"Midnight" For ARROW

Article first published as ARROW Review Season 3 Episode 11 Midnight City on Seat42F.




The CW’s ARROW continues a harrowing plot last night in “Midnight City” as those left in Starling try to make up for the presumed-dead Arrow (Stephen Amell). This is easier said than done, though, as powerful villain Brick (Vinnie Jones) has crippled the city and frightened the mayor (Christina Cox), and not every new costumed vigilante is up to snuff yet. Will Oliver return to save the day before it’s too late?

I think the best thing “Midnight City” does is expose Laurel’s (Katie Cassidy) weaknesses as the Black Canary. She hasn’t been training that long, nor does she go through the experiences Oliver and Sara (Caity Lotz – whose voice returns!) do. Arsenal (Colton Haynes) and Diggle (David Ramsey) have spent more time on the job, but even they’re not up to the same level as Oliver and Sara were, so it’s nice to see Laurel isn’t, either. Better for ARROW to take its time developing its next hero than to unrealistically rush in.

And develop, she will. This week’s episode finds several members of the team struggling to carry on. Laurel has plenty of self-doubt. Felicity (Emily Bett Rickards) has quit because she’s so discouraged. But with Brick doing what he’s doing, someone has to step forward. So the series lets our main players wonder if they’re cut out for this kind of life, but then they recommit themselves to it because someone has to and they realize they stand the best chance of anyone in the city to do so.

Felicity should also calm a bit when she decides to help Ray (Brandon Routh) finish his super suit. Ray may not be ready to take on any baddie too big, but he does have some of the same qualities that many of the rest on the team do. If they aren’t up to Oliver’s level, their strength can come in numbers by adding another capable person to the mix. As we see in “Midnight City,” Laurel can afford to stumble if Arsenal has her back. Ray should help with this.

Of course, there are more people to watch out for than even Team Arrow knows about. This week, it is revealed that Chase (Austin Butler) is working for Maseo (Karl Yune) and the League of Assassins. That certainly explains his interest in Thea (Willa Holland), though she deserves someone genuinely attracted to her. But it also leaves a big question mark in what Chase’s intentions are and what he is prepared to do.

Maseo is a shady character. He rescues Oliver, sure, and that makes him somewhat noble, repaying Oliver for the past. However, Maseo also still works for The League. And while he’s willing to kill some of his fellows if it endangers Tatsu (Rila Fukushima), his ex-wife, and himself, that doesn’t mean he doesn’t have any loyalty left towards his employer. This arc is far from over.

It’s nice to see Thea stand up to Malcolm (John Barrowman) using his own words against him. That’s a strong sign she has not turned into his puppet, and may not listen to him at a crucial moment when she shouldn’t.

As if all of the action isn’t enough, major emotion comes into “Midnight City” when Quentin (Paul Blackthorne) hears that Black Canary is back in town. Naturally, he assumes it’s Sara, as he still doesn’t know that Sara is dead. Laurel goes to great lengths to keep him believing this, with assistance from Felicity in mimicking Sara’s voice. I don’t think it’s smart to keep stringing this out because Quentin is going to learn eventually and then be even more upset with Laurel for keeping it from him. But the reasons behind Laurel’s actions are pure, and it’s very moving to see how faking it affects her.

What ARROW is doing well is building large mythology and big arcs. Even this week’s flashbacks are more tolerable because they seem even more relevant to the present than most. At a time where some serial shows are disappointingly shifting more procedural (I’m looking at you, Sleepy Hollow), it’s nice to see a show go the other way, as it makes for a far more compelling story.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

Formulaic Television: The Networks’ Disturbing Trend

Article first published as Formulaic Television: The Networks’ Disturbing Trend on Blogcritics.

I regularly use the terms “serial” and “procedural” when referring to the structure of scripted television shows. If you’re someone who even occasionally reads my work, you’ll know I consider one of these a dirty word. Unfortunately, looking at the current broadcast television landscape, there seems to be a disturbing trend, which spells doom for the Big Four network TV for a very long time.

First, some brief definitions. A procedural drama fits each week into it a relatively rigid structure, using a signature formula to solve a case or a mystery of some kind. It’s also known as a case-of-the-week program, and is widely used in cop and lawyer shows. (In science fiction series, it’s sometimes called “monster-of-the-week). A serial sets up a longer-running story, with a continuing narrative. If you skip an episode, you may be lost about where the plot is going. This is popular among soaps (including those pretending to be heavier dramas) and genre shows, as well as the type of high-quality fare that usually wins awards. I think you can guess which of the two I like.

I do appreciate procedurals occasionally, and they can be good–especially if they give the viewers something new. Castle and Bones are both well done, and the acting and writing teams have managed to conceal the procedural skeleton so well, a casual viewer might not even recognize they’ve being re-fed the same stuff over and over. But too often, procedurals are subject to uninspired, lazy storytelling, and they can be boringly repetitive.  And the format’s severe limitations hold it back, serving an entertainment meal too bland and of little value: the fast food of the television world.

