‘A Young Doctor’s Notebook’ – Previewing Season Two

Article originally published as ‘A Young Doctor’s Notebook’ – Previewing Season Two on Blogcritics.


A Young Doctor’s Notebook, now subtitled & other stories, returns this week for a second four-episode season on Ovation. Picking up this year with 1918 and 1935 timelines (about a year after the first season left off for both versions of the protagonist), this is both a continuation of the plot, and an entirely new tale. Based, in part, on the short story “Morphine” by Mikhail Bulgakov, the writers are tying that text back into the setting and characters introduced in season one.

When last we’d seen him, the older doctor (Jon Hamm) had been caught prescribing himself morphine. Now, released from a mental institution, he travels back to the office where he spends the Russian Revolution, determined to confront his past — while sober. Whether he can face up to the man he’d at one time been, and the things he’s done, is a central question to this second season, especially where a certain woman is concerned.

As the second season narrative begins, the younger doctor (Daniel Radcliffe) is in the throes of addiction. In an unhealthy sexual relationship of convenience with Pelageya (Rosie Cavaliero), he is much more concerned about his next fix, and not getting caught skimming drugs than he is about romance. Yet, there is some sort of affection between them, if only because she enables the Younger Doctor in his habits.

During season one, the under-the-influence older doctor had been spinning out of control as he relives the beginning of his tumultuous journey, while the younger doctor is a naive, optimistic lad; season two turns the tables. Now the younger doctor is the reckless one, out of control, while the older doctor sits in judgement, knowing full well that he is fact sitting judgment on his younger self. This created a complex dynamic, allowing both actors to explore the psyche of their damaged parts in different, unique ways.

This is a very poignant time for A Young Doctor’s Notebook to air in the United States, given the recent death of Robin Williams. Mental health and addiction are at the forefront of the public consciousness, and the series delves into the subject in an interesting, entertaining, enlightening way.

Students of history may find in A Young Doctor’s Notebook several tidbits of interest. Season two takes place during the Russian Revolution, bringing the war to the very doorstep of the hospital for most of the four installments. Natasha (Margaret Clunie), a member of the ruling elite, and The Colonel (Charles Edwards, Downton Abbey), her protector, stop over in the chaos and each catch the eye of one of our central cast. I’m not sure how much actual, factual past is included in this story, but the pair of new characters do help it feel like the office is set in the real world, rather than existing apart, on its own, as it sort of did in season one.

A Young Doctor’s Notebook is funny, but through an extremely dark brand of comedy. Whether joking about a dead horse or trying to get laid, there’s a pathetic sadness to the characters who exist within the series narrative. Tears may not make it to the audience’s eyes, but they do emanate from the characters on multiple occasions, and with good reason. This is a dangerous, tragic world, and the misfortunes, while amusing because of the cartoonish, over-the-top manner through which they occur, are genuine.

I don’t know if A Young Doctor’s Notebook return for a third season, given the lack of more source material. It’s a unique series I have very much enjoyed, thoroughly impressed by the talent behind it. I watched all four episodes of the second season in one sitting and craved more, a testament to its quality.

A Young Doctor’s Notebook airs Tuesdays at 10 p.m. ET on Ovation.

TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha”

Article first published as TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha” on Blogcritics.


As much as TNT’s Franklin & Bash changes, it also stays the same. It has undergone cast shifts before, but in the fourth season, which returned last night, we may see the most dramatic rotation yet. Which is why it’s extra remarkable that the premiere, “The Curse of Hor-Aha,” seems pretty much the same as any other episode of the series.

Time Jump

Right off the bat, we get a four month time jump where our titular characters are now running the law firm (although they remain living in Infeld’s beach house). Infeld (Malcolm McDowell) himself is working as an auto mechanic, having taken a blow for the Rachel King (Heather Locklear) fiasco. Rachel is locked up, so we don’t see her, and likely won’t again, at least not for a long while. Other employees are jumping ship, unhappy with the new management style, and that includes F&B’s loyal compatriots, Carmen (Dana Davis) and Pindar (Kumail Nanjiani).

What this means for Franklin & Bash is that Franklin (Breckin Meyer) and Bash (Mark-Paul Gosselaar) either need to grow up or get Infeld back. They prefer the latter, of course. In their current case, which involves “The Case of Hor-Aha,” they are as goofy as ever. In the office, they can’t stay out of trouble, which is probably why they haven’t managed to garner any respect. The new investigator they’ve hired, Dan Mundy (Anthony Ordonez, Job for Gino), is an enabler and a weirdo. Needless to say, they’re not doing well, and the firm is losing money and personnel rapidly.

