"Beneath" SLEEPY HOLLOW

Article originally written for Seat42F.

SLEEPY HOLLOW giveth, SLEEPY HOLLOW taketh away. In this week’s episode on FOX, “What Lies Beneath,” Abby (Nicole Beharie) and Ichabod (Tom Milson) venture underground to save some trapped workers and stumble upon secrets buried for hundreds of years. Before they can explore the treasure trove too far, though, they are forced to blow it up to protect others from the monsters guarding it.

“What Lies Beneath” is hella frustrating. First, Ichabod and Abbie find a mystical hologram of Thomas Jefferson (Steven Weber, Wings, Helix, many other things), who tells them that not only did the Founding Fathers know Ichabod was a witness, but their journey has been guided by protectors. There are also unresolved personal issues between Ichabod and Tommy J. But before any of this can be explored, SLEEPY HOLLOW destroys it all, burning interesting plot lines in the process.

Why is it necessary to destroy the lair? Given the choice between human lives and some information, of course Abbie and Ichabod are going to choose lives; it’s a no-stakes, stupid game. But this trove is extremely valuable. This is everything needed to save the world, compiled by what is apparently a well-funded, large organization. There’s no exploration of other ways to protect people from the reavers? Our heroes just give up? Really?

Look, I know it would be hard to realistically keep this library safe and secret. Even if the witnesses and company slayed all of the undead soldiers guarding it, workers have been down in the tunnel, and presumably would need to be down there again since their job is not complete. Someone else would want to know why Ichabod and Abbie are keeping people out, and the duo don’t have the authority to set up road blocks. Were Captain Irving (Orlando Jones) still in charge of the police force, things would be different, but he’s not.

That being said, surely they could figure something out. They could seal the entrance temporarily until they do. They could let their current chief in on their secrets and prove things to her. They could have Katrina (Katia Winter) cast some witchy spell that keeps people away. There are options, people, and blowing everything up is not only inconsistent with the characters, but damn lazy storytelling.

I think part of the reason “What Lies Beneath” rains down such fire is because the writing staff don’t know what to do with all the revelations they toss out this week. How can one adequately explain what the Founding Fathers were thinking and how they kept things secret for multiple centuries. Is the group they created still around? If not, how did they set everything up to unfold so long after their demise? If so, who belongs to it and where have they been this season? What is in the room, exactly, that would benefit them? These are all questions that don’t have clear answers, nor seem poised to get them, and so the show instead looks for an easy out.

This is part of a larger trend SLEEPY HOLLOW is succumbing to. Weak stories that are glossed over in favor of quick narratives that can be wrapped up in an hour constantly drag down what used to be a quality series. I can’t express enough how disappointed I am in this episode and the season in general.

There are some mythology-type events in “What Lies Beneath.” We get a little bit of a peek into how Irving keeps switching sides, though this isn’t really explained in a satisfactory way, to neither Jenny (Lyndie Greenwood) nor the audience. Katrina seems to be going to the dark side, having creepy semi-dreams about Henry (John Noble) and it looks like she may switch to her son’s side, which doesn’t exactly line up with everything she’s done before. So these larger arcs are there, but not well developed.

“What Lies Beneath” also introduces us to Calvin Riggs (Sharif Atkins, White Collar), a journalist who is concerned about his brother, one of the men trapped below ground. For some reason, Abbie decides freedom of the press must be upheld, even as she continues to ignore many laws, so he gets involved. But beside that point, Calvin is also under-developed, virtually ignored most of the episode instead of being made part of the hour.

SLEEPY HOLLOW, please get yourself back on track. You’re in danger of cancellation. I hate to see you go out on such a sour note.

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

"Canaries" Sing on ARROW

Article first published as ARROW Review Season 3 Episode 13 Canaries on Seat42F.

This week’s Arrow on the CW is appropriately named “Canaries” because it features scenes with the two Canaries, Sara (Caity Lotz) and Laurel (Katie Cassidy) throwing down. But the excellent episode is so much more than that. It also finds Oliver (Stephen Amell) trying to rejoin a group that has moved on without him, sees the return of an old foe, and exposes a couple of key secrets to important characters that have been kept in the dark too long. In short, it’s heavy on the serial storytelling and has some very dramatic moments.

Without Oliver, Diggle (David Ramsey) assumes a mantle of leadership that allows Felicity (Emily Bett Rickards), Roy (Colton Haynes), and even Laurel to make their own decisions. Oliver’s non-democratic reign is over, and that’s how it must be because no one can adequately replace him. After this taste of a new way, though, no one wants to go back into the box Oliver tries to place them in, and that throws Oliver off, who assumes he can just come back in and pick up without missing a step. The dynamic of Team Arrow is off in “Canaries” and a new one must be forged.

