THE GOOD WIFE Goes "Dark"

Article first published as THE GOOD WIFE Review Season 6 Episode 13 Dark Money on Seat42F.

CBS’s THE GOOD WIFE returned from hiatus this week with “Dark Money.” Alicia (Julianna Margulies) faces the bad side of her campaign as she and Prady (David Hyde Pierce) compete for a big money donor. Meanwhile, Lemond Bishop (Mike Colter) cashes in his favor with Kalinda (Archie Panjabi), and Diane (Christine Baranski) and Cary (Matt Czuchry) defend Colin Sweeney (Dylan Baker) in a defamation lawsuit. Nothing huge happens in the mythology of the show, but it is another excellent installment.

Any episode with Colin Sweeney in it is most welcome, and when Baker gets to play dual roles, also portraying an actor hired to play a version of him in a TV show, well, that’s just icing on the cake. He is a supreme creep, the type of person one never wants to meet in real life, but the same eccentricities that make him a scary psychopath also help paint him as a fascinating television character.

This go ‘round, things start off with a prosecutor, Selma Krause (Julie White), trying to prove a show didn’t use Sweeney’s likeness, then morphs into yet another case of someone trying to show Sweeney killed his wife. With Sweeney’s current spouse, Renata (Laura Benanti), a woman as unpredictable and self-absorbed as her husband, tossed in as a wild card, there are many interesting back and forths as the case shakes out, each side taking a turn in the lead.

I don’t know if The Good Wife will ever see Sweeney convicted, but “Dark Money” is as close as the show has ever gone to saying he did it. Part of me wants Sweeney to get his just desserts, but part of me is glad he gets away with things because it’s our heroes who represent him.

Alicia has been getting in touch with her dark side, too, even as she tries to stay out of Sweeney’s business, a position he isn’t happy about. Instead, she meets with a Koch-brother-type, Guy Redmayne (Edward Asner), who wants to support her because he thinks Prady is gay and he doesn’t like “faggots.” In his own way, Redmayne is just as despicable as Sweeney, even if Redmayne has never killed anyone. Because Alicia has to deal with him, she is torn up inside, realizing the high cost she’s paying by going into politics.

I think Alicia will be able to live with herself, though. It’s true that she doesn’t like doing what she’s doing and she has a good cry afterwards, especially after Prady makes her sympathize with him again. However, this is all for a reason, and Alicia wants to win. Having come this far and knowing everyone else is just as deep in the mud, she feels this is the game she has signed on to play. Similar to being a lawyer, entering politics is impossible to do over any period of time with a clean soul.

Can she still be a good person, though, if she does bad things? Her daughter, Grace (Makenzie Vega), seems to think so, and I’m inclined to agree. People can’t be judged by every single action they take; they have to be considered as a whole person. Overall, Alicia does far more good than bad in this world.

The final of the trio of stories finds Kalinda tasked with playing chauffer to Bishop’s son, Dylan (Eric Ruffin). Bishop has his reasons for enlisting Kalinda and those play out, but that’s not nearly as interesting as the accidental circumstance Kalinda finds herself in when she sees a bully being mean to Dylan. Kalinda handles it, but Bishop finds out anyway.

Bishop is a scary dude, which is why Dylan doesn’t want Kalinda to tell his dad what happened. When faced with the situation, though, Bishop calmly calls the bully’s father and asks him to talk to his son. There are no threats, veiled or otherwise, and no physical punishment is dealt out. It’s frustrating to Bishop not to use every tool in his arsenal to protect his loved one, but he knows it’s better for his son if he shows restraint. He is many things, including a good father.

This doesn’t make Bishop a likeable character by any means. Like Redmayne and Sweeney, he isn’t someone you’d want to be friends with. Also like them, he’s rich. I think there’s a commentary to be noticed here about the trio of villains in “Dark Money” and how they tie into the stories of our main characters, who are not bad people.

“Dark Money” leaves the viewer with much to ponder, and in between serious moments, Marissa (Sarah Steele) drops in to lighten the mood. Plus, there’s a terrific West Wing reference. This is a recipe for a great television show, and I’m constantly amazed at how THE GOOD WIFE thrives on a boring network like CBS. Thankfully, the channel seems to let them do their thing their way.

The Good Wife airs Sundays at 9 p.m. ET on CBS.

ONCE UPON A TIME On the "Edge"

Article first published as ONCE UPON A TIME Review Season 4 Episode 13 Darkness on the Edge of Town on Seat42F.

In this week’s episode of ABC’s ONCE UPON A TIME, there is “Darkness on the Edge of Town.” A down-on-his-luck Mr. Gold (Robert Carlyle) brings Ursula (Merrin Dungey) and Cruella De Vil (Victoria Smurfit) to the edge of Storybrooke with a plan to get them inside. If only our heroes weren’t such goodie-two-shoes, as a couple of them apparently aren’t, the hamlet might be safe. Alas, evil is allowed within the protective spell once more.

