense at the end. Maybe, by the time Norma dies, the evidence will all point towards her and, for some reason, Norman will accept that?

BATES MOTEL airs Mondays at 9 p.m. ET on A&E.