It’s gratifying to see Oliver quickly relent to what the others are doing. A year or two ago, he would not have done so. This was his mission, and the others were simply supporting him. Now, they are on their mission, and he is only one of many components, not the component that the others revolve around. Oliver could easily get angry at having lost what he dedicated himself to, but instead sees the value of the others and doing things their way for a change, and so (mostly) readjusts. He’s a little slow to switch from protector to teammate with Laurel and Thea (Willa Holland), but at least he’s trying.

Oliver’s reaction may not be expected, but even more surprising is how Thea takes the news that Oliver is the Arrow. Oliver long expects her to be mad that he’s keeping secrets, and Diggle firmly advises Oliver not to tell Thea, lest he lose his sister. But Thea is more mature than she once was, and she sees that this particular secret, unlike the others in the past, is for a good reason. She is grateful to Oliver for protecting her and the city, and happy to know the truth.

Both of these things are happy, easy resolutions to conflict, which is not what hour-long television shows usually do. Most programs will seek to draw out the fights between characters because dramas need drama, and that’s fair. Watching ARROW make the opposite choice throws me off a bit, in a good way. It shows this series isn’t stuck in entrenched paths and will find its own way. Plus, ARROW has plenty of stuff for the characters to fight against and fight about without making everything a chore. Our heroes have been through enough, and they deserve this break, as do the emotionally drained viewers.

A consequence of Thea learning about Oliver is that her eyes are opened concerning Malcolm (John Barrowman). Knowing Malcolm has long been aware of Oliver’s secret persona casts new light on his motivations, and helps Thea see Malcolm as the others do. He is no longer someone she is loyal to, which is a relief. Thea will work with him reluctantly because Oliver convinces her they need Malcolm, and because she is almost killed. But the daddy / daughter days are done.

One reveal that does not go so smoothly is Laurel finally coming clean to Quentin (Paul Blackthorne) about Sara’s death. Her father isn’t angry, as she imagines in a terrific scenes under the influence of Count Vertigo’s (Peter Stormare) drugs. Instead, he’s broken, Blackthorne wonderfully conveying the pain of a man who has lost his child twice. Even better is when Quentin gives Laurel an out to the truth, letting her know he knows she’s taken up the Canary mantle, but she bravely pushes on to the full story, as she should have done months ago. This is the natural ending to the arc, and it is incredibly moving.

Lots about “Canaries” goes right. While the fights between Laurel and Sara are a little tame because they are so one-sided, I find it hard to find fault with the rest of the hour. ARROW clearly knows what it is and the writers get these characters’ voices. The story is consistently interesting and surprising, and where there are plot holes, they tend to be small ones. Now, if only they would ditch Oliver’s persistent flashbacks, which dare I say seem close to the end, this series would really jump near the top of my favorites list.

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

"What Happened" on THE WALKING DEAD?

Article first published as THE WALKING DEAD Review Season 5 Episode 9 What Happened and What's Going On on Seat42F.

Fans of AMC’s THE WALKING DEAD eagerly anticipated last night’s mid-season premiere, wondering “What Happened and What’s Going On.” We get an answer to the strange title of the episode, some time after the events of last season. The group goes to Richmond, Virginia, where Noah’s (Tyler James William) mother and brothers were last known to be. But there’s been a cost to this journey, to this life, and there’s a fatal price for looking for hope in this place.

With Eugene (Josh McDermitt) now a known liar, the group lacks direction. Noah provides a little bit of it with a pipe dream, tales of a place protected by walls. It’s better than any other idea offered, so it’s understandable they would give it a shot. This, despite the fact that several of the characters don’t bother to buy into the hope at all. They are too jaded, have been disappointed too many times. They don’t see an attractive path left open to them.

Michonne (Danai Gurira) is not one of those. Listening to Rick (Andrew Lincoln) and Glenn (Steven Yeun) debate if killing Dawn even matters, she reaches a breaking point. Of course taking a life matters. Of course one must try to hold onto their humanity. The guys may not agree in “What Happened and What’s Going On,” but at least Rick has the good sense enough to listen to Michonne’s concerns. Maybe he’s past caring, but he recognizes the wisdom in trying to do so.

Michonne is now the de-facto moral compass, which is a precarious position to be in. Those who have shouldered the mantle in the past tend to have a limited lifespan. I desperately hope Michonne’s days aren’t numbered, but I felt the same about Hershel and about THE WALKING DEAD’s most recent victim, and have been disappointed both times. Disappointed not because their stories aren’t fantastic; they are. Disappointed because I mourn for and miss those players. True, there’s no impending demise for her if the show echoes the comics, but ask Andrea, who is still alive in the paper version, how believing the TV adaptation will follow the books works out.

As THE WALKING DEAD returns this week, it’s Tyreese (Chad L. Coleman) who tries to hold on. He offers to stay with Noah as Rick, Glenn, and Michonne hunt for supplies. And in Noah’s house, Tyreese is taken in by the photos of Noah’s brothers, innocents. It makes Tyreese remember his own family, his own father, and it saddens him.