This is supposedly about the lowest Gold has ever been, yet he’s easily able to manipulate not just his cohorts’ way into Storybrooke, but his own as well. If this doesn’t give you an idea of how powerful and forward thinking the Dark One is, nothing will. He may look pathetic eating a cup of ramen noodles in Ursula’s sad apartment, but this is merely cosmetic. Gold is still very much a force to be reckoned with, and far from done with his plans.

I contend, though, that things go far too easily for Gold in “Darkness on the Edge of Town.” Gold is very intelligent, to be sure, but so is Belle (Emilie de Ravin), and he not only tricks her into releasing a demon on the town, he does so without anyone suspecting his spell. Then, while Emma (Jennifer Morrison) and Regina (Lana Parrilla) do have reason to think villains can be redeemed, they don’t question how convenient it is that two baddies who can stop the demon show up at just the right time to do so? Not to mention, after allowing Ursula and Cruella in with a magic scroll, our heroes don’t get this key back, allowing the women to sneak Gold in later. This all adds up to a pretty weak story.

Weak, uneven story has been the problem with ONCE UPON A TIME for at least the past year. Ever since the excellent Neverland arc ended, it seems the writers can’t quite manage to come up with a cohesive tale that makes sense. I am very interested in Gold’s past with these villains and how they ended up in the real world, but we need a framework that makes sense to get us there. Having coincidence and laziness move characters that are supposed to be the best of us is sloppy, and it’s hard to get into the story when this exists.

That being said, there are some cool teases in “Darkness at the Edge of Town.” Snow (Ginnifer Goodwin) and Charming (Josh Dallas) apparently have a past with Cruella and Ursula they don’t want exposed. This is intriguing because the pair are usually so good as to be boring. The few times their darkness has come out have been among the best moments for their characters. I’m anxious to see what their secret is this time.

Also, after the Blue Fairy (Keegan Connor Tracy) is rescued from the sorcerer’s hat, she speaks of the sorcerer and the author of the story book being two very different people. As has frequently been the case in ONCE UPON A TIME, Blue seems to know a lot more than she’s letting on. Given the importance of the author and how the show has been teasing his or her identity for awhile, it’s heartening to see this arc moving forward.

Lastly, Gold says that the heart with the darkest potential in Storybrooke is Emma, not Regina. Given just how bad Regina used to be, that’s hard to believe, but our Emma is certainly not as pure as Snow (he he), with her own checkered past. Emma’s use of magic has been slowly growing, and we’ve seen that magic can corrupt. Might Emma be reaching a tipping point where her soul is pulled towards the wrong path? That would be an interesting plot, if done right.

“Darkness at the Edge of Town” manages to be a pretty intriguing hour, despite the flaws in the central plot. The series certainly can’t afford to let every installment be this flimsy, but if it focuses on the established strengths it possesses, Once Upon A Time could get back to being great again in short order. There is enough good stuff here to build a half-season upon. The question is, will they?

Once Upon A Time airs Sundays at 8 p.m. ET on ABC.

HOUSE OF CARDS Season Three Premiere

Article originally written for Seat42F.

 

WARNING: This review contains spoilers from the first two episodes of the third season of HOUSE OF CARDS. Also, if you haven’t watched the first two seasons yet but plan to, don’t read this article.

Netflix’s HOUSE OF CARDS return was highly anticipated, and thankfully it comes back strong. With thirteen episodes available immediately for streaming, many will binge watch their way through in a weekend, unable to wait to see what happens next. Hampered as I am by my wife, who loves the show but detests the binge, it may take me a few weeks to see how things end. But beginning with the first two hours last night, I’d say this season is off to a good start.

The premiere, “Chapter 27,” is very heavily about Doug Stamper (Michael Kelly). When season two ended, Doug is beaten up in the woods by Rachel (Rachel Brosnahan) and left for dead, and many viewers, myself included, feared he had passed. “Chapter 27” shows us that he is not dead, but is going through a months-long recovery process to heal his mind and body, only to find out that Francis Underwood (Kevin Spacey), now President of the United States, doesn’t want him anymore.

I know, that’s not what Frank says, but it’s clear to both the audience and to Doug that that’s what has happened. Frank doesn’t do weak, and by allowing Rachel to get the best of him, Doug has proven himself inadequate for the task at hand. Frank hopes that tossing a few sweet words will pacify his former closest advisor, and Frank does have his press secretary, Seth Grayson (Derek Cecil), keep an eye on Doug. But this is likely more because Frank is protecting himself than any lingering concern for Doug.

For a while, it looks like Doug may go the way of reporter Zoe Barnes, a major character who is killed in the season two opener, though Doug seems likely to go by his own hand or drug use, murdered by Frank’s inaction rather than Frank’s action. But Doug has surprising self-control for an addict, measuring out very small doses of alcohol, and he has surprising optimism for someone who so intimately knows Frank, holding out hope he will be called upon again. Maybe he will.

It’s actually a little frustrating that HOUSE OF CARDS devotes so much of its first hour back to Doug Stamper. I like Kelly’s performance, of course, and his story is very engaging, a good way to skip over a few months without abandoning them all together. But as the installment goes on, I can’t help but wonder what HOUSE OF CARDS’ leading couple is up to, something we see only sparingly.

