Jerome Wetzel (Olivia Dailey) used to do TV Reviews all the time. Now, she posts short versions on the Facebook and Instagram account Jim's Daily by Jerome Wetzel, as well as serving as creator, producer, and head writer for It's All Been Done Radio Hour and iabdpresents.com
On this week's episode CBS's Hawaii Five-0, Steve McGarrett (Alex O'Loughlin) gets another piece of the mystery concerning his father's death when he learns Wo Fat (Mark Dacascos) may have ordered the hit. McGarrett is now being aided by C.I.A. analyst Jenna Kaye (Larisa Oleynik), who has a personal vendetta against Wo Fat, and after finding his location, takes a leave from the agency to track him. Steve isn't fooled as Kaye claims to be on an active mission, but soon the two team up and work together.
I hope it doesn't take 12 years for Steve to catch Wo Fat. I am aware, though I never saw the show, that Wo Fat was a character in the original Hawaii Five-O that messed with the team from the pilot all the way through to the series finale after a dozen seasons. While the first half of this new show's first season has done little to deal with this overall arc, the past few episodes have been very good at furthering the larger story. As such, Steve may not take down Wo Fat this year, but two or three years from now, it'll definitely be time to find a new bad guy.
As for the rest of the episode, it is fun, but not anything special. Like most procedurals, even though Hawaii Five-0 has a spectacular cast, things drag a little as the team pursues the case of the week. This week's murder is convoluted, making the team work through a number of twists before solving the case. That leads to some fun moments, such as Steve and Danno (Scott Caan) at a costumed convention, Kono (Grace Park) channeling her inner stripper to send a text, and the team talking to eccentric medical examiner Max (Masi Oka). But it did get boring in parts.
One complaint, and I know this is being picky, but at the convention, a black man in a Star Trek uniform corrects Danno when he calls him Captain Kirk, claiming to be Commander Sisko, instead. The man, if he were really a Star Trek fan, would know that he is dressed as Captain Sisko from the later seasons of Deep Space 9. Four pips on the collar represents Captain, not Commander. Sisko began the show as a Commander, but was promoted about halfway through. The uniform in the episode is also the uniform design worn later, after the promotion, rather than the completely different design from when Sisko was a commander. Look up Commander Sisko and Captain Sisko on google images, and you will see a startling difference in appearance, though it is still the same actor, so I'm complaining about a lot more than just a button on the collar. The casual viewer would not catch such a mistake, but Deep Space 9 is one of my favorite shows of all time, and certainly the best Star Trek series. The man in the costume would definitely know the difference.
I know this is the most popular new show of the season, and I will anger people with my criticisms, but it is the truth. Watching the same thing over and over again gets boring. I have watched all 19 episodes thus far, and have really enjoyed only about a third of them. Thus, the series joins the ranks of other popular shows that are really not very good. I'm looking at you CSIs, Law and Orders, NCISs, The Mentalist, etc. It's not a coincidence that most of those air on CBS. I won't even get into the plethora of reality shows like Dancing With the Stars and American Idol. The biggest difference with Hawaii Five-0 from those other shows is that this one has the potential to be really great, and sometimes is, rather than staying mediocre and rote.
To make a consistently better show, I recommend they give more screen time to the larger arcs, and less to the case of the week. Sometimes, get rid of the case of the week all together. Have more interaction between team members. Sure, the group is often together in various combinations, but much of that together time is spend examining evidence. Steve and Danno's one on one conversations in the car are ALWAYS a high point of any episode. So why not have two or three, or even four, every week? And give a little more to Chin Ho (Daniel Dae Kim), who has had fewer fun bits than anyone else. Making Kamekona (Taylor Wily) a series regular, also not a bad idea. Embrace the humorous elements, and play them up more. Lastly, an English translation of the episode titles at the beginning of each episode would be nice.
I am rooting for Hawaii Five-0 to succeed, and the winter has been better than the fall. If the spring can improve even more, we'll be in business.
Hawaii Five-0 airs Monday nights at 10 p.m. ET on CBS.
FOX's The Chicago Code had a great pilot, but to my surprise, it continues to deliver extremely well-made episodes every week. Those expecting just another cop show are mistaken, as this series is certainly much, much better than most of its peers on television. The series gets into some real human drama, the heart of the people that make up the city of Chicago. The main characters struggle with moral compromises and how far to go for justice. There are cases of the week, but there are also much larger plots that consistently get plenty of screen time, too. It is expertly written and acted. I cannot recommend this series enough.