Departures

It’s disappointing that Carmen and Pindar have left. We get brief explanations for both absences, and it doesn’t seem like they fled for the same reasons the others did. But they are valuable characters for the show, even if they’ve been marginalized for most of it, who will be missed. Let’s hope they at least pop back up as guest stars sometime this year.

Since it seems like getting Infeld back into his office will be an arc, rather than a quick fix, there has to be some balancing force on the show to keep the guys in line in the meantime. In the past, this has mostly fallen to Damien Karp (Reed Diamond) and a couple of different women, who are no longer around. Damien has also quit (and it’s worth noting that he is no longer listed on the cast page of the official website) and is purposely seeking cases where he can fight the guys in the courtroom, petty as ever. So obviously, the show needs a permanent presence at Infeld Daniels (now renamed Infeld, Daniels, Franklin, & Bash) to stabilize things.

Anita Joins Franklin & Bash

Enter Anita Haskins (Toni Trucks, Hostages), a well-educated, no-nonsense woman who is willing to work for them if they actually let her go to court, which they are desperate enough to do, and other reputable law firms won’t. She seems, at first glance, to be a pretty standard straight (wo-)man, there to hamper them, but not too harshly, like her predecessors. But it’s hard to tell for sure because she doesn’t show up until near the close of the hour.

Before Anita is introduced to Franklin & Bash, we see Ellen Swatello (Rhea Seehorn), previously an assistant district attorney, is now on staff at the firm. Ellen is a recurring part, and unfortunately, her new position has not come with a corresponding upgrade for the delightful Seehorn. One assumes the office isn’t going to keep both Anita and Ellen around, but how cool would it be if they did? After all, two tough females teaming up on Franklin & Bash might finally be able to rein them in.

The case-of-the-week is standard and takes up most of the running time, as usual. I like Franklin & Bash because it isn’t just a procedural, but unfortunately, it is mainly that. If you were entertained the first three years, though, you’ll probably like this one, too, because even though there has been some musical chairs among the players and a new challenge introduced, it’s still very much the show you’ve become accustomed to.

Franklin & Bash airs Wednesdays at 10 p.m. ET on TNT.

LEGENDS Anything But Legendary

Article first published as LEGENDS Review on Seat42F.

Morris Chesnut, Sean Bean and Ali Larter | LEGENDS

TNT’s newest drama is LEGENDS, premiering this week. Rather than some epic tale rooted in mythology, as one might guess from the title, LEGENDS refers to the secret identities that deep cover spies have. It is based on a book by Robert Littell. A premise like this should still lend itself well to a large, serial story, in my opinion, but LEGENDS goes in the opposite direction, basically making a case-of-the-week show, or so it seems from the pilot, squandering both an interesting setup and an excellent cast.

At the forefront of LEGENDS is Sean Bean (Game of Thrones) as Martin Odum. Martin is one of those people who gets super intense about his mission, supremely focused on his goals, ignoring rules that might get in his way and a family, including a son (Mason Cook, The Lone Ranger), that could humanize him. This is a very familiar type of protagonist to TV viewers, as it seems that any character that carries a show cannot be average in any way.

In the pilot, Martin is approached by a mysterious man who tells him that the Martin persona is yet another Legend, and the real man is buried deep within by a shady part of the government. This is intriguing, of course, making viewers question both the truth in what we’re seeing and Martin’s mental stability. I could easily see a show or season-long story being focused on this, but the pilot barely glances across it, seemingly destined to be developed in tiny pieces, rather than played up as it should be.

Besides Bean, many other talented people are wasted on this project. Martin’s co-workers are played by the likes of Tina Majorino (Grey’s Anatomy, Veronica Mars), Steve Harris (The Practice, Justified), Morris Chestnut (Nurse Jackie, V), and Ali Larter (Heroes, Resident Evil). None of the characters they play really stand out in episode one. They’re mostly there to alternately back Martin up and get in his way, making up a very standard ensemble for such a show.

What is really troubling is that Bean’s characters inevitably die in just about every project he’s involved in. Because the rest of the characters are so under-developed, LEGENDS as it currently is would not work without its star,

There really isn’t much about LEGENDS that is original or impressive. The acting is top notch, to be sure, but the writing is not. There are hokey situations such as when Larter’s character has to pose as a stripper at the last minute, ostensibly to slyly get to Martin past the bad guys, but in reality, probably just to show off some of Larter’s skin to the viewers, who tend to like a little sex with their action. But it seems designed to be the equivalent of a popcorn flick, sort of like a crime-genre Falling Skies, rather than make an impact on the television landscape or win any awards.