Right now, procedurals rule the primetime schedules of the Big Four – CBS, NBC, ABC, and FOX. Occasionally, the networks have experimented, and some of the more successful experiments include the soapy like Grey’s Anatomy and genre hit Lost, but by and large, the the networks continue to mass produce the procedural. And they’ve suffered for it in the TV ratings game, as the Big Four have seen their numbers erode more each season.

Viewers continue to flee these broadcast networks in greater and greater numbers. Although some ratings erosion is natural (It is accepted that, as a rule, each subsequent year will have fewer viewers), the current benchmark is to avoid losing too many viewers each year to the next new thing. Forget about holding steady, let alone gaining. There are exceptions, of course, but few.

Ratings erosion is largely blamed on the number of choices currently out there, and that’s fair. With basic cable networks, including FX, USA, TNT, SyFy, MTV, AMC now producing original content along with premium networks HBO, Showtime, and Starz, and the new streaming-only kids on the block like Amazon, Hulu, and Netflix, the field is getting crowded. That’s not even mentioning the growing number of web series and YouTube shorts. There are, these days, a heck of a lot more choices for your television viewing enjoyment. 

House of Cards, Game of Thrones, Breaking Bad, and Mad Men are among the series that people have gotten excited about, dominating social media, garnering critical acclaim and  awards show accolades. These series may never get the sort of conventional ratings the Big Four want (and need for advertisers), but they don’t have to please the advertisers–only the subscribers. It’s an advantage that an NCIS will never have.

The Big Four have been doubling down on their failed, losing model, and why not? Repetitive Procedurals get the most eyeballs, and NCIS, CSI, Law & Order: SVU, and Bones have been big winners for the broadcast networks in getting those important advertising dollars. However, the market for the the format may be shrinking, with younger viewers using new technology to seek out more relevant (and interesting) fare, and older viewers discovering that high-quality stuff is out there beyond the rabbit ears of broadcast.

The Walking Dead is a great example of this shift in viewing tastes. It is on basic cable, but pushes the boundaries of standard television fare. It’s gory and scary, but it also contains pathos and human emotion, with terrific character development and performances, and most importantly, the show makes you think. The Walking Dead is far from a procedural drama, yet, it gets more viewers than practically anything the Big Four are showing, and its audience grows every year. I’ve mentioned Game of Thrones, a soapy war of kings, that also achieves very high viewership (when you count the pirated copies that seem to be forever circulating). People are no longer content with just drivel.

Now, the best argument that can be made is that television networks care about money more than anything. Currently, the broadcast model gets the most out of commercials and ad sales, so they make more of the stuff that earns that immediate, direct income. However, this is not going to work over time. While there is still much struggle to monetize the way things are moving, there are subscription fees and other options, imperfect solutions, but not ineffective ones. Quality content can be charged for.

Over the next few years, this shift will continue, and the broadcast networks will fall further behind. Maybe they won’t even be relevant 20 years down the line. As the good stuff becomes more easily obtainable online and streaming to TVs, people won’t even consider checking out CBS, knowing they can find better elsewhere. When convenience reaches that tipping point, the Big Four will be left behind as a footnote of 20th Century entertainment.

Can the networks compete with all the cable and streaming fare? Sure. By taking the risk to produce the next Mad Men or The Walking Dead. Not all of network entertainment needs to be edgy and compelling, none of the cable nets air original programming every night in every slot. Let sports and reality and NCIS-style procedurals continue to pay the daily bills, but stop forcing Sleepy Hollow and Grimm to contort themselves to match some marketing VP’s model of “sure thing.”

At least, that’s my opinion. Feel free to add yours to the comments below.

GLEE "Hurt"

Article first published as TV Review: 'Glee' - The Hurt Locker' on Blogcritics.

I’ve reviewed every episode ever aired of FOX’s Glee, good or bad. Still, I couldn’t help but combine last week’s “The Hurt Locker, Part One” with this week’s “The Hurt Locker, Part Two” into a single article. So close to the end of the series, the show takes a side trip into some truly horrendous stories, emphasizing the inconsistency that has always been a hallmark of the characters, and with far less singing than normal. To say I’m disappointed in this two-hour episode is an understatement.

The main problem with the episode concerns the story in which Sue (Jane Lynch) hypnotizes Sam (Chord Overstreet) to seduce Rachel (Lea Michele), starts a new feud with Will (Matthew Morrison) over a forgotten plastic fork, and works hard to get Klaine, a.k.a. Kurt (Chris Colfer) and Blaine (Darren Criss) back together. Sue is often an uneven character, combining an underlying soft heart with true villainy, the two sometimes in direct conflict. But “The Hurt Locker” is a new low for a character that has no true investment in the show’s gay twosome, overreacts more than she usually does with Will, and brings an unneeded, stupid supernatural element into the show.