Unfortunately, THE WALKING DEAD is cruel to those who take the time for such sappy reminiscing. Tyreese is bitten while distracted, and despite everyone’s best efforts to save him, it’s too late. Another moral compass gone, passing the torch to Michonne.

Tyreese is a beloved and fascinating character, and his death in “What Happened and What’s Going On” is worthy of him and of Coleman, who brings him to life so brilliantly. We see flashes of Tyreese’s past over the last few seasons. We see mementos of happier times. It’s almost a victory lap, a life flashing before one’s eyes, reminding Tyreese of what’s important.

As he lies bleeding, he’s visited by the ghost of many a departed friend and foe, including Bob (Lawrence Gilliard Jr.), Beth (Emily Kinney), Lizzie (Brighton Sharbino), Mika (Kyla Kenedy), Martin (Chris Coy), and The Governor (David Morrissey). Some of them are there to comfort him and usher him out of this life. Others are there to accuse him of wrongdoing and make him take stock of his situation. In the end, though, the comfort wins out, and while Tyreese fights if for awhile, we eventually see him go away peacefully, surrounded by those who care.

Not every death on THE WALKING DEAD is this pretty, but if there’s a soul that deserves this type of demise, it’s Tyreese. Out of the action, his passing is unexpected, but it also makes sense, given the type of guy he is. If it didn’t happen here, it would have happened soon enough anyway. Having all of those actors return makes it that much sweeter, lending importance to the passing, and delighting viewers who miss them. Yes, even The Governor is missed, if for Morrissey’s performance alone.

“What Happened and What’s Going On” is a way-stop on the way to D.C., the place where an ounce of hope might still remain. Still, it’s an important one. The Walking Dead skips over 500 miles of the journey, but I’m glad it chooses now to take a brief respite and deliver a compelling narrative.

Next week, they will go the last 100 miles and find something new. If the next stage is anything like the comic books, the show is about to change dramatically, and this hour serves as a fine transition between two distinct halves of a major series, starting to close the book on what the characters have been dealing with thus far.

THE WALKING DEAD airs Sundays at 9 p.m. ET on AMC.

BETTER CALL SAUL Worth Picking Up

Article first published as BETTER CALL SAUL Review on Seat42F.

BETTER CALL SAUL doesn’t shy away from its roots. Last night’s series premiere on AMC, “Uno,” begins a little bit after Breaking Bad ended. Saul Goodman (Bob Odenkirk) has relocated to Omaha, Nebraska and is the sad, pathetic manager of a mall Cinnabon. The highlight of his day is going home to his little house, pouring himself a stiff drink, and watching commercials from his glory days. This is where the story ends, and where it begins.

The meat of BETTER CALL SAUL is set six years before Breaking Bad even starts. Saul is known as Jimmy McGill back then, a very unsuccessful lawyer with a crummy office in the back of a nail salon. Desperate for clients, he also cares deeply for his disabled brother, the once-great lawyer Chuck McGill (Michael McKean, Clue, This Is Spinal Tap). Jimmy is at the end of his rope, making very little money representing very cruel teenagers and unable to convince Chuck he should cash out of the thriving firm he helped create.

Jimmy is not as far away from Saul as Walter begins away from Heisenberg, but there is definitely a lot that must happen to turn Jimmy into the sleazy, well-connected “success” he will become. This version of Saul is plenty willing to work outside the law; he just only does so in small ways, and his bravado is much more faked.

I don’t think we can condemn Jimmy for his hatred of Chuck’s partner, Howard Hamlin (Patrick Fabian, Big Love, Veronica Mars). Jimmy thinks Chuck, trapped at home without power because of a crippling disability, is being taken advantage of. Chuck obviously has a big heart, not wanting to hurt the business he built because of how it would affect the employees. But Jimmy sees his big bro as a bit of a schmuck who Howard is pulling one over on. Is Jimmy right, or does he just not have the mind-frame to see Howard and Chuck’s more altruistic viewpoints?

It’s easier to blame Jimmy for what happens or will happen to a pair of young scammers. To try to win a client who is (understandably) reluctant to sign, Jimmy gets the boys to fake an accident. What Jimmy doesn’t know is that this leads them into the den of psychopathic drug dealer Tuco (Raymond Cruz), a place Jimmy ends up as well by the end of the hour. Jimmy may not know who he’s messing with, but he does do something incredibly dumb that gets him and the boys into the situation, so he is to blame.

That makes me wonder how viewers are supposed to feel about the protagonist. Breaking Bad proved you can make a show about a character who is often unlikeable, but there’s something about Saul that makes me care. In Jimmy, this is even more prevalent. He’s the little guy, pushed down, and all his antics are him fighting back against what he sees as a rigged system. This is a sympathetic position, whether he’s right or not.

The style of BETTER CALL SAUL is very reminiscent of Breaking Bad. It is slow burn, with very artistic direction, confusing close-ups, and the very real feel of a larger story than what is being presented. This is by the same guys who did that show, and you can easily tell that, the connections being more than just a character or two.