In comparison to other procedurals, LEGENDS holds up well enough. The production looks good and there are no obvious problems. As I said, it copies the structure of other projects quite copiously, but so does everyone else, which is how we end up with so many versions of what is basically the same show all on the air at the same time. It’s not that there’s anything glaringly wrong with LEGENDS or the peers it borrows from. They just aren’t anything special either.

One wonders if we’ve reached a tipping point for this kind of show. Many of the procedurals currently running have either started to skew more serial or incorporate serial elements into their format. However, as long as Bones, NCIS, and others like them rule the airwaves and get the biggest ratings, I don’t see simple escapism entertainment going anywhere any time soon. That is disappointing to the critics, who watch a lot of TV and quickly tire of this junk food-like product, but maybe not to the casual viewer, relaxing with a favorite they stumbled upon and like to check back in with.

LEGENDS premieres this Wednesday at 9 p.m. ET on TNT.

WILFRED Ends With "Happiness"

Article first published as ‘Wilfred’ Review: Series Finale – ‘Happiness’ on Blogcritics.

FX’s Wilfred came to an end tonight after four seasons on the air. The strange TV series about a man, Ryan (Elijah Wood), who sees his neighbor’s dog, Wilfred (Jason Gann), as a guy in a dog suit finally explains itself, while giving viewers emotional closure. Not every mystery or secret may have been addressed, as some fans of the mythology would have liked, but overall, the conclusion, “Happiness,” is satisfying enough, and there aren’t any nagging threads hanging around.

Funny Vs. Mythology

I like to sort fans of Wilfred into two camps: those who want to know why Ryan sees Wilfred the way he is, and those who just enjoy the comedy of the two pals hanging out. The series finale serves both of those groups by making their friendship and antics the reason behind the Big Question. Ryan is mentally unstable and lonely, and he’s imagined Wilfred to provide himself a chum. When the real Wilfred dies, Ryan has to bring back his imaginary friend, even if there is no longer the hook into reality to ground Wilfred, in order to find his happiness.

Happiness

Can Ryan be considered happy as Wilfred comes to a close? I think so. He’s crazy, to be sure, but at least he comes by the craziness honestly, as both his mother (Mimi Rogers) and his biological father (whom he finally meets in “Happiness”) share similar traits. They have found a way to live their lives, dealing with the eccentricities and not worrying about what other people think. So, too, has Ryan, now that he has Wilfred back, despite the dog’s death.

In a way, this version of Ryan is almost more stable. At least now he knows what’s going on his head. He also has greater emotional maturity, accepting himself and not needing to be in a romantic relationship to be happy. Rather than obsessing over what he cannot change, Ryan lets go of those things and embraces who he is. While some viewers may still think Ryan should seek help from a medical professional, if it works for him, who are we to judge? As long as he doesn’t hurt anyone, including himself, whom he almost offs prior to his revelations, why stand in his way? And with this kinder, gentler Wilfred, everything looks to be OK.

In fact, everyone on Wilfred gets a happy ending. Ryan’s mother, Catherine, is out of the mental institution and in love with a caring man (John Michael Higgins). His sister Kristen (Dorian Brown)  finds that helping the needy actually brings her pleasure. Ryan’s crush, Jenna (Fiona Gubelmann), decides to make her marriage to Drew (Chris Klein) work; after all, he’d made her very happy once upon a time. As down on life and himself as Ryan could be, there has always been a major pulse of optimism running through the show, and this is echoed perfectly in the series finale.

Mystery Solved

The way Ryan’s imaginings come to life totally makes sense because of what he finds out over this final season. Born into a cult-like group, Ryan is exposed to people and ideas that eventually become his fantasy. Even one so young, who doesn’t have clear memories, can form impressions. That’s why, even if Wilfred doesn’t lay everything out on the table, the ending makes sense, the explanations rooted in solid back story. I also like the way we see past scenes re-shot with an actual mutt.

The only complaint I have about the final season is the recasting of Catherine and Bruce. Both are major recurring players, and to see someone else take over in the final days of the show is beyond disappointing. Even if scheduling caused this issue, it’s still highly regrettable and casts a tinge on Wilfred. Since there is already an established issue with reality on the show, why couldn’t they at least explain the different appearances, rather than laughing them off?