Despite Sue’s flaws, I usually like her because of the amazing Jane Lynch, who sells some pretty ridiculous things enough to almost be believable. Even she cannot overcome a swinging watch and a creepy storage shed, though. When a Saw-like puppet of her is introduced, one knows Glee has completely lost it. What are the writers thinking?

In these interweaving threads, Sue brings the New Directions, Vocal Adrenaline, and the Warblers together for a show choir invitational. This is a convenient plot to get nearly all of the main characters (save Beiste and the mostly-MIA-this-year Mercedes and Artie) in one place, and allows for performances from the show’s major groups. This, in theory, is a solid concept, even if it is poorly executed.

The invitational actually delivers most of the music for the two hours, including the only songs sang in part two. Sadly, though, these performances are as flawed as the story. Vocal Adrenaline’s “Rock Lobster” and “Whip It” are clearly the best, even if they are awarded second place because of emotional manipulation. The Warblers’ “My Sharona” and “You Spin Me Round (Like a Record)” are surprisingly flat, and I’m not sure how Sue could possibly be moved by the New Directions’ lackluster “It Must Have Been Love,” “Father Figure,” and “All Out of Love.” Not to mention, Sue doesn’t bring up the 12-member requirement spoken of in the first half, and the New Directions are once again the only group to perform three songs.

There are some better numbers during the episode’s first hour. Sue’s “Bitch” is goofy, but enjoyable. Rachel and Sam’s “A Thousand Miles” is also good. Too bad those are first, and everything else that comes after it pretty much sucks.

It certainly seems that Glee is setting up Sue to be the ultimate villain in this final season. It makes sense for Will to soon abandon his new kids that hate him to return to the fold, and Blaine doesn’t fare much better with the Warblers, whose performance he completely misses while being stuck in a fake elevator. But I guess that is something to sort of look forward to in the end game.

A hint of goodness exists in the way Kitty (Becca Tobin) is recruited back to the glee club. Rachel’s words to her sound sincere, though we know Rachel isn’t the most reliable. Kitty, however, is someone to count on, and now that she’s back on board, the club should only grow. In a perfect world, Kitty will find and bring back her four former classmates whom she thinks abandoned her to fill out some of number needed to compete in Sectionals. But if only one person from that class is going to return, I’m glad it’s her.

I don’t think for a minute anyone thinks Kurt and Blaine won’t end up together. I like Max Adler’s Karofsky, and I’m surprised at how much I enjoy Kurt’s budding relationship with much-older man Walter (Harry Hamlin, Mad Men, Veronica Mars), but Klaine is destiny. “The Hurt Locker” leaves no doubt in my mind about that.

So what will it take Glee to get its act together? I think the answer is: more involvement from Ryan Murphy. I can only assume that most of the troubles plaguing Glee these past years are because he’s busy with many projects, as his other work such as The Normal Heart and American Horror Story have been excellent. Glee has almost always stuck its landing on emotion, though, so I’m expecting a moving finale. Comparing Spencer (Marshall Williams) to Finn in this episode strikes a wrong chord, but hopefully there will be less of that moving forward and more of what Glee does well. Unfortunately, since Glee has disappointed many times, including in this double episode, I can’t say with certainty it will give fans the conclusion they deserve.

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

SLEEPY HOLLOW - "Kali Yuga"

Article originally written for Seat42F.

“Kali Yuga,” the title of last night’s installment of FOX’s SLEEPY HOLLOW, is, according to Sanskrit scriptures, the final stage the world goes through and is associated with the demon Kali. This seems appropriate, given that in the hour Hawley’s godmother, Carmilla Pines (Jaime Murray, Defiance, Warehouse 13), shows up and tries to use a statue of Kali to turn him into the same type of demon she is. It’s yet another end-of-the-world scenario trying to force its way into the not-so-sleepy hollow.

Murray is a fantastic actress, and I’m excited to see her join the cast, hopefully in a recurring capacity. She is brilliant at playing characters that are hard to relate to, seeming alien to the average person. Carmilla Pines, a female Indiana Jones now cursed, is just such a person. She loves Hawley (Matt Barr), whom she raised after his parents died, but she’s selfish and bent on power of some sort. This makes for a villain who’s not 100% detestable and may one day be redeemed, but who still deserves to be stopped.

Stop her, they do, though this is complicated by the fact that Ichabod (Tom Mison) and Abbie (Nicole Beharie) are still at odds over the Orion fiasco. Together, the witnesses make quite a team. Separated, they leave themselves vulnerable, and it’s that much harder to save the day. They do manage to get past their troubles, while locked in a deadly vault of course, in time to save Hawley, but not before Carmilla escapes. Had they been more on their game, they likely would have at least captured Carmilla, too, as while Hawley doesn’t want her around, I’m not positive he wants her dead, either, hesitating to murder her, as anyone likely would in his situation.