The second hour takes the teases we get about Frank and his first lady, Claire (Robin Wright), and develops them much further, with the leads taking back the spotlight. Claire is trying to be ambassador to the UN, something Frank’s Republican opponent, Mendoza (Benito Martinez) says he won’t block, but he sort of does. Frank, meanwhile, is trying to push through a massive jobs bills that guts entitlements while fighting a DNC leadership that doesn’t want him to run for election in 18 months.

Claire deserves something more than the ceremonial First Lady position, but I don’t know if she can handle what she dreams of, the first time we’ve really seen her limitations. Mendoza does test her, but he doesn’t seem to be malicious towards her, though the civility could just be a cover, as it is for Frank. Instead, Claire kills her own chances, and I’m surprised the vote ends up being as close as it is, especially with the DNC upset at Frank. Claire is the sympathetic of the two, and I feel bad for her when she fails, but by getting the job in a back-door move by Frank, doing an end run around Congress, I feel she is leaving her husband vulnerable and setting herself up for more negative criticism and likely failure.

Frank is also in dire straights for most of “Chapter 27” and “Chapter 28.” He is blocked at every turn by the opposition and his own party, something he doesn’t understand. The thing is, though, we’ve watched Frank for two seasons at lower levels of government. He recruits pawns; he doesn’t make friends. He also makes plenty of mistakes (does anyone else assume a reporter will run up to get a picture of Frank’s dad’s grave and find the urine after the season-opening scene?). Frank is a very smart operator, and he does find a path forward by the end of the second episode that feels momentarily triumphant (what a great speech!), but I think much of these two hours expose his weaknesses that will lead to his eventual downfall.

It’s bizarre to think that Frank is a Democrat given his lack of empathy for the people, his disregard for social safety nets, and his obsession with jobs. I believe HOUSE OF CARDS may put him in that party purely to keep Republicans from dismissing the show and to do something surprising. Sure, there are calculating, jerk left-wingers serving in government, but his personality and values so much more lines up with the current GOP. This disconnect feels wrong in “Chapter 28,” the first major misstep HOUSE OF CARDS seems to make in three seasons. Well, that, and the fact that they show Stephen Colbert (himself, or his on-air persona from The Colbert Report’s version of himself) still being on the air in 2015, which is very regrettably not true.

Still, it’s very easy to be drawn into this story, so well crafted and acted. Frank and Claire are far from the heroes viewers root for, and yet their enemies are frequently despicable themselves, and so you end up hoping the Underwoods will find success. I don’t think they will end season three on a high note. I’m guessing with no foreknowledge or without having seen the end that this will also be the show’s last, purposely designed as such, despite its popularity and critical acclaim. But I’m very interested to see how they will be taken down and by whom, assuming they are their own worst enemies. By the end of “Chapter 28,” all I wanted to do was watch “Chapter 29.”

The entire HOUSE OF CARDS third season is available now on Netflix.

BATTLE CREEK, Michigan

Article first published as BATTLE CREEK Review on Seat42F.

Detective Russ Agnew (Dean Winters, Law & Order: SVU) is a frustrated cop in Battlecreek, Michigan, a city of 50,000 whose force is underfunded and underappreciated. When the FBI decides to open up a field office in the same building the police inhabit, Agnew thinks he will show them “The Battle Creek Way,” which is also the name of the pilot episode. Boy, is he in for a surprise in CBS’s new drama, BATTLE CREEK.

BATTLE CREEK is most likely going to be a case-of-the-week, buddy cop series, which is nothing new at all. While both of the main protagonists are men, an idea that almost feels fresh again after the male-female pairings of Castle, Bones, Law & Order: SVU, and so many others in recent memory, it really is a tired old concept done to death in the 90s and earlier before being fairly recently retired.

Yet, the pilot doesn’t feel tired. Maybe it’s because Battle Creek is set in a small town in the Midwest, rather than New York or LA, as most television shows are. As an Ohioan myself, I greatly appreciate this. Maybe it’s the excellent cast, which is better staffed than any procedural has the right to be. Maybe it’s just the snarky dialogue and the impeccable chemistry between the series’ leads. Maybe it’s the fact that House’s David Shore and Breaking Bad’s Vince Gilligan created this series, lending it a high pedigree. Whatever it is, I really enjoyed the pilot.

Now, that doesn’t mean I’m giving this series a great review. While it is my job to judge a show based on its premiere episode and I do it often, I personally usually give a series more than one episode in order to figure out if they make the list I’m going to continue to watch. I have seen a number of great programs spring from poor pilots. It’s rarer that a series would go the opposite direction, but given the network BATTLE CREEK airs on and its inherent premise, that could certainly be the case in this instance.

Let’s get back to this show specifically, though. Agnew’s partner is Special Agent Milton Chamberlain (Josh Duhamel, Transformers), a golden boy “promoted” to run his own office in the podunk town. Milt knows this isn’t exactly a plum position, but he’s determined to make the best of it, and brings a calming counterpoint to Agnew’s hot-headedness.