Joining Jimmy, Chuck, and Howard, the cast includes: Mike (Jonathan Banks), whom fans will remember from the mother ship, and who gets only one (very special) scene in “Uno;” Kim (Rhea Seehorn, Whitney, Franklin & Bash), a lawyer who works for Howard, but seems to at least like Jimmy a little bit; and Nacho (Michael Mando, Orphan Black), a criminal I didn’t notice at all in the first episode, so he may not have shown up yet. This seems a good mix of new and old faces from various worlds, leaving open a number of possibilities as to how the series can move forward.

I like Better Call Saul. Odenkirk is still doing the great work he did in Breaking Bad, deepening the character and showing more range. While I have pointed out a number of similarities to that other series, it also has the bones to be its own story completely, not reliant on its predecessor as it goes on, with references being more funny that necessary. It’s early to make a judgment, but AMC’s decision to already order a second season makes me optimistic my faith in BETTER CALL SAUL is not misplaced.

BETTER CALL SAUL moves to its normal night and time this evening, airing episode two at 10 p.m. ET on AMC.

“Maréchaussée" Threatens GRIMM

Article first published as GRIMM Review Season 4 Episode 12 Maréchaussée on Seat42F.

This week’s episode of NBC’s GRIMM is called “Maréchaussée.” For those unfamiliar with the term, as I was, it refers to the secret French police force that worked under the monarchy and who were basically bullies whose victims had no appeals process. To no one’s surprise, the Wesen royals have their own Maréchaussée, seen this week in the form of a bounty hunter (Arnold Vosloo, 24, The Mummy), who comes to town to take out a couple of false fortune tellers. Then he receives a new assignment: Nick (David Giuntoli).

I’m torn in my opinion of this episode. On one hand, the central Wesen guest star is connected to a larger story and group, and the title of the episode makes reference to that. So that makes it a mythology episode that moves along the arcs, the type of serial story I enjoy from Grimm. On the other hand, Nick, Hank (Russell Hornsby), and Wu’s (Reggie Lee) hunting of said Maréchaussée plays out very much like the police procedural crap this show has been spitting out recently, without enough variation in the main thread to set the hour apart. “Maréchaussée” toys with what once made GRIMM good without fully delivering on it.

During the investigation, it’s Wu who is now the human super-computer of knowledge and problem-solving. This serves a dual purpose, proving that Wu should have been a part of the team all along and giving him something to do in the episode, both good things. The problem is, Wu continues to get little acknowledgment from his teammates and he still feels tacked into the group, rather than a full-fledged member of it. Wu’s story starts the year so promising, and it, like this episode, fails to be what it should.

Yet, I can’t help buy enjoy “Maréchaussée.” There are some great subplots, which I’ll get to in a minute, and the case above is entertaining. Vosloo is a great guest star, if not used enough. His murder of the fortune tellers feels good because they deserve to die. Having the viewers know there’s something a little bigger going on and our heroes in the dark is engaging, as we wonder when they’ll put the pieces together. Even though the bounty hunter is killed, more will definitely be following. So, overall, while this isn’t one of the best episodes of GRIMM, it’s far from one of the worst, and certainly better than the last few.

A big development that happens this week is that Viktor (Alexis Denisof) and Adalind (Claire Coffee) come to Portland. They are hunting for Adalind’s baby, whom Renard (Sasha Roiz) sent away. It’s surprisingly only that it takes them so long to arrive, given that their focus this season is finding the infant, and now that they’re here, all sorts of delicious drama can take place.

Viktor has major political power and has plenty of people at his command. This makes him a very real threat, one Renard can’t just put off. It’s a good thing that none of the major players know where the baby actually is because that means Viktor’s interrogations can only go so far. The bad news is, once Viktor realizes the dead end, he’s going to get more dangerous and violent. And there is a way for Nick to get in touch with his mom, so the child isn’t completely safe.

Renard has a secret weapon, though, and that’s Juliette (Bitsie Tulloch). Henryetta (Garcelle Beauvais) tells Juliette this week that she can’t be cured of her Hexenbiest affliction and that she’s hella powerful. This understandably disappoints Juliette, but it also gives the good guys a very valuable ally that Viktor doesn’t know about. Juliette could be a game-changer here, especially given the bad-ass way she takes out the bounty hunter.

What’s also a game-changer is that Nick doesn’t know about Juliette because he’s the worst detective and most unobservant husband ever, and it’s going to really hurt their relationship when he finds out she’s been keeping this from him. She’s scared and ashamed, but she should turn to Nick, since Nick is the one who deals with these type of creatures. The fact that she hasn’t told him is nearly inexcusable.

Nick should forgive her, though. After all, she forgave him for keeping all his Grimm stuff a secret much longer. As wrong as it is for her to keep this to herself, indicating a very big lack of trust in their relationship, he should just consider this making them even. From here, they can either both put the past behind them and be better to one another, or they can break up. There should be no long, rocky road because they’ve already gone through that and it clearly hasn’t fixed them.