SLEEPY HOLLOW’s biggest strength is in the dynamic between the two leads, and while last week’s individual romps are fun with limited interaction between them, as the show should be able to do from time to time, the scenes in “Kali Yuga” serving this duo are great. From karaoke to Jenny (Lyndie Greenwood) playing couple’s counselor, there are numerous funny and sweet moments. They do resolve things perhaps a bit too easily in a vault that is entirely too simple to escape from (they have plenty of time to keep pushing buttons until they find the correct one), but it’s satisfying to see them back on the same page.

There are weaknesses in “Kali Yuga,” too, besides the vault buttons. For one, SLEEPY HOLLOW has been building an Abbie / Hawley chemistry, which is suddenly ditched this week in favor of an immediate implied Jenny / Hawley relationship. What the hell is up with that? I see Abbie isn’t OK with it, but how did it even come about when Hawley has been paying more attention to Abbie? Even if he spends time with Jenny, we don’t see the shift. Secondly, if Carmilla and her minions are super-fast, why do they tussle with our heroes at all? Why not just rip away their weapons before they can be used? The fight scene doesn’t make any sense.

A mystery is teased in “Kali Yuga” when all charges against Frank Irving (Orlando Jones) are dropped and he returns home to his wife, Cynthia (Jill Marie Jones). Cynthia is suspicious, as she should be. Who let Frank go free? A visit to Katrina (Katia Winter) assures Cynthia that Frank is no longer being controlled by Henry (too-long-missing John Noble), but that last shot showing Irving doesn’t have a reflection is weird. I wish a little more running time were devoted to this, but am excited about where it might be going.

Overall, I like, not love, “Kali Yuga.” Some glaring plot weaknesses, mentioned above, bring it down, while character chemistry and mythology is well served. Tossing in Henry Knox (Ron Rogge, Obsessed) as yet another historical figure Ichabod knows is tiresome, but at least SLEEPY HOLLOW doesn’t beat us over the head with flashbacks this time, so it seems more natural to the story. Season two hasn’t lived up to expectations set in season one yet, but there’s still time to fix that as the series builds towards its season (possibly series) finale next month.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

"May God Bless and Keep You Always," PARENTHOOD

Article first published as TV Review: 'Parenthood' Series Finale - "May God Bless and Keep You Always" on Blogcritics.

 

The one word that best sums up NBC’s Parenthood series finale, “May God Bless and Keep You Always,” is beautiful. From start to finish, it’s chock full of moving moments, paying off character relationships, and setting up the various players for bright futures. It’s sweet and tear-worthy, sad, and promising. It makes me miss the show already, and it’s only just left us.

The meat of “May God Bless and Keep You Always” revolves around Sarah’s (Lauren Graham) wedding to Hank (Ray Romano), which is a natural place to go. For one, it allows Sarah a romantic ending, something that eludes her over the six seasons of the show. For another, events like this bring everyone together and make them rethink their priorities. It spurs big decisions and tender moments.

One of the best moments of Parenthood is Zeek (Craig T. Nelson) asking Sarah if he’s a good father as the two sit on the porch together. They’ve had their ups and downs, as everyone has on Parenthood, yet they come through stronger than ever. It’s a familial bond echoed among all of the characters, and while it may be inappropriate for Zeek to tell Sarah that she’s his favorite, it’s true enough in the moment, and it means everything to her.

There are a myriad of other examples of the same throughout the too-short hour. Adam (Peter Krause) shows Crosby (Dax Shepard) he’s proud of him as Crosby steps into his own. Zeek and Camille (Bonnie Bedelia) ask Amber (Mae Whitman) to move in with them, providing much-needed help with her infant. Haddie (Sarah Ramos) returns and tells Max (Max Burkholder) how much she appreciates him being her brother. Hank asks Drew (Miles Heizer) to be his best man, leading to an awkward, in-character speech. All of these are homeruns.

Some viewers have complained that everyone gets their happy endings, but optimism has always been a central tenant of the show. We get flash forwards showing where each character is just a few years down the road, and no one is sad. But how is that any different than Kristina (Monica Potter) successfully fighting her way through cancer or Joel (Sam Jaeger) and Julia (Erika Christensen) making their marriage work? It’s not. Having Joel and Julia end up with four children, echoing the Braverman clan, makes it even more perfect.

There’s sadness in “May God Bless and Keep You Always,” too. Zeek’s season-long arc comes to an end when he passes away. This is necessary because it’s realistic and it serves the story Parenthood has been telling in year six. But interspersing his memorial baseball game with the flash forwards emphasizes the cycle of life, and that this marvelous family Zeek and Camille built will keep their heart-warming traditions alive, continuing to grow and being loving towards one another. 

Parenthood is a sappy series, and never more so than its final episode. That isn’t a complaint, though. It’s the perfect family drama, giving us authentic relationships with usually-genuine conflict, but showing how such can be overcome. In a world where this type of family is rapidly disappearing, I’m lucky enough to belong to a clan very similar to the Bravermans (as the eldest grandchild), and I’ve very much enjoyed seeing that experience shared with the viewing public in general. This does exist, and can for more families (though not all) if they really work at it.