Verdict on Wilfred

Overall, though, Wilfred sparks the imagination, maintains an entertaining consistency, and allows real emotional growth and development, building to a conclusion that feels earned, rather than tacked on. “Happiness” is nearly unimpeachable, and it leaves me wishing I could see more of Ryan and Wilfred’s adventures, which is exactly how I wanted to feel. Excellent work.

‘The Other Woman’ – Blu-ray Review

Article first published as ‘The Other Woman’ – Blu-ray Review on Blogcritics.

Movies make it to disc so much more quickly these days than they used to! Barely three months after its theatrical release, The Other Woman gets the Blu-ray and DVD treatment on a single disc. The story of a wife, her husband’s mistress, and his other mistress, it’s a comedy of female bonding and revenge, with a dash of 9 to 5 vibe, as the trio of women make the sleazy man who has wronged them all pay. Too bad it’s not that funny.

At the center of The Other Woman are two figures. Cameron Diaz (Bad Teacher) plays Carly Whitten, a tough lawyer who thinks she has finally succeeded in the dating world, a struggle that has made it hard for her to care about others as a coping mechanism. Leslie Mann (This is 40) is Kate King, the spouse without a job or kids to occupy her, and who desperately needs something in her life besides giving her husband ideas to use at work. They form an unlikely bond of friendship as they decide how to handle their common scourge, Mark (Nikolaj Coster-Waldau, Game of Thrones). They later find him sleeping with Amber (model Kate Upton), too, which prompts them to take their schemes to the next level, determining that Mark must be stopped once and for all and punished severely.

Diaz and Mann are two film veterans, so one would think that their casting in The Other Woman would be a no-brainer. But they aren’t well used and the film suffers from a mediocre script. It’s nice to see Diaz playing the rock at the center of the crazies, and Mann does annoying well. But Kate is too annoying, to the point where it’s hard to feel any sympathy for her, even as one realizes that Mark’s behavior may be a driving factor in her current personality. The two also go from detesting one another to being bosom buddies without enough explanation in between, during their second night of getting plastered. A smidgen more connection between point A and point B would be welcome.

The Other Woman doesn’t get any better when Upton shows up. Upton and singer Nicki Minaj, who plays Carly’s entitled assistant, are not actors and it shows. Thankfully, Don Johnson (Nash Bridges, Miami Vice), who plays Carly’s dad, and Taylor Kinney (Chicago Fire), who is Kate’s brother and Carly’s love interest, are good. However, this makes for a very uneven ensemble, keeping the film rough around the edges.

Coster-Waldau is deliciously charming and sociopathic, but we don’t get to see that enough. For most of the running time of The Other Woman, he’s getting away with things, not suffering at all for his sins. In fact, at least one of the females who has the most justifiable anger towards him still is tempted to sleep with him even after the truth about him is exposed. By the time he gets his comeuppance, which, of course, must happen, it’s satisfying, but doesn’t give the actor enough of a chance to shine in that more interesting situation.

The story stumbles along for quite awhile, taking a bit of time before it goes anywhere. Then, once it does, it goes a little too fast, jumping from tiny pranks to the big finale quite quickly. Some of the emotional hurdles between the three women and their feelings for the man are leapt over with barely a mention, making the girl power angle fall short, too. The ending is very neatly tied up, which makes sense for a film like this, but it also robs the proceedings of authenticity and honesty. This could be forgivable if there were more jokes, but since the tone is more focused on pathos than laughs, it doesn’t quite land. There are worse ways to spend two hours, but neither can I really recommend this movie.

The extras for The Other Woman are light. We get eight deleted scenes, including an epilogue tag for Mark, a gag reel, gallery, trailer, and “giggle fit,” nothing that really gives insight into the production or story. The picture and audio quality are excellent, as most current films tend to be on blu-ray, but other than a couple of beach shots, there’s not really anytime this is taken advantage of, so blu-ray is preferred only in that DVD starts to look bad after watching most video in high definition.

In all, The Other Woman is forgettable and this release doesn’t show much effort to try to make up for that. If you’re so inclined, it is available now.

Blu-ray Review: ‘Bitten – The Complete First Season’

Article first published as Blu-ray Review: ‘Bitten – The Complete First Season’ on Blogcritics.