If BATTLE CREEK stays focused on just the two of them, it is doomed to grow stale quickly. I hope this won’t end up being the case, as the ensemble is quite capable of more, and it is stacked with a comedy bend that could keep the tone from being bogged down in the cases. There’s Detective Fontanelle (Kal Penn, House), Agnew’s former partner, office manager Holly (Aubrey Dollar, Women’s Murder Club), Commander Guziewicz (Janet McTeer, Damages), Agnew’s boss, and Detective Funkhauser (Edward Fordham, Cuts), as well as recurring roles Detective Jacocks (Liza Lapira, Super Fun Night) and Detective Niblet (Damon Herriman, Justified). Almost all of these are most welcome.

The first hour spends a lot of time on character introductions, and there’s a case tossed in for good measure. At least half the running time is on the former, which is a good sign, but it’s possible that is only done because this is a pilot. The ratio between character development and finite story is what will determine if the show is any good or not. Most CBS series rely very heavily on the latter, to their detriment.

If BATTLE CREEK shall succeed, it should remember to keep the focus on the players, toss in larger arcs and many recurring characters (including some who work for or with Milt, since so far everyone is on Agnew’s team), and make sure it is accurate in its depiction of the setting, something I’m not familiar enough with the real Battle Creek to judge. However, whether the last is handled with authenticity is likely to become more obvious in the coming weeks, and I hope it respects the local flavor that could set it apart.

BATTLE CREEK premieres this Sunday at 10 p.m. ET on CBS.

SECRETS AND LIES and Crap

Article first published as SECRETS AND LIES Review on Seat42F.

ABC’s newest drama, SECRETS AND LIES, is based on the Australian miniseries of the same name. A man finds a boy’s body in the woods, and he soon finds himself the prime suspect in the kid’s murder, despite his insistence that he’s innocent. As friends and neighbors turn against him, can he clear his name and save his family?

First, it should be said that it is ridiculous how America finds the need to remake English-language series instead of just buying and airing the original versions, as is done in other countries. SECRETS AND LIES marks the third prime-time broadcast network drama this complaint applies to in this single television season, the first two being Gracepoint (copied from Broadchurch) and The Slap. At least this one doesn’t have any actors reprising their same roles, thus seems a little less repetitive.

When the U.S. remakes these shows, they almost always make an inferior, watered down product, often because the series is stretched out to more episodes, Americans not being used to limited series like other countries get. In this case, SECRETS AND LIES has been expanded from six hours to ten. But I have not seen the Australian version, so unlike with Gracepoint, I cannot lament over how American studios screwed up the program. Instead, I am judging this drama on its own merits, which, if not great, are surprisingly not terrible.

SECRETS AND LIES is a less complex version of The Killing, or a remake of Desperate Housewives with fewer characters and lacking humor. It does have some major plot holes, such as why the entire town turns against its protagonist before there’s any reason to, especially in a scene where he gets into the front seat of a police car. The DNA of the show, though, is a familiar case of a detective investigating locals, and thankfully the case will span the season, rather than be resolved in a single hour.

The lead investigator in SECRETS AND LIES is Detective Andrea Cornell (Juliette Lewis, The Firm TV series, Natural Born Killers), who is unfortunately the worst character in the first episode. She lacks any discernable emotion, other than supreme judginess, and has already made up her mind about the case before she sees any evidence. Her suspect, Ben Garner (Ryan Phillippe, Damages, Cruel Intentions), does have some holes in his story worth looking into, but he’s certainly not an obvious murderer, at least not right away.

Ben’s family is a central part of the tale, too. He is having problems with his wife, Christy (KaDee Strickland, Private Practice), and not just financial ones, though those are present and quickly worsen. His best friend, Dave (Dan Fogler, Man Up), is immature and crashes with them. His eldest daughter, Natalie (Indiana Evans, Home and Away), was the babysitter of the dead kid, and is being attacked by her friends for what her father is accused of doing. His younger daughter, Abby (Belle Shouse, Summer’s Shadow), may be the only one not turning against him, yet anyway.

Rounding out the cast is the deceased’s mother, neighbor Jess Mullen (Natalie Martinez, Under the Dome), who of course has some secrets of her own.

This is not a very original premise, and so my expectations were quite low going into episode one. Perhaps that’s why I ended up liking it, at least somewhat. It is far from the smartest show on television, but it has a solid cast of performers who handle the plot pretty well. Even where there are holes, they are smaller than in most of the recent premieres I’ve seen in the lack couple of years, and I’m drawn into Ben’s situation, sympathetic to his plight. There are a few surprises that don’t wholly feel like surprises, but there could be something here.

Of course, once we get to the middle of the season and the story has to tread water or add unnecessary subplots because Secrets And Lies seeks to fill more than the six hours it is based on, that opinion could quickly change, so I’ll take it week by week for now, rather than committing to the season pass. Still, this could be something, especially in the currently weak broadcast field.

SECRETS AND LIES premieres this Sunday at 9 p.m. ET on ABC.