Next week looks to be a better episode, as there just doesn’t seem to be time for another case-of-the-week. Though, I won’t rule one out, since Grimm seems to be making many bad storytelling decisions as of late. We’ll see.

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

"What the Worlds Needs Now" is GLEE Like This

Article first published as TV Review: 'Glee' - "What the Worlds Needs Now" on Blogcritics.


The final season of FOX’s Glee gets back on track this week with “What the World Needs Now.” In a Burt Bacharach-fueled episode, which contains more songs than recent hours, Mercedes (Amber Riley) pushes Rachel (Lea Michele) to revive her Broadway dreams while Brittany (Heather Morris) attempts to repair things between Santana (Naya Rivera) and her abuela, Alma (Ivonne Coll). Neither are entirely successful, at least not yet, but both end happily enough.

First, the music. In the last couple of weeks, the music in Glee has been sparse and mediocre. Bacharach is very successful for a reason, and his songs fit very well in the show’s style. From the opening Rachel / Sam (Chord Overstreet) duet “I’ll Never Fall in Love Again” to Brittany’s dreamy “Wishin’ and Hopin'” to Rachel’s triumphant city-spanning “Promises, Promises” audition to the big ensemble closer “What the World Needs Now,” each number lands strong. It doesn’t always make sense as to who is singing them or in keeping with what the situation is (I’m looking at Santana’s soulful “Alfie” for her abuela), but they numbers enjoyable enough and beautifully staged to see past that. Other numbers in this episode include “Baby It’s You,” “Arthur’s Theme (Best That You Can Do)”, and “(They Long to Be) Close to You.”

Second, the story. Brittany trying to make Alma accept Santana for who she is is a sweet, timely narrative. Santana wants her family around her, and hates the estrangement of the past three years. But Alma has old-world values and, even after seeing the loving couple together, cannot bring herself to shift her stance. I think of my own grandmother, sweet and kind as anyone, but unwaveringly against gay marriage to the point that it makes her angry, an emotion I’ve rarely seen from her, and it’s sad. And I’m not even a homosexual.

Society’s attitude overall has shifted, but not nearly as much for the elder population.  There’s a certain age gap, a generation that cannot make the switch into the modern world. Homophobia is this era’s racism, and it’s hard to see otherwise accepting people turn cold against an idea completely alien to them.

That “What the World Needs Now” does not sway Alma is realistic. Most television shows would go with the easy shift, and Glee has changed hearts and minds on many occasions. Who knows, with seven episodes to go in the series, perhaps Alma will be brought back in a softer manner. I hope not, though. It’s a more powerful and believable story to highlight what the schism does to families without resolving it, and if it hits home for a few, it will be well worth it.

I very much like that Mercedes has come back to raise Rachel’s game. The two don’t always get along, but they are stronger together. When they both achieve success in season five, it’s heart-warming. I have no idea how Glee justifies Mercedes having so much time off to come back and encourage Rachel, but I’m glad she does. Rachel has a destiny greater than McKinley, and while reviving the glee club at the high school is a great way for her to spend her recovery time, it’s not her end game.

It won’t be easy for Rachel to break back into show biz, though. Despite that awesome audition, I would be very disappointed if Rachel wins another plumb role so easily. The casting director has to have serious doubts about her reliability given her past track record and the mistakes Rachel has made. If Rachel is given the chance to sell herself and express her regret, that would be OK, and she should be able to work her way back up. But a second bout of instant success cannot happen.

Also, should Rachel be offered a part, she cannot abandon the New Directions to take it right away. Part of showing she’s changed is honoring her commitments, and she recently promises a student she won’t go before their journey is done. She has to finish out the year before she can return to New York City. Otherwise, nothing has changed and she’s likely to make the same bad choices over.
Third, shippers. I’m not a Samchel fan; I am all about Samcedes. But we’ll see how that plays out. From “What the World Needs Now,” it looks like it could go either way.

Fourth, parents. Using Ken Jeong (Community) and Jennifer Coolidge (2 Broke Girls) as Brittany’s parents is hilarious. They’re goofy and slightly offense, sort of like Brittany herself. It works extremely well.

My only real complaint about this episode is that Emma (Jayma Mays) is absent from the engagement party in her own house. Since The Millers, the sitcom Mays is a main character in, has been canceled, though, hopefully she’s available to appear in later episodes of the season.

Seven episodes left. If Glee can deliver more stories as moving as “What the World Needs Now,” it will be in great shape. Glee airs Fridays at 9 p.m. ET on FOX.

The "Uprising" Of ARROW

Article first published as ARROW Review Season 3 Episode 12 Uprising on Seat42F.

Bex Taylor-Klaus as Sin, Katie Cassidy as Black Canary and Colton Haynes as Arsenal | ARROW

 

This week’s installment of the CW’s ARROW is called “Uprising,” though I would certainly contend that the series has been raising its game for more than just this single hour. With the police having given up The Glades to Brick (Vinnie Jones), Team Arrow is left defending the lawless neighborhood on its own, which they are not quite up to. Looking for options, they receive an offer they are very tempted to refuse.