Bitten, a Canadian-made supernatural drama that recently aired its first season on the SyFy channel in the United States, comes to Blu-ray and DVD this week in a four-disc set. Based on the best-selling books by Kelley Armstrong, Bitten is an action-packed, sexy drama centered on Elena Michaels (Laura Vandervoort, V, Smallville), the only female werewolf in existence. She is drawn back to the pack she abandoned when rogue mutts begin killing innocent people.

The Characters

The series is a character-driven drama, despite the other elements. Elena is caught between two worlds, a normal, wonderful boyfriend, Philip McAdams (Paul Greene, Wicked Wicked Games), who offers her the chance at an average existence, which she is trying to convince herself she wants, and hot, uncontrollable passion for Clayton Danvers (Greyston Holt, Alcatraz), whom she loves but doesn’t trust since he accidentally turned her into the same creature she didn’t know he was. It’s more than a simple love triangle because it’s the type of life Elena would have with each, more than her feelings for the men themselves, that drive her decisions.

The show is also bolstered by the pack ensemble, which are secondary to Elena, but still important to the success of the series. Their leader is Jeremy Danvers (Greg Bryk, XIII: The Series), a calm, logical man, who makes the tough decisions while guiding the others on a more peaceful path than past Alphas. His best friend, Antonio Sorrentino (Paulino Nunes, The Firm), could have been Alpha, but chose to step aside. There is also Antonio’s playboy son, Nick (Steve Lund, Haven), and Logan (Michael Xavier, The Best Years), who wants to have a family with Rachel (Genelle Williams, Warehouse 13), something against pack law.

The Premise

The mythology in Bitten is well-developed. Both the arcs for the central cast and the villains brought in fit into a large picture, a world developed long before the show starts, and one that will continue after we stop watching. The season is both a complete story, and a piece of something much bigger. The pacing is good, and the acting is serviceable. While not the number one show on television, it is better than most of its peers because of the depth and cohesion it exhibits.

Those familiar with the source material should be both satisfied and surprised. Having read books one and two so far myself, with plans to continue with the set, I can say that Bitten hews fairly close to the first book in Armstrong’s Otherworld series in a lot of ways, but in others, including a major character death or two, it departs. I like that the show’s writers know what works for TV and what doesn’t, keeping to the spirit of the piece, but not being a slave to it. I do wonder how future seasons will unfold, as Elena only serves as the protagonist for the first two novels in the series, the second book expanding the structure greatly and moving in other directions. I suspect the show may end up telling us a lot of stories involving these players that isn’t on the page, rather than move away from its core.
Features

There are a handful of bonus features included on this set. Audio commentary is provided for the premiere, finale, and pivotal fifth episode, which gives Elena’s back story, certainly the three installments fans would be most interested in hearing commentary for. An eight-minute “Behind the Scenes” spends most of its time telling us who the characters are, rather than really going into how the show is made, a totally unnecessary inclusion to those who have already watched the episodes (or read this review). Similarly, “VFX – Behind the Wolf” talks about how the characters relate to their animal versions much more than the special effects wizardry that goes into creating the effects. The one semi-valuable feature is for those interested in stunt work, as the disc spends more than eight minutes breaking down a few scenes from episodes 11 and 13, mainly by showing picture-in-picture of the finished product versus rehearsal. There are also about 15 minutes of deleted and extended scenes. It’s an acceptable amount of extras, even if the content is a bit weak.

As far as the high definition presented on the Blu-ray, it’s as good as what aired on television, but not a particularly impressive release. The audio is well- mixed, as most shows are these days, but it does not boast surround sound or anything special. The picture is clear enough, but lacking the super crisp detail some series have. My guess is that, because this is a Canadian production, the budget is likely lower than many American series, and the money is mainly spent on special effects, rather than enhancing the video and audio.

Verdict

Still, even with disappointing extras and an acceptable, but not stunning, presentation, Bitten is a solid series that is both enjoyable and engaging. Maybe there are a few too many shirtless men for a straight male like me, but it’s not sappy like Twilight, and it actually takes time to make a gripping tale. I would recommend watching this for anyone who enjoys the genre.

Bitten – The Complete First Season will be available this coming Tuesday.

Take a Trip With OUTLANDER

Article originally published as OUTLANDER Review on Seat42F.

Caitriona Balfe & Sam Heughan | Outlander

The latest drama from Starz is OUTLANDER, premiering this weekend, although the first episode has already been released publicly online. The series revolves around a British nurse named Claire Randall (Caitriona Balfe, Now You See Me), who, while traveling the Scotish highlands with her just-returned-from-World-War-II-husband, Frank (Tobias Menzies, Game of Thrones), is tossed back in time two hundred years. Lost and out of her depth, she is quickly taken under the wing of Jamie Fraser (Sam Heughan, Doctors).