THE LAST MAN ON EARTH Deserves to Live

Article first published as THE LAST MAN ON EARTH Review on Seat42F.

I just wanted to get that out there before this review even starts. It is the most wholly original sitcom on television, taking a premise that seems unlikely to work and building something really cool on it. Having viewed the first two episodes, I’m not sure where exactly the show is going, but given the beauty of the premiere, I can wait and see.

THE LAST MAN ON EARTH begins in 2020, two years after a virus wipes out all of humanity. For some reason, there are no corpses or sign of anyone. The world is in pristine condition, as if everyone and every living creature in it just disappeared one day. I hope that’ll be explained further because that seems very unrealistic for what we’re told, and there is no mention of where the animals have gone. But that doesn’t matter for now because none of this is the focus of the series, nor should it be yet.

Enter Phil Miller (Will Forte, MacGruber, Saturday Night Live, Nebraska). Phil is the lone survivor, and he begins the pilot by searching the entire country for another human being. His search, as the title THE LAST MAN ON EARTH suggests, comes up empty. There’s no one left. What’s a guy to do?

Well, Phil isn’t just any guy. He’s a very specific type of guy. He isn’t the type of guy I am, nor the type most people would be, I suspect. However, the portrait Forte creates is an authentic, complex individual that I could absolutely see existing in the real world. He cares about a set number of things, and others, he won’t worry about until he has to. Hence why an examination of the premise can wait.

The first half hour is a really cool look at this character and how he deals with the situation he finds himself in. There’s a lot for Phil to do, being the only character in every single scene, and he gets through quite a few things in that initial episode. I don’t want to spoil much, but suffice it to say, as soon as you get to know the character a little bit, he acts exactly as one expects him to.

The thing is, there’s an emotional depth present that elevates THE LAST MAN ON EARTH above the typical sitcom. It’s known that Forte can do drama, even if he’s more familiar in comedy circles, and I wouldn’t call the first half hour a comedy any more than I would many of the thirty-minute programs on HBO and Showtime. There is funniness in it, to be sure, but there’s also real human pathos. THE LAST MAN ON EARTH does better than just deliver laughs. This is a tour de force for a deserving actor.

Because of an event at the end of the pilot, which I will not spoil, the second half hour is completely different. The second episode could possibly be more of a picture of what the series is going to be, and if it is a structure to be copied, I don’t think I will continue to love it for too long. But as a second episode, it’s highly appropriate and still very good. If the series moves on and grows from this point, then this is fine. I say this because I applaud the bold risk taking THE LAST MAN ON EARTH accomplishes and I don’t want it to get trapped in a box, which is a possibility, but not one I seriously think will happen.

Looking at the IMDB page of the show, or even the official site (which teases), it’s pretty clear that Forte will not remain alone in the series. Among those credited are Kristen Schaal (Bob’s Burgers), January Jones (Mad Men), Mel Rodriguez (Getting On), and Cleopatra Coleman (Step Up Revolution). Only one of these four appear in the first installments, and I’d prefer not to say who or under what circumstances. It’s because of this list, though, that I am optimistic about the show’s future, meaning it should continue to morph over time as it works its way through the realities of this post-apocalyptic world.

I’m sold. I hope you will be, too. THE LAST MAN ON EARTH premieres this Sunday at 9 p.m. ET.

"Nanda Parbat" New Beginning for ARROW

Article originally written for Seat42F.

The CW’s ARROW finds Oliver (Stephen Amell) traveling to “Nanda Parbat” in the latest installment. He goes there because Thea (Willa Holland), in a fit of rage, gives up Malcolm (John Barrowman) to Ra’s al Ghul (Matt Nable). Knowing that Thea will eventually regret it if she is responsible for her biological father’s death, Oliver seeks to intervene. But he gets a heck of a surprise at Nanda Parbat.

“Nanda Parbat” is another hour of secrets coming to light, something that has been happening a lot lately on ARROW. After two and a half years of various characters not telling various other characters things, the central cast is rapidly being all caught up to speed, which makes for a messy, complex situation. ARROW has never been better.

Thea learning she killed Sara is rough, but it’s rougher when she insists on telling Laurel (Katie Cassidy), who forgives her, Roy (Colton Haynes), who tries to make her feel better, and Nyssa (Katrina Law), whom Thea offers vengeance to. Thea is being reckless with the information, especially when looping in the last person, who is held captive in Team Arrow’s lair at the time and may very well kill Thea (though probably not, for series logistics reasons).

Oliver is doing everything he can to protect Thea, not just physically, but also emotionally. Oliver has already faced Ra’s al Ghul before, and it almost kills him. Yet, when Ra’s takes Malcolm, Oliver is intent on facing the foe once more to try to shield Thea from regret. That Diggle (David Ramsey) accompanies him is incidental, a decision Diggle makes out of loyalty to his team, not one Oliver requests in order to concoct a smarter plan. Oliver isn’t thinking about how Thea will feel with two (or three) fresh deaths on her head in the very likely event that he should fail.