“Uprising” is an excellent episode. It pits our heroes in a losing situation, testing their mettle and their moral compass as they seek to find a way out of it. Malcolm’s (John Barrowman) offer of assistance could end the fight with Brick, but it will also cost them a bit of their soul, teaming up with the man who killed their friend and almost destroyed the city. Yet, they are divided on whether to accept. Even when compromising their code appears to be the only solution, some of the team want to take the higher ground, and those people win out.

Roy’s (Colton Haynes) reasons for wanting to work with Malcolm do not stem from desperation. After a talk with Thea (Willa Holland), Roy sees that Malcolm may be redeemable. Malcolm is misguided, but at least he cares. This highlights Roy’s sensitive side, and also makes Malcolm far more interesting, enhanced by flashbacks that show how he becomes a murderer in the first place. These flashbacks are way more interesting than the ones we usually get with Oliver (Stephen Amell). Roy could also just be championing Malcolm because of his feelings for Thea, though.

Laurel’s (Katie Cassidy) reasons for wanting to join with Malcolm have to stem more from desperation, right? After all, Malcolm is responsible for Laurel’s sister’s death, and Laurel knows this. It’s surprising she’s willing to set that aside and work with the monster, a sign of just how dire things are.

Diggle (David Ramsey) is the one who makes the final decision, backing up Felicity’s (Emily Bett Rickards) objections. Diggle is trying to fill Oliver’s shoes, taking on the mantle of leadership. Being in charge is not easy, and that person must make some tough calls. Diggle does what he thinks Oliver would do, and what is the more noble thing, and that’s refuse Malcolm. It may make Team Arrow’s job tougher, but it makes sense.

Diggle also comes up with another idea, and that’s to get the citizens, including Ted Grant (J.R. Ramirez) and Sin (Bex Taylor-Klaus), to rally and stand with the costumed heroes. It’s a genius plan, really. The superheroes work on behalf of the population, so it makes sense to ask the population to repay that protection. Their battle seems epic as the sides clash, like a blockbuster film, though obviously with fewer extras and less impressive sets than, say, Lord of the Rings.

There is one problem that stems from this war, though, which ends with victory for the good guys. The more people let in on a secret, the harder it is to keep it. Sin immediately recognizes that Laurel is not the same Black Canary that she’s used to. In turn, she mentions this to Quentin (Paul Blackthorne), whom Team Arrow has been lying to. This will not end well, though “Uprising” does not reveal what happens.

“Uprising” also features the return of Oliver, a.k.a. the titular Arrow. I think this comes a bit too early. Arrow-less Team Arrow has been through many challenges, but they have not gotten anywhere near boring nor played out everything they could. I wish this story would have been stretched out just a few more weeks. If the writers didn’t know what else to do with Oliver in the cabin, he didn’t have to appear in those episodes at all.

As Oliver comes back, he strikes up a deal with Malcolm. He can be forgiven for doing so because he has a very different perspective on things than his team, with additional knowledge about who Malcolm is and was. But it’s also easy to see why Felicity and Diggle would feel betrayed, thinking they were upholding Oliver’s righteousness and being disappointed that Oliver himself will not do the same. Felicity, in particular, doesn’t give him a chance to explain, which again, is understandable because she’s experiencing very strong emotions upon learning Oliver is not dead, as she thought he was. All in all, it’s a messy return.

“Uprising” presents an exciting, engaging story, challenging our heroes and expanding our minds about who some of the characters are. Something ARROW has been doing extremely right this season is deepening the mythology and the players, and I’m happy to see that trend continue.

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

I Pledge ALLEGIANCE (Well, Sort Of)

Article first published as ALLEGIANCE Review on Seat42F.

As NBC’s new ALLEGIANCE begins, it’s easy to draw comparisons to FX’s The Americans. ALLEGIANCE also involves Russian spies living among us whose children the Russian government would like to recruit. However, as the first hour plays out, comparisons fall away because of a different setting, time period, and vastly different story, and by the end of the pilot, I found myself quite engaged.

At the center of ALLEGIANCE is the O’Connor family. Mother Katya (Hope Davis, The Newsroom) once upon a time fell in love with an American, father Mark (Scott Cohen, Necessary Roughness). She was allowed to marry him and move to the United States in exchange for the two of them offering up intel to the KGB. Eventually, their daughter, Natalie (Margarita Levieva, Revenge), became part of the deal.

But as Allegiance begins, it’s been years since the O’Connors heard from Katya’s former home country, and they are not sorry to be done with Katya’s former government. Now, though, the SVR, successor to the KGB, wants their son, Alex (Gavin Stenhouse, Iconicles), a new analyst at the CIA, as an asset. Katya is horrified, happy to be living as an American, and wants nothing to do with this. But she may not have a choice.