While there are elements of time travel in the story, obviously, OUTLANDER is much more a romance than science fiction program. The primary dramatic thrust involves Claire’s heart, which fully belongs to her husband, Frank. But now she is far away from Frank with no way back in sight, so her affections might be tested, especially when a charming man looks out for her. It’s essentially the familiar love triangle, but with one party, who starts with the upper hand, sitting on the bench for most of the game.

The love story between husband and wife is well woven in the first episode, “Sassenach,” which spends much of its running time in 1945, before moving back to the 1740s. As such, it’s hard to get a feel for what exactly the show will be. That seems OK because Claire is definitely the center of the tale and her character is well-served in the pilot. Any other feelings that might bubble up are sure to be gradual, and thus, audiences won’t have to worry about getting whiplash from a fickle player.

In fact, all of OUTLANDER moves very slowly. The first hour-plus is simply concerned with Frank getting home, the couple reconnecting, and then Claire being separated again from her love. While some series could have shown that in an opening scene or act, OUTLANDER takes a full installment to do so. That will likely give us some idea of the type of pacing to expect from the show, going forward, which is glacial.

Yet, OUTLANDER somehow avoids being boring. There is an ineffable, magnetic quality about Claire that makes her easy to watch. Her happiness is the viewer’s happiness, and her troubles concern us. Claire is easy to care about, and sucks us into the story thoroughly. While this is not the type of genre of television I’d normally be attracted to, a period romance, I found myself engrossed in Claire’s journey, both emotional and physical, and I definitely want to find out what happens to her next.

What I like most is that there are many little, unexpected, charming bits. One such instance involves the lady that runs a bed and breakfast that Claire and Frank stay at. She frowns upon hearing their energetic use of the bed, making us think she’s a prude. But when Claire and Frank stop goofing around and the creaking switches to something more realistic, she smiles, dashing assumptions. There’s also an amusing scene in which Claire is, more or less, labeled a nymphomaniac, spun in a positive light. These sorts of things provide the light touch that keeps the show from getting too melodramatic.

The setting is also beautiful. Who doesn’t want to spend time in the Highlands of Scotland? It’s a lush, green place that feels magical and old at its core. It’s the perfect setting for a time-bending adventure, especially one with such romantic notions.

The one complaint I have about OUTLANDER so far is that Menzies has been tasked with a dual role, also playing Frank’s ancestor, Black Jack Randall, in the 1740s. While some people do resemble their forefathers to some extent, being identical to someone many generations removed is exceedingly rare. I feel like TV shows make the mistake of allowing one actor to stand in for multiple family members too often, and it comes across as unrealistic and hokey. In a show that takes such care with authenticity otherwise, this is a disappointment.

Still, that’s a minor complaint about a series I really enjoy. OUTLANDER premieres Saturday at 9 p.m. ET on Starz.

Check In to THE KNICK

Article first published as THE KNICK Review on Seat42F.

The Knick | Andre Holland, Michael Angarano, Clive Owen, Eve Hewson, Eric Johnson | Credit Mary Cybulski/Cinemax

Cinemax finally has a series worth watching! Well, at least in this reviewer’s opinion. In the past, episodes I’ve screened of their shows were always heavy on action and violence and gore, but light on character development and story. This week, though, sees the premiere of THE KNICK, a period medical drama set in New York’s Knickerbocker Hospital at the turn of the previous century.

The lead character in THE KNICK is Dr. John W. Thackery (Clive Owen, Hemingway & Gellhorn). He’s very House M.D.-like in that he’s abrasive, brilliant, and has a serious drug addiction. Thackery learned to lean on the illegal substances from his mentor, Dr. Christenson (Matt Frewer, Orphan Black), and now realizes that it might not be a good idea to continue this habit as he takes over as head of surgery. Thankfully, his skills in treating patients haven’t suffered, but the self-medicating could be affecting his attitude.

The main difference between THE KNICK and House is that THE KNICK is not concerned with a mystery-of-the-week. It seems poised for a highly serialized plot, thankfully, that will deal with some depth among the players, as well as some of the issues of the age. Greed and bribery are running rampant, and race is a major factor in how the dynamic of the cast shapes up. These may be the go-to elements for that era, but they work well when told in an interesting, entertaining way, which THE KNICK does, surely thanks in no small part to its Oscar-winning director, Steven Soderbergh (Traffic).