If I have one complaint about the final episode of Parenthood (and about the series in general) is that it’s too short. Each of the many players are served, but we’re left craving more. How does Amber meet the man she settles down with (Friday Night Lights’ Scott Porter)? What does Max make of his life? Does Drew marry Natalie (Lyndon Smith)? Many popular recurring characters show up at the wedding, too, and they don’t have time for story. An important cameo with Seth (John Corbett) is completely cut for time, though thankfully available online.

I would have liked to have seen further glimpses farther into the future, too. But the reason that isn’t done is clear, because Parenthood wants to keep its fantastic young actors, who would have had to be recast for such scenes, at its core.

Honestly, though, I do have one more complaint, and that is that it seems off that Kristina steps away from the school she builds and hands it over to Adam. It’s not that she doesn’t love her husband or that he doesn’t deserve to be happy, but couldn’t they have run it together? She worked so hard creating it, and then she just walks away. A single regrettable misstep in the almost flawless hour.

Now, Parenthood’s finale does echo Jason Katims’ previous show, Friday Night Lights, ending, but I don’t see that as a bad thing. Despite sharing a number of performers, Parenthood and Friday Night Lights also briefly share characters (as does Katims’ slightly inferior About a Boy), so they are in the same universe, thus making it acceptable to share DNA. Knowing this, I cannot wait to see what movie Katims turns into a beloved show next, and which actors cross over to it.

Thank you to all involved in Parenthood, which also starred Joy Bryant, Savannah Paige Rae, Tyree Brown, and Xolo Mariduena, for six years I am likely to revisit and will never forget.

GRIMM Faces a "Tribunal"

Article first published as GRIMM Review Season 4 Episode 10 Tribunal on Seat42F.

“Tribunal” is the episode of NBC’s GRIMM I’ve been waiting for all through this lackluster fall run. It’s a full-on mythology hour, no case-of-the-week, as everyone scrambles to find Monroe (Silas Weir Mitchell) before the racist Wesenrein can execute him. Thankfully, the ancient group is all about ritual, so our heroes have a bit of time, though, as always happens on television shows, Monroe is not located until the last possible second.

That last sentence may sound a little snarky, but it’s true! Just once, I’d like to see someone rescued with plenty of time to spare, though I guess waiting until everything is down to the wire creates more tension. And since quite literally everyone else does it, I can’t blame Grimm for the same.

As “Tribunal” begins, there are many leads being pursued towards Monroe, but none solid enough to act upon. Later in the episode, the entire group comes together and gets to use their various strengths. Even Bud (Danny Bruno), while not under direct protection, finds a backbone and stands up for his friends! It’s more of an ensemble effort than most adventures, and as I’ve said in the past, this is definitely the path towards making GRIMM a must-watch series. There must be a variety of personalities, each contributing, and each being interesting on their own.

It’s extremely impressive when Nick (David Giuntoli), Hank (Russell Hornsby), Renard (Sasha Roiz), Wu (Reggie Lee), Juliette (Bitsie Tulloch), and Rosalee (Bree Turner) all march into battle together. Badges cast aside, this is a group united by a far more important mission than just upholding the law. What’s more, everyone can contribute; none are dead weight or weaklings that must be protected. When the fight breaks out at the court, Nick is able to stay with the larger group of captured foes while the others give chase on their own through the woods. That’s progress in the structure of the show, and a welcome development.

I don’t know why everyone is OK with Juliette participating, though. Obviously, her now being a Hexenbiest gives her the strength to hold her own, which we get to see in spectacular fashion in “Tribunal.” Except, no one knows she is one yet. Why doesn’t Nick try to convince her to stay behind, or at least ask her to stand by his side instead of chasing the fleeing suspects. Sure, that’s been done before, but it’s not unreasonable for Nick to be a little more cautious with her until he learns about her power.

Speaking of, briefly, NBC presents an absolutely awful preview for next week’s episode, making it seem like Nick would kill Juliette just because she’s a Hexenbiest. That may be the stated job of a Grimm, but when has Nick ever followed that? It’s just stupid, no fan of the show will be fooled, and the network should be ashamed for putting out such a blatantly misleading ad.

The newest member of the Grimm band is Wu, who, after a little training with Bud, goes along on the big takedown. I do think Wu is acting like too much a part of the group too quick, with no one going out of their way to make him feel emotionally included, even after the danger is past and someone should be reaching out. But I’d rather see that than for Wu to remain an outsider, so when he raises a champagne toast and acts too familiar with Monroe and Rosalee, I’m able to forgive it.

At the end, Hank and Nick providing armed escort for Monroe and Rosalee is a humorous touch that makes the episode work. The heavy stuff is past, and now we need to smile a little. It’s a good pivot at the conclusion, and brings the overall-wonderful episode around to a satisfying closure.

GRIMM airs Fridays at 9 p.m. ET on NBC.

BACKSTROM Has a "Dragon" On Its Back

Article first published as BACKSTROM Review on Seat42F.