It’s nice to see Roy and Thea as they are in “Nanda Parbat.” Thea isn’t in the head space for romance, so they aren’t getting back together any time soon. Roy went through many of the same things Thea is going through, though, including dealing with killing someone while under the control of a villain. They are different people who will cope in different ways, but it’s still satisfying to see Thea have someone she can talk to and who understands her, especially if this brings them close together again.

The biggest surprise in “Nanda Parbat” comes after Ra’s, as expected, captures Diggle and Oliver and they sit in his prison. Oliver begs Ra’s to spare Diggle’s life, but Ra’s says he has no intention of killing either one of them. He wants Oliver, not his daughter, Nyssa, to be the next Ra’s al Ghul.

Why would Ra’s make this decision? I don’t think Nyssa is ready for the mantle, though maybe appointing Oliver is a test for her. And Ra’s clearly doesn’t agree with everything Oliver does, as he does not hand over Malcolm, whom Oliver seeks to save. I can see why Ra’s respects Oliver’s strength and fortitude, and I don’t think the League of Assassins is pure evil, so one who lives in the grey area of morality, such as Oliver does, could fit in. But given their recent history, Oliver defying Ra’s, it seems a weird move. The League probably won’t approve, and Oliver has no reason to accept.

What if Oliver did accept, though? He could use the League’s might to help with his mission to save Starling City, as well as other places. The problem is, their methods involve murder, something Oliver has decided should not be done any more, so he’d have to fundamentally change the organization, which would not be easy. It gives one a lot to think about.

Outside of all of these events, the one member of Team Arrow still keeping secrets is Felicity (Emily Bett Rickards). Unable to sway Oliver to what she thinks is best, she takes up with Ray (Brandon Routh), trying to guide him on his own path to superhero-ness as he dons The Atom suit this week. Felicity needs to learn to stop trying to control the men in her life, as she has picked a type and if she doesn’t want everything that comes with that type, she should reconsider her dating criteria. But it’ll be interesting to see how The Atom will evolve independently, and if he’ll work with or against Team Arrow.

“Nanda Parbat” is another in a string of excellent ARROW episodes, with great character moments and quite a few surprises. While I’m skeptical Nyssa will kill Thea, fates of other characters, such as Malcolm, remain up in the air, and the status quo seems to be constantly shifting. Two thirds of the way through the season, it’s hard to see where the show is heading, and that’s a good thing.

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

GLEE Finds Another "Child Star"

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

This week’s Glee, “Child Star,” finally focuses on the new kids of the New Directions, even as they joke that another alumnus may walk through the door at any second (none do). Instead, we see much of their personal dynamic as couples come together and friendships are worked out, all while the group prepares to perform at a horrible kid’s bar mitzvah. Which leads to a couple of fresh faces joining the group.

I feel slightly bad for the seven kids who join Glee in its final season because they’ll never get the development that beloved favorites have gotten. At the same time, while I enjoyed “Child Star” overall, I spent a lot of time missing all the other long-time characters absent from the hour, caring more about them this close to the end than I do about any new people in the cast. It’s really a tough position in which to put this crop of youngsters, especially when two of them don’t even appear until this episode.

Mason (whom many believe has an incestuous relationship with his sister, Madison), reveals that he is actually attracted to Jane (Samanatha Marie Ware). Jane is flattered, until Madison erupts in jealous rage (see? incest!), and Jane backs away from the drama. Luckily, Mason isn’t content to stay all Flowers in the Attic with his sibling, and makes a stand in the best musical performance of the night: Queen’s “I Want to Break Free.” This leads to Madison understanding and loosening her grip, a fairly predictable story move, but, one that gives Mason and Jane as happy an ending as they’re likely to get in the short time Glee has left.

Meanwhile, Spencer (Marshall Williams) has a crush on Alistair (Finneas O’Connell, Bad Teacher), which he expresses in a the enjoyable “Friday I’m in Love,” but has no game. Roderick (Noah Gurthrie) wants to climb a rope but has no athletic skills. Synergy is found when the two agree to help each other out, though this goes horribly, Spencer having no idea how to motivate someone like Roderick, and Roderick not even attempting to coach Spencer. Somehow, though, it all works out in the end because this is Glee, where emotion always trumps logic, and Spencer, Roderick, and Jane (why Jane?) celebrate together in the fantastic “Uptown Funk.”

I mentioned that I like “Child Star,” and I do, but neither of its stories play out all that intelligently. I guess I’m getting soft on the series as the end looms near, realizing I’m going to miss its whacky unevenness.It does “heart” so well, making me feel for the characters even when I shouldn’t care. This episode is a prime example, a way to blatantly illustrate what Glee does well and what it sucks at, so it strikes the nostalgia note alongside the others it is trying to hit.

All of this may be burying the lead because the titular “Child Star” introduced this week is Myron Muskovitz (J.J. Totah, Jessie). Myron is having his bar miztvah, and being a flaming, drama queen, 13-year-old, he wants everything to be perfect. His uncle, Superintendent Harris (Christopher Cousins), forces Sue (Jane Lynch) to cooperate, meaning the New Directions get involved in the party. Strangely, Myron also demands Sue and Beiste (Dot-Marie Jones) dance back up for him, which is fun, but completely goes against his drive for perfection. Anyway, everyone reluctantly agrees to meet the nightmare child’s demands, and in the end, his uncle strong-arms him out of middle school and into the glee club.