THE KNICK is not boring, as some period dramas are wont to be. It does seem relatively authentic, for the most part. The costumes and set design are cool. There are some scenes that are more bloody than I’d prefer, a nod to the network it airs on, and the score is distracting at the start of the pilot, not quite in sync with what’s happening. However, these are minor gripes in the overall production, which I greatly enjoy.

Besides Owen and Frewer, both terrific performers, THE KNICK includes Andre Holland (1600 Penn) as Thackery’s new, forced-upon-him, African American deputy, Dr. Algernon Edwards, Eric Johnson (Flash Gordon) as the passed-over Dr. Gallinger, Michael Angarano (Will & Grace) as chipper Bertie, Juliet Rylance (Sinister) as overbearing benefactor Cornelia Robertson, Eve Erson (This Must Be the Place) as naïve nurse Lucy, Jeremy Bobb (The Wolf of Wall Street) as the beleaguered administrator, Chris Sullivan (The Normal Heart) as a jerk ambulance driver, Cara Seymour (An Education) as a closed-off nun, and David Fierro (Birman) as a sleazy health inspector. It’s a full, wide-ranging cast of characters, one sure to keep the story moving forward aplenty.

The writing is smart. Yes, some of the situations are fairly standard, but they’re handled in a rather clever way. For instance, the role Christenson plays in the series is interesting. Also, near the end of the pilot, there comes the moment when viewers know that Algernon must end up fully employed at The Knick, despite the obstacles that have plagued him so far. I thought I figured out what would happen, but the show dodges down a different path, showing its unpredictability.

1900 is an exciting year, with technological and medical revolutions galore. It’s the perfect place for a series like THE KNICK to unfold, adding something new to the television landscape, despite its similarities to a few different genres. Kudos to those who have crafted this beautiful show, and I look forward very much to seeing how it plays out.

Perhaps I’m not quite inspired enough to order Cinemax, which offers very few decent programs and pretty much the same slate of movies as HBO, but definitely enough to seek out all of the installments of THE KNICK wherever I can legitimately find them.

THE KNICK premieres this Friday at 10 p.m. ET on Cinemax.

‘Louie – The Complete Season 3′ DVD Review

Article first published as ‘Louie – The Complete Season 3′ DVD Review on Blogcritics.

FX’s Louie is a very odd show. Written, directed by, and starring Louis C.K., it’s semi-autobiographical, semi-comedic, and semi-dramatic. There is nothing ‘semi-’ about its quality, though.  Perhaps best described as an extended vignettes (occasionally running into multiple episodes), interspersed with Louie C.K. stand-up bits, the show defies easy definition, but it’s always compelling, insightful, and authentic in ways no other TV show comes close.


The third season of Louie was recently released as a three-disc DVD set. The 13 episodes run a gamut in terms of story, but the usually somber, and frequently pathetic, tone is consistent. Louie is a divorced father of two young girls who tries to date and interact with the world while maintaining a career as a stand-up comedian. A few events in this season give him hope that he can finally improve his standing, but as one expects, that never quite happens.

Louie and the Ladies

A major theme in of season three involves Louie’s interactions with females. His daughters, Lilly (Hadley Delany) and Jane (Ursula Parker) are a big part of that, of course, but he also goes on dates with various women, including Liz (Parker Posey), Maria (Maria Bamford), and Laurie (Melissa Leo, who won an Emmy for the role). Louie doesn’t understand the opposite sex, this much is clear, but he really tries. He does understand that women are all different, though, and he tries to give his daughters the freedom to be who they want to be, as long as they also end up as good people. Finding a steady girlfriend could help him provide the girls with a role model, but the task proves difficult. This is dealt with quite heavily in the two-parter, “Daddy’s Girlfriend.”

The Life of a Standup

Another thing Louie ponders is getting his own talk show. In the three-part “Late Show,” Louie interviews to be David Letterman’s possible replacement (this was before Letterman announced he was stepping down and Stephen Colbert was replacing him in real life). Finding out he may just be being used as leverage against the network’s first choice, Jerry Seinfeld (himself), Louie begins to wonder how much he really even wants the job. Should he fight for it, or is he better off staying out of the late night game, as Jay Leno (himself) advises? Louie seeks the counsel of many of his peers, but is still torn.

Does this mean Louie is afraid of success? I don’t think the real Louie is, or he wouldn’t be working so hard to make Louie. He gets complete creative control of the process, and even takes a year off or shortens a season as he sees fit, and the viewers and critics still flock back. But you have to wonder what success means to Louie the character.