The pilot of ALLEGIANCE barely gets started in the cat-and-mouse game that will surely unfold. There are plenty of twists, keeping viewers guessing at how much will be revealed how early to each person (though, of course, secrets will come out). Warring motivations of not just the groups involved, but also the individuals, make the match up complex, rather than predictable. Unexpected connections pop up from time to time, further deepening the web.

The cast also includes, besides the four mentioned above, a younger O’Connor daughter still at home, Sarah (Alexandra Peters, Saige Paints the Sky), a Russian handler, Victor (Morgan Spector, Boardwalk Empire), and Alex’s boss, Sam (Kenneth Choi, Sons of Anarchy). This isn’t a large enough group to keep the story going strong for too long, but it’s a fine starting core, giving us one representative of each organization, as well as the all-important family unit.

ALLEGIANCE isn’t wholly original. Certainly, there are many elements, from the sleeper cell to the parents keeping secrets from their children to spy games, that feel quite familiar. With The Americans still successfully airing, it also feels too soon for another show like it on television. However, it’s several steps better in quality than last year’s The Asset. As long as it sticks to its initial serial nature, rather than being forced into a procedural box, as has happened with NBC’s Grimm, this show could say something worth listening to.

The performances are fine, though a little soapier than I’d like. Tonally, I seem similarities to ABC’s Revenge, though thankfully ALLEGIANCE doesn’t push the bounds of reality nearly as much. I think it’s acceptable to have a little melodrama. I just hope it’s reigned in enough to not distract from the parts of the story that really matter, and that the plot focuses more on political machinations than romantic relationships, which are OK if done right and not just hooking up every male character with every female one over time, but tend to be overused to shows’ detriment.

Overall, I’m pleasantly surprised by ALLEGIANCE. Offerings from the Big Four have been pretty disappointing lately, so I admit to going into this one with considerably lowered expectations. The fact that the pilot intrigues me and makes me wonder what’ll happen next is a good thing, even if the characters aren’t ones easy to instantly connect to. The hour takes its time getting started, but once it does, it’s clear that the writers have a plan in place and the story is going somewhere. I’m not fully committed to watching the rest of the season, but it has at least earned a second and third viewing.

ALLEGIANCE premieres this Thursday at 10 p.m. ET on NBC.

TV Review: SLEEPY HOLLOW - "Spellcaster"

Article originally written for Seat42F.

So SLEEPY HOLLOW is definitely doing what FOX promised it would during a recent press engagement and dialing back on its serial nature. This week’s episode, “Spellcaster,” is another in a string of recent installments whose main running time is concentrated on a singular case. Solomon Kent (Jonathan Schaech, Ray Donovan), who is responsible for the Salem witch trials, has escaped from Purgatory. Can Abbie (Nicole Beharie) and Ichabod (Tom Mison) stop his selfish mission before destruction is wrought upon the world at large? Of course they can.

If you’re a regular reader of mine, you’ll know I’m extremely disappointed that the show has become so procedural. In fact, I recently posted a Jerome-ing column on Blogcritics.org about this trend on the Big Four broadcast networks. Look, I enjoy Abbie and Ichabod working a case as much as the next guy because of their terrific chemistry, but it’s better when that dynamic is used while serving a greater purpose. So for now, I’ll just say yet again that it’s lazy writing and far less compelling storytelling when SLEEPY HOLLOW sticks to a case-of-the-week format.

Bringing Solomon Kent into the story also seems repetitive because of his place in history. Kent is not based on a real person, like recently seen Abigail Adams and Ben Franklin are, but in the SLEEPY HOLLOW mythology, he is responsible for a major historical event. I’m really getting tired of Ichabod and Katrina (Katia Winter) apparently knowing every person of importance in early American history. It just doesn’t make sense, especially here, where Kent’s story is set before the revolutionary times and in a place where the founding fathers didn’t frequently tread.

Another complaint I have is that the show allows Winter to play Katrina’s grandmother. This trope has been extremely overdone on television. I’ve never met anyone who looks nearly identical to a relative, unless it’s a twin. Certainly looking at pictures of my ancestors, the resemblance is obvious, but far from 100%, which makes sense, given the varying families’ genes that make up each new member. I’m sure doing this saves money for the production and gives the actor a chance to play someone else, but it just makes the story seem less grounded.

Lest you think all of my comments on “Spellcaster” are negative, there are some good parts to the hour. We finally catch back up with Henry (John Noble), who is living in a cheap motel. For much of the episode, it appears this may be a kinder, gentler version of the villain, up to the point where he is going to defend the motel’s owner and her son. Then, though, his true nature is revealed. He is mourning the death of his demon “father,” and any pain he inflicts is to reclaim his own position of power, not to protect weaklings. It’s an awesome reveal, played fantastically by the talented Noble.