FOX’s new series BACKSTROM is from the mind of Hart Hanson, creator of Bones and The Finder. Even if you did not know this going into the pilot, “Dragon Slayer,” it would be easy to see the similarities to those other shows because of a near-copy of tone and format. As a fan of Hanson, I’m interested to watch BACKSTROM. But as someone completely burned out with the formulaic police procedural, I’m sad he didn’t expand his premise a bit more from the beaten path.

Rainn Wilson (The Office) stars as Everett Backstrom, a colorful man in the vein of The Finder’s Walter Sherman. Rather than withdraw from society, though, Backstrom lives right in the middle of things, unfeeling towards those he offends. His attitude gets him demoted to traffic duty for five years, but as BACKSTROM begins, he is back in a position he likes, serving in Portland’s newly created Special Crimes Unit.

Backstrom is surrounded by a team of very capable professionals. There’s veteran detective John Almond (Dennis Haysbert, 24, The United), fresh-faced and eager Nicole Gravely (Genevieve Angelson, House of Lies), button-pushing consultant Peter Niedermayer (Kristoffer Polaha, Life Unexpected, Ringer), and muscle Frank Moto (Page Kennedy, Blue Mountain State, Weeds). Along with the attractive French civilian support officer, Nadia Paquet (Beatrice Rosen, Cuts, The Dark Knight), whom Backstrom “befriends” under his doctor’s (Rizwan Manji, Outsourced, The Wolf of Wall Street) orders, they make up his Bones-esque ensemble of colorful supporting players.

The reason I still watch Bones (though I’m quite behind on it) is because, despite how predictable and repetitive it is, there’s a very entertaining group who get excellent lines and entertaining subplots on a regular basis. BACKSTROM has a similar cast, many familiar faces oozing with talent and humor. The question is, how much of each hour will be spent on the boring old plot-of-the-week and how much will be fun? The balance is incredibly important to make the series worth watching, though it would certainly behoove Hanson to ditch the weekly-solve format as soon as possible, unlikely as it may seem that he would do so.

Because every modern cop drama must include the lead’s family, and Backstrom is not the type to have family and friends around (though we do get a forced-in story about his abusive father in “Dragon Slayer” to further shape the character), Backstrom regularly interacts with Valentine (Thomas Dekker, Terminator: The Sarah Connor Chronicles). Valentine operates in the illegal underworld, son of a stripper, a transvestite in his own right. It takes a very strong personality to compete with Backstrom, and Valentine fits the bill. Plus, going by looks alone, I suspect he may secretly be Backstrom’s son, though one or both might not know it yet.

I probably don’t need to tell you about the main plot of “Dragon Slayer,” though doing so won’t spoil it for you. A body is discovered in an apparent suicide case, which is quickly ruled a homicide. The person you first suspect isn’t guilty, and through a serious of brilliant leaps by our above-average investigators, Backstrom is able to personally collar the culprit. This will likely be repeated in most episodes.

Overall, I like BACKSTROM; I really do. It has a terrific cast and is written by the man I believe is the current master of the genre. No one makes this type of show better than Hanson. But after a decade of watching his material, and seeing much of the same on the broadcast networks (most of which I don’t watch), I may finally be reaching my fill of it, as I noticed my attention drifting several times in the first episode alone. I’m hopeful the era of this type of show is near the end, ratings to the contrary, and the program can spin itself off into something better. Otherwise, BACKSTROM is yet another entry in an over- crowded field that feels wholly unoriginal.

BACKSTROM premieres Thursday at 9 p.m. ET on FOX.

SLEEPY HOLLOW Paints an Inferior Portrait

Article originally written for Seat42F.

The title of this week’s SLEEPY HOLLOW installment on FOX, “Pittura Infamante,” refers to a particular style of painting, which is seen in this episode. An evil killer from the past is trapped in such a portrait, but soon starts trying to get out, killing innocents in the process. It’s up to Ichabod (Tom Mison) and Katrina (Katia Winter) to interrupt their date and stop him.

As far as cases-of-the-week go, “Pittura Infamante” is a good one. It’s tied to Katrina’s past and an old friend, Abigail Adams (Michelle Trachtenberg, Gossip Girl, Buffy the Vampire Slayer), and it unfolds in such a way to allow a couple of main characters to work through their feelings. It’s a bit exciting, and there are a couple of unexpected twists, as well as a trip inside the painting itself. Though, I still contend that our heroes know way too many famous people.

I worry, though, that FOX is going to ask SLEEPY HOLLOW to make more of this type of episode, given recent comments to the press about how the show has become “too serialized.” I disagree completely, arguing it hasn’t become serialized enough. I’m fine with a rare episode like “Pittura Infamante” because it serves a purpose. But if every week were like this one, I would be highly disappointed, feeling the show is better when it’s concentrating on its larger arcs. If I wanted crime solvers, I’d turn on one of a hundred other programs currently airing.