Myron is absolutely awful, so I’m glad there won’t be time to develop him. Don’t get me wrong; Totah clearly has talent. But his Disney Channel pedigree shows when Myron goes total spoiled brat, and is more annoying that he is likeable. His introductory performance, “Lose My Breath,” is more creepy than anything. When he eventually goes on at his bar mitzvah with “Break Free,” thankfully he blends into the background more than his character should, realistically speaking, since so many others are on stage with him. Still, that doesn’t mean he should be allowed to stay.

The silver lining is, with Myron and Alistair joining up, the New Directions now number eight, and twelve are needed for Sectionals in two weeks. Is anyone other than me thinking that now is a great time to bring back Marley, Jake, Ryder, and Unique? After all, while there is no way in the world these twelve should be able to have a credible set ready in time for judging, at least we know the four have chops and their presence has been missed. If they don’t return, the other spots are doomed to go to glorified extras, as has been done on Glee in the past.

The other thing worth noting in “Child Star” is that Will (Matthew Morrison) finally goes toe-to-toe with Sue on her level. Will has been through quite a journey, and coming back from Vocal Adrenaline, he’s found inner strength. He always stands up to Sue, but as he calls her Suzy Q and gets in her face, something seems different in their chemistry. Since Sue is likely to stay on as principal and Will will surely be back in charge of the New Directions at the end of all this, I’m thinking Glee is going to do a plot where Will finally turns into the man Sue has slyly been trying to make him into, even if her hilariously jumping on his back indicates otherwise.

I have a few last complaints about this episode. First, where is Kurt? His honeymoon is only said to be a weekend, meaning he should be back already. Why are Will and Rachel (Lea Michele) left to run the glee club alone? Also, why is Kitty (Becca Tobin), the lone glee clubber without plot this week, demoted to guest star this year when she is around more than Artie (Kevin McHale) and recently re-promoted Mercedes (Amber Riley)? She deserves better, and so does Mercedes for that matter, getting the credit but not the screen time. I’m not complaining about the lack of Artie. Lastly, the final number of “Child Star” is “Cool Kids,” which falls flat and serves very little purpose in the story. Bad ending choice.

Over all, “Child Star” is emotionally fulfilling enough, though not as much as some other recent hours, and despite plot holes, works OK. The end is in sight. Let’s get to it.

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

Blu-ray Review: ‘Doctor Who – Last Christmas'

Article originally published as Blu-ray Review: ‘Doctor Who’ – “Last Christmas” on Blogcritics.

A few months ago, as the BBC has often presented, Doctor Who aired a special on Christmas Day in both the United States and the UK. The latest holiday-themed episode is called “Last Christmas,” and it finds Santa Claus (Nick Frost, Shaun of the Dead, Mr. Sloane) dropping in on The Doctor (Peter Capaldi) and Clara (Jenna Coleman). This leads to an adventure at the North Pole with a group of scientists. But things get dreamy-weamy when a brain-sucking alien that can alter perception attacks them. This special is now available on Blu-ray and DVD.

Overall, I was quite disappointed with the most recent season, the eighth since the reboot, but “Last Christmas” is slightly better than those other installments. It is fun and scary and has a classic-type villain that poses a puzzle for our clever heroes, which is the good part about it. Sadly, it also flirts with character development without fully committing to it, teasing at some depth between the show’s leads, but failing to deliver a meaningful package, which is the main weakness of season eight. In short, it’s enjoyable, but also disappointing.

“Last Christmas” picks up after a long separation between our two protagonists, who lied to one another about their “happy endings.” Well, The Doctor lied, and Clara didn’t correct his assumptions about her, spelling an end to their time traveling together. Thrust back into adventure (which is explained adequately enough), they do have a brief screaming match to air the truth, but then they decide to resume their past arrangement with no discussion of the problems between them, minimizing what should be a really cool personal subplot.

I finally have a theory as to why the writers don’t deal with the underlying issues between this pairing. The Doctor is never one to dwell on his darkness when a companion is around, trying to present a cheery front. Normally, his companions help ground him, but Clara is also an avoider of reality, and between the two of them, a true confrontation and discussion just isn’t likely to spring. Which is why Clara needs to go. Part of why Doctor Who is so awesome is because of the complexity of its main Time Lord. With Clara by his side, The Doctor is allowed to ignore his issues, as she just wants to find the fun. The Doctor needs a companion that will stick challenge him to be his best self in a way that Clara does not.

That aside, the episode itself is mostly satisfying because it messes with the viewer’s brain. Some of the best installments of Doctor Who present something to fear and then outline why you cannot protect yourself from it. “Last Christmas” does that brilliantly with it’s Inception-like concept of dreams within dreams. Making Santa Claus, played by the always-terrific Nick Frost, a part of this makes a lot of sense. It’s not as mythology heavy as the previous two Christmas episodes, but it’s a fine stand-alone.