Other episodes are stand-alone. Louie has a horrible day in “Something Is Wrong.” He develops an awkward friendship with a lifeguard in “Miami.” He is one of only two people to attend a funeral for a terrible guy in “Barney/Never.” He makes up (again) with Marc Maron (himself) in “Ikea/Piano Lesson.” He freaks out about seeing his estranged father in “Dad.” He confronts the death of a sister (Amy Poehler, Parks and Recreation) and travels to China in “New Year’s Eve.” All of these and more are really interesting, thought-provoking installments, and while continuity between them may not always be present, they are great in their own right.

The only complaint I have about Louie – The Complete Season 3 is the same one I’ve had about Fox’s other recent releases: no bonus features. I’m sure Louie could give us some really neat insight into his process if the studio had let him. And also, this season only gets the DVD treatment nearly two years after it finished airing, rather than a timely Blu-ray release, as past seasons have seen. Louie and Louie deserve better.

Louie – The Complete Season 3 is available now.

DVD Review: ‘American Dad! – Vol. 9’

Article first published as DVD Review: ‘American Dad! – Volume Nine’ on Blogcritics.

American Dad! is Seth MacFarlane’s funniest show, at least nowadays. Perhaps that’s because Dad, Stan (voiced by MacFarlane), has grown over the years, doesn’t always have to play the moron. Or it could be that the show’s CIA work setting allows the writers to stretch their political satire muscles. Maybe it’s the presence of the space alien, Roger (also MacFarlane), who gets to observe us humans from the (literal) beyond.  The list goes on, from sarcastic goldfish Klaus (Dee Bradley Baker) to Patrick Stewart voicing Stan’s wild boss. Whatever the reason, American Dad! is pretty consistently funny. And now season nine is available on DVD from Fox Home Video as American Dad! Volume 9. Why it’s taken so long for the 2012-2013 season to be released, I’m not sure, but at least it’s here now!

The Episodes

The best of season nine can be found in the classic episodes like “Love, American Dad Style,” finds Roger crushing on Hayley (Rachael MacFarlane), something quite unexpected. And in “American Stepdad,” Roger falls for, and marries, Stan’s mother, therefore becoming his landlord’s new daddy. Also in that installment, Steve (Scott Grimes) finds a Fast and the Furious sequel script that blows the lid off the film series.

“Blood Crieth Unto Heaven” is a parody of August: Osage County, and “For Black Eyes Only” is a James Bond knock off, an appropriate movie series for this show to tackle. “Naked to the Limit, One More Time” has Jeff (Jeff Fischer) blabbing about the alien living with the Smiths, forcing Roger to consider killing him, and actually kicks off an arc only recently completed (maybe?) in season ten.
“Lost in Space” is part of that arc, taking place entirely with Jeff on a space station. Unfortunately Jeff’s journey into space is a little disappointing because it means we see the character a lot less. But thankfully American Dad! keeps to continuity, and does check in on him from time to time, as it also deals with Hayley’s separation from her husband. Part of me wishes Jeff would come back and rejoin the ensemble, but a bigger part is just happy to see such a drawn-out story on what is ostensibly a simple cartoon series.

There are also some pretty familiar plots. In “Can I Be Frank With You,” Stan and Francine’s (Wendy Scaal) relationship is tested when he spends too much time hanging out with his work buddies. “Adventures in Hayleysitting” finds Hayley babysitting her brother, Steve, and of course she’s irresponsible and things go wrong. “Finger Lenting Good” has the family trying to give up their vices and gives Roger a Cinderella story. “Spelling Bee Baby” has Francine pushing Steve into a spelling bee. In “The Boring Identity,” Francine takes advantage of Stan’s lost memories. In “Da Flippity Flop,” Stan and Klaus switch bodies. But even these tired premises are still amusing episodes, as they maintain the style and tone that works so well on a weekly basis.

In my opinion, the weakest stuff is usually when Steve is hanging out with his friends. I just don’t like those characters, and while occasionally they may get into 80s movie-inspired stories, which is the best use of them, most of the time they are just gross and sad. Ditching them would improve the overall production greatly.

The Verdict

As with the other Fox releases I’ve covered this week, American Dad! – Volume 9 has no special features. This is frustrating and feels a bit like a rip off. But the choice is either deal with it or skip the set, and being a long-time fan of the show, the former is the slightly more appealing choice.

American Dad! – Volume 9 is available now.