I don’t mean to use this week’s review as a platform to push my particular viewpoint, but it and the show exemplify a large issue. There is a major schism in the viewing audience. There are certainly a large number of people who enjoy self-contained hours, being able to drop in and out of a series at will, as evidenced by high ratings on such programs as Bones and NCIS. But there are also plenty, especially young people, who consume gripping series in large chunks and want a more intelligent, engaging story. Unfortunately, the financial model currently leans towards the former group, but I feel the future has to be in the latter, and hope there’s some sort of shift in the near future.

Back to SLEEPY HOLLOW specifically, though, this plot does allow Ichabod and Katrina to try to find a way to work together and relate to one another again. I am not a fan of their relationship, hoping it goes away sooner rather than later, but from Ichabod’s perspective, he wants to fix his marriage, and that’s laudable. Katrina needs help adjusting to the present, as Ichabod has, if they are going to be able to work. “Pittura Infamante” shows a path combining the two eras, and it allows them to actually feel on more solid footing than they ever have on the show.

Elsewhere, Captain Irving (Orlando Jones) returns to the police station and is immediately jailed. Abbie (Nicole Beharie) wonders if her friend is back, or if this is another Brooks situation, a dead man controlled by a demon. SLEEPY HOLLOW is keeping its cards close to its chest on this one, as they should, giving us more questions than answers thus far. Either way has some interesting possibilities, and I like that Irving’s family is finally acknowledged again, even though they are of little importance.

Usually, SLEEPY HOLLOW’s biggest strength is in its interactions between Ichabod and Abbie. There is precious little of that this week, but it does show each can stand on their own. They don’t need each other all the time. Not that they should be separated long, but it can work on occasion.

Jenny (Lyndie Greenwood) also gets a few scenes, and provides comic relief in “Pittura Infamante.” The corpse she has to dig bullets out of is super gross, but it allows Greenwood to show what she can bring to the table, which sadly has not been demonstrated all that often. Jenny doesn’t have to be central to SLEEPY HOLLOW on a regular basis. But she should appear a bit more if this is how they’re going to use her.

As I said, “Pittura Infamante” is a solid example of a case-of-the-week, and it does tie into some larger stories. Because it luxuriates in some of the characters, exploring new aspects of their personalities and doing it well, I think it’s a good episode. It’s not what I want every week, but for now, it satisfies.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

ARROW "Left" Me Excited

Article first published as ARROW Review Season 3 Episode 10 Left Behind on Seat42F.

The CW’s ARROW comes back from a nail-biting cliffhanger this week with “Left Behind.” Several days after Oliver’s (Stephen Amell) deadly battle, his team has heard nothing of his fate and struggle to accept the possibility he might not be coming back. They valiantly try to continue the good fight in his name, but they may not be up to the task without their leader.

Oliver is the glue that holds Team Arrow together. Personally, I think it would be really cool for ARROW to kill off Oliver, something that happens in comic books, an alter ego dying and another picking up the mantle, but I don’t believe has ever happened to a central superhero on a television series. Yes, Black Canary is killed and replaced, but not being a main or titular character, it’s not the same thing. It’s not that I don’t like Amell or Oliver; it would just be a very bold, unexpected move that would signal to the viewers that this series means business.

Instead, because Oliver is made to be the glue, things cannot function without him. Felicity (Emily Bett Rickards), once she stops denying the most likely scenario, quits the team, and tells Ray (Brandon Routh) that she won’t be helping him fight crime, either. Diggle (David Ramsey) tries to wear the green hood, but he is not that skilled with a bow and finds it easier to return to his plain clothes and gun. Roy (Colton Hayes) is the only one that seems to be doing well, but he can’t go it alone.

An answer to Team Arrow’s problem could be Laurel (Katie Cassidy), who dons the Black Canary outfit for the first time at the end of “Left Behind.” She has a strong enough personality to be a leader, though there’s no guarantee the existing members would take orders from a semi-outsider. Plus, she’s been acting a little reckless, so she may not make the best decisions for them.

So Team Arrow is left in a holding, or disintegrating, pattern until Oliver can return. He’s alive, of course, Malcolm Merlyn’s (John Barrowman) evidence to the contrary, though Malcolm can be forgiven for believing as he does. Maseo (Karl Yune) rescues Oliver from the cliff because, as we see in flashback, Oliver risks his neck to save Maseo’s wife, Tatsu (Rila Fukushima). Thus, it will only be a matter of time, and perhaps some physical therapy, before Oliver resumes his role as protector of the city.

That time can’t come soon enough. The bad guy in “Left Behind” is Brick (Vinnie Jones), a returning foe who is able to gain the upper hand here. He isn’t someone to be trifled with, and now that he knows the heroes are vulnerable, he’ll probably be breaking quite a few more laws than previously. If he is to be stopped, either Team Arrow needs to pull itself together or Oliver needs to get back on the job.

Thea (Willa Holland) doesn’t know that Oliver is dead, but since he’s really still alive, I guess that doesn’t put her at a disadvantage. She’s worried because she hasn’t heard from him, but despite the fact that she’s the one who sends Malcolm to investigate in the first place, Malcolm doesn’t share what he finds with her. So Thea still doesn’t know Oliver is The Arrow or that he went into a fight to the death on her behalf.