For extra meta-fun, there’s a guest turn by Michael Troughton, Second Doctor Patrick Troughton’s son, who plays one of the scientists, and Dan Starkey, who has a recurring role as Strax, pops up here as an elf.

On a side note, how did The Doctor and Clara encounter Danny Pink’s (Samuel Anderson) descendant in series eight when the later dies without having children? Danny’s cameo in “Last Christmas” makes me think his story may not quite be over, but I don’t see a way for it go forward from here, unless the show repeats itself with him as it did with Rory. I keep expecting Clara to be pregnant, but it doesn’t seem like Doctor Who is going that way, and Danny doesn’t seem to have coupled with anyone else, given his mental state. Will the series follow up and explain this?

The extras on this release are quite weak. We get a ten minute behind-the-scenes, which is pretty cool, as far as these things go, but that’s it for featurettes. There’s also an audio commentary track with the director, Paul Wilmhurst, and a producer, Paul Frift. Both are interesting enough, but I think fans would rather hear from the stars of the show, so it’s a bit disappointing. With only these two bonus features, I don’t think this release is worth it for the extras. If you already have a digital copy of the episode, that’ll surely be enough.

Doctor Who will return for a ninth series (since the reboot) sometime in 2015. Doctor Who: Last Christmas is available now.

SLEEPY HOLLOW Resides in the Past

Article originally written for Seat42F.

This week’s SLEEPY HOLLOW season (series?) finale on FOX, “Tempus Fugit,” finds Abbie (Nicole Beharie) in 1781. She must convince Ichabod (Tom Mison) to help her take down his evil witch wife, Katrina (Katia Winter), who has come back in time to kill Ichabod, and thus save their son’s life. Ichabod is hesitant to believe Abbie, as one might expect, but Abbie is nothing if not smart and resourceful, so she gets the job done.

“Tempus Fugit” is a very fun episode. Fun is the best word I can use to describe it, as story continuity has been lacking, but we’ll get to that in a moment. This finale, really a stand-alone-ish adventure, basically mirrors the pilot, with Abbie now the one out of time who must seek help from her partner in his element. This role reversal is satisfying for the fans, played well by the two actors with excellent chemistry. Toss in an appearance by Benjamin Franklin (Timothy Busfield), who of course believes everything Abbie says, and have Abbie encounter her ancestor, Grace Dixon (Onira Tares), and one gets almost everything one wants from this episode.

But here’s the thing: the set up of “Tempus Fugit” is lacking. Abbie knows Franklin is much more likely to believe her than Ichabod, so why not go to him in the first place? She may need Ichabod’s help and time is short, but surely it would be easier and quicker to get Ichabod to do what she wants with Franklin’s intervention. That she eventually succeeds in proving herself doesn’t take away from the fact that she wastes valuable time doing so.

This lack of thinking things through extends to the characters, who sometimes act without sufficient motivation. Katrina’s descent into villain is swift and complete. She doesn’t hesitate to kill innocents, such as Colonel Sutton (Marc Menchaca, Homeland). She’s acting without any regard for who she was in the first place. I know she wants to save Henry’s life, but doesn’t she feel bad at all for trying to wipe out the man she supposedly loved? She’s reduced to a very two-dimensional persona, and I don’t like it.

The biggest problem “Tempus Fugit” has by far is the lack of any stakes to care about, making the events of the hour, while entertaining, meaningless. It’s true that if Abbie and Ichabod do not manage to reverse Katrina’s spell, much would have been damaged in the world of SLEEPY HOLLOW. But there can’t be any viewers who seriously believe that’s a possibility, given how the story is presented. From early on in the episode, even before the Headless Horseman (Jeremy Owens) decapitates Ben Franklin, it’s very obvious that whatever happens in this 1781 doesn’t count, and it will all be erased. That basically ruins any tension the installment might build up, providing much simmering frustration as I watch scenes that would otherwise be very good.

Don’t get me wrong; I mostly enjoy “Tempus Fugit.” If nothing else, the pain Ichabod feels when he stabs Katrina to death is real, and Henry (John Noble) returning to escort his mother into the afterlife is very moving. As I’ve said before, the chemistry between Beharie and Mison is absolutely fantastic, and it is well used in this hour. But that’s not enough if the story can’t play out in a cohesive, logical manner. I’d say SLEEPY HOLLOW has Glee syndrome, doing the emotion well, but frequently dropping the ball on its larger arcs, not taking the time to make each new week match up with what has already been established.

If SLEEPY HOLLOW gets a third season, and that’s a big if at this point, we’re in major need of a reset. That is sort of telegraphed when Jenny (Lyndie Greenwood) shows up with a “cured” Irving (Orlando Jones) at the end. In this reset, real care needs to be taken to craft a structure for a new serial story that pays homage to the past, but basically begins a new adventure for the Witnesses. If the writers can do this, I’d be happy to see it renewed. If not, “Tempus Fugit” feels like a good place to put the show out of its misery, a decent enough episode capping a very uneven, inconsistent season.