It’s cool that SLEEPY HOLLOW seems poised to declare Henry the new Big Bad. The first season and a half, when the witnesses battle Moloch, is fine, but having Ichabod and Katrina’s son be more than a puppet opens up lots of possibilities and drama. Not everyone can be redeemed, and it’s satisfying that “Spellcaster” doesn’t go that route with Henry.

Less solid is Frank Irving’s (Orlando Jones) motivation. Katrina says his soul is clean, but “Spellcaster” definitely has Frank working for Henry. What’s more, previously Frank is resisting Henry’s orders. Now, they seem to be friends, though Henry likely sees Irving as a pawn, as Moloch used to see Henry. There is a missing chunk of time here when Irving becomes bad. Should the show go back and explain this, it would be fine. Given the way it is presented, though, it doesn’t seem likely that’ll happen.

SLEEPY HOLLOW is a good show from the start, becomes great at the end of its freshman season, and then flounders throughout the second year. There are moments of greatness, but much of this season, like this episode, is mediocre. A genre series needs to own its mythology and concept. SLEEPY HOLLOW is sadly not doing that at present, and whether that is a choice the writers or the network is making, it’s not a wise one.

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

"Part" of GRIMM is Good

Article first published as GRIMM Review Season 4 Episode 11 Death Do Us Part on Seat42F.

Reggie Lee as Sgt Wu, David Giuntoli as Nick Burkhardt, Russell Hornsby as Hank Griffin | GRIMM

 

NBC’s GRIMM is back to case-of-the-week stuff in this week’s “Death Do Us Part,” unfortunately. A team of ghost hunters encounter a Wesen that murders one of their own. When Nick (David Giuntoli), Hank (Russell Hornsby), and Wu (Reggie Lee) investigate, they discover a love triangle and a man gone insane in the creepy house. From there, it’s not hard to stop the haunting.

The main plot of “Death Do Us Part” is utterly predictable and trite. Right from the beginning of the hour, there is never a doubt in my mind that the husband is the killer and still hanging around. The official ruling from the connected original case five years ago is that the lover killed a husband and wife in bed, but that makes no sense to anyone who ever watches crime shows. It’s always a jealous spouse who is the guilty party, as it is here.

There is also no reason to ever suspect ghosts are real here. It would be cool if Grimm were to expand its world and the crazy man, Stetson (Derek Phillips, Friday Night Lights), really did see his dead wife, but he didn’t. This universe is full of strange creatures, but only living strange creatures, which keeps it somewhat grounded. It’s hard to complain about that choice, but since the episode is so annoyingly boring, I was hoping for a hint of something cooler.

In the end, Nick and his colleagues don’t even stop the killer. The dead lover’s spouse, Lily (Rebecca Wisocky, Devious Maids), shoots Stetson, thus ending his reign of semi-terror. Then they let her get away with it.

In this specific case, it’s true, the killer Wesen couldn’t really be jailed in the traditional sense. But he was mentally ill, not evil, and needed help and sympathy. Instead, he’s just executed. And the cops don’t do what cops are supposed to do, which is seek justice. Instead, they sweep it under the rug. There are very legitimate reasons that Nick, Hank, and Renard (Sasha Roiz) have gotten used to taking the law into their own hands, and a lot of times, that’s acceptable. Not here.

I was hoping Wu would be the voice to speak up and remind the others about the responsibility of the badge. Instead, in a mere couple of weeks, he’s settled right into being the gopher again, albeit a gopher in the know. There’s a scene in the trailer in “Death Do Us Part” where Nick ‘graciously’ allows Wu to read what he found about the Wesen they are hunting. This is the most Wu ever gets acknowledged by his co-workers, despite the fact that he finds the baddie in the book and an image on a melted camera. Wu is highly capable; now we just need to see him come into his own.

The one part of “Death Do Us Part” that is interesting is the thread where Renard introduces Juliette (Bitsie Tulloch) to the mysterious Henryetta (Garcelle Beauvais, Franklin & Bash). But, as has become the case for such stories, it’s relegated to a few little scenes, moving forward very slowly. It’s also worth mentioning that Nick, a trained detective who isn’t that consumed with his case this week, continues to ignore Juliette’s strange behavior, which is completely unrealistic.

Once upon a time, Grimm was growing into a series to watch. In the tradition of Buffy the Vampire Slayer, it was crafting a compelling mythology and an engaging narrative. Now, it’s mostly gone back to being a police procedural that just happens to have supernatural creatures in it.

This follows the same trend of Sleepy Hollow over on FOX, about which a studio exec told the press it had become too serial. This is a disturbing trend for the broadcast networks. I’ll speak more in depth about this in my Jerome-ing column on Blogcritics.org this week, but at a time where choice in programming has never been broader, cable and internet companies are cranking out high-quality shows that earn accolades and legions of passionate fans. The Big Four continue to ignore that, looking at an outdated commercial-based model where only the least technologically-literate people looking for easy “fast food” television turn. This pool is shrinking as evidenced by the rampant ratings erosion. Forcing GRIMM back into a restraining box is not the answer.

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