What is Malcolm’s game? Why doesn’t he tell Thea the truth about Oliver? Is he worried that the truth will make Thea think more highly of her brother, thus bleeding away some of the influence Malcolm has over her? Or does he want to draw out Thea’s distress so she comes to rely more on him as a shoulder to cry on? And is he sincere about wanting to be a father, or does he have some dark purpose for Thea?

These questions and more will surely be answered in upcoming installments of ARROW. If there’s one thing you can say about the show, it’s not boring (except some of the flashback parts). It’s also usually well crafted, with mysteries eventually being solved and elements playing into one another. If it were a little bolder, it would be nearly perfect.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

"Curtain" Closes on AMERICAN HORROR STORY: FREAK SHOW

Article first published as TV Review: 'American Horror Story: Freak Show' - 'Curtain Call' on Blogcritics.

The fourth season of FX’s American Horror Story, subtitled Freak Show, concluded this week with “Curtain Call.” Perhaps the most satisfying season finale of the show yet, capping a season which, in my opinion, tied with the first for best of the series, it gave almost everyone who deserved it a happy ending. Mixing tears and joy in moving pathos, “Curtain Call” is the ending fans deserve.

Right away this year, American Horror Story: Freak Show made us care about the freaks. It is the people outside of the carnival that are the problem. Those with the deformities are the persecuted, and the ones to root for. The story tears down prejudice among those who watch, building sympathy for the outcasts. This continues right on through to the end.

As “Curtain Call” opens, the freak show has been sold to Dandy (Finn Wittrock), the biggest beast of the year. But the freaks, who have suffered enough, don’t put up with his gruff for long. They quit, prompting him to go on a killing spree and murder almost every performer left. Thankfully, four survive long enough to punish Dandy.

Wittrock’s performance in American Horror Story: Freak Show is nothing short of amazing. Even as he dramatically dies, drowning in Houdini’s water escape tank, we see the pain and anger in his eyes. He feels misunderstood, miscast in life. The more he tries to carve out his place and hone his talents, the worse he does. He’s deeply damaged, far from emotionless, desperate to find acceptance. He does horrific things, though, and like a diseased dog, the most merciful thing is to put him down, which our heroes do.

One might think that being slain by a madman is not a happy ending, and I mentioned in the opening that the ending is satisfying. “Curtain Call” toys with an afterlife, though, a specific fulfillment of the wishes of those who died. The freaks who are killed, and not just in the season finale, are reunited in an eternal caravan, performing nightly for packed houses. It may not be the ideal existence for most of us, nor even what many of them thought they wanted in life, but it’s what these people end up valuing most, enhanced by perfect circumstances and surrounded by beloved family.

Even Elsa (Jessica Lange) gets to go there, despite her sins. She achieves the Hollywood fame she desires, and finds it’s far less than she wishes for. As she gets bigger and bigger, she feels less and less at home, missing the family she built. In the end, she commits suicide on Halloween, letting us glimpse terrific guest stars Wes Bentley and John Carroll Lynch again, and ends up at the heavenly fair, rather than roaming with the cursed troupe. It’s a reward for the good she does before she does wrong. Ethel’s (Kathy Bates) gentle scolding that Elsa was not a good friend, boss, or cook but that she was born to perform is the perfect emotional chord, reuniting the oldest of friends in a tear-worthy scene that, as usual, proves what a considerable talent Lange is.

Speaking of Ethel, Bates is killed off far too early in American Horror Story: Freak Show. I miss her the moment she leaves, and while we do see her twice more, it only makes me wish for more of her. Angela Bassett’s Desiree, who survives, is also less featured than I’d like. I hope that, if Lange does step down or back in season five, a regrettable circumstance for sure, Bassett and Bates rise to take her place. They have earned a showcase like the one Lange has been getting these past few years.

The quartet that make it through “Curtain Call” intact are Desiree, Jimmy (Evan Peters), and Dot and Bette (Sarah Paulson). All end up happily married with children, having gotten away with the multiple murders they justly committed. My only small complaint about this is that it feels extremely familiar to have Paulson and Peters’ players achieve their bright futures, the two actors among the small number in past seasons who have similar conclusions. That’s likely because they keep getting cast in certain types of roles, the ones that naturally survive, but it still feels a tad bit like a repeat.

In the end, I’m left amazed by the tale told and the characters created. So many impressive performances, so many fascinating guest stars, and so many terrific twists. The plot feels more substantial than in the past couple of seasons, and the emotions run deeper. While half of the main characters sit out the finale (not unusual for this franchise), there are enough supporting characters appearing to keep it feeling full. “Curtain Call” is a great culmination of what builds up, and I cannot think of a better way to wind the various threads together.

American Horror Story has been renewed for a fifth season, which will feature as-of-yet unannounced new cast, setting, and subtitle.