This week, Jarek (Jason Clarke) and Caleb (Matt Lauria) bust a drug dealer named Romero, only to find the situation is much more complicated than they have assumed. Romero's son has been kidnapped by a rival gang, and while Jarek is fine with using Romero to save his son, federal agents show up and demand Romero be handed over to testify in another case, after which they intend to stick him into witness protection. Jarek is not one to give up easily, and is not about to let Romero's seven year old pay for his father's mistakes, so he has his niece, Vonda (Devin Kelley), and her partner, Isaac (Todd Williams), distract the F.B.I. men long enough to allow him to save the kid.
Jarek often crosses the line, but doesn't get into trouble because of his results. While this may not be entirely realistic, it is easy enough to explain away, as Police Superintendent Teresa Colvin (Jennifer Beals) has given him a long leash in an attempt to go after a very big fish. As such, even when the case is not connected to Jarek's main target, he is allowed to defy orders more than other cops. Which, of course, makes for extremely good action sequences. If you are missing Jack Bauer, Jarek Wysocki should help ease the pain.
Teresa herself pushes boundaries, but as she has to play politics, she isn't able to go as far as Jarek. Which may explain why she goes so easy on Jarek. He gets to do the things she cannot. He is her tool to get done what needs to be done. Last week, it went so far as to Teresa staging a suspension for Jarek, a real suspension, but pre-planned between the two of them, so that she can maintain a public image, but the job can still get tackled. This week, Teresa uses her more diplomatic talents, convincing the F.B.I. chief (Adam Arkin, Sons of Anarchy, Chicago Hope) that both they and she can get what they want. She is tough, but fair, and doing a heck of a job cleaning up quite a mess.
I absolutely love the dynamic between Jarek and his partner, Caleb. Caleb is a goody two-shoes, who is well educated and wants to go far in law enforcement. It's Caleb's unique combination of reminding Jarek not to stray too far from the right path, but also not to get in his way, that has allowed Caleb to stay Jarek's partner, despite the high turnover rate that position holds. Caleb recognizes the value in Jarek's methods in a way others have not, and seems to have a good moral compass and wisdom. He doesn't always agree with Jarek, but he knows how to pick his battles. For instance, he is now harping on Jarek's large consumption of energy drinks, but doesn't try to talk Jarek out of fooling the feds to save a little boy.
Caleb also gives Jarek crap for cheating on his fiance with his ex-wife, a plot that sees some serious development this week. Jarek's son catches Jarek and Dina (Amy Price-Francis, Life Unexpected, The Cleaner) together in the middle of the night. Dina wants Jarek to leave his very young fiance and come back to her, but knows him well enough to not force a choice. However, once Jarek affirms to his son that he has no intention of getting back with Dina on a more permanent basis, Dina accepts a date with another man, annoying Jarek.
Perhaps it is cliche in TV that the man who is super good at law enforcement has a screwed up personal life. But that doesn't mean it's not entertaining. Jarek is a deeply flawed man, but that may be why he is able to understand the bad guys well enough to take them down. He knows flaws better than most. Jarek doesn't seem particularly enamored with his fiance, so I do find it strange he doesn't just dump her for Dina, whom he seems to value more. However, not knowing their back story all that well, it's hard to know exactly what is informing Jarek's decision making process in this case.
Speaking of back story, this series has a cool element where one of the major, not necessarily main, characters narrates some history, often times with brief flashback scenes, informing on what has brought them to the point they are currently at. It's not like Lost where the flashbacks take over the narrative, or are extremely important to the ongoing plot. But I do like to know how past decisions influence present ones, and it is accomplished in an unobtrusive way. Very neat.
Finally, in an ongoing arc, Liam (Billy Lush) continues his undercover investigation into Gibbons (Delroy Lindo). Last week, to keep his cover, Liam committed arson, later finding out his deed led to a man's death. Thankfully, rather than just forgetting this twist, Liam is really struggling with guilt over what happened. Gibbons, who orchestrated the arson and murder so that Liam is under his thumb, asks Liam to be his driver for a day. But it's a ruse. He takes Liam to visit grieving families, including that of Liam's victim, basically letting Liam know he is now owned.
I am not convinced that the man died in the fire. His body may have been dumped there to blackmail Liam. Even if he did die in the fire, he was certainly placed there on purpose. I don't see Liam facing long-term consequences for the man's death, other than the personal demons he must wrestle with.
Of course, Liam isn't owned, because he's a cop, and was ordered to participate in the fire. Gibbons doesn't know this. It is done cleverly, with Gibbons never actually saying anything threatening to Liam, actually smiling and acting like a mentor. Yet, there is a cruel ruthlessness underlying Gibbon's friendly disposition. What Gibbons doesn't know is that Liam is about ready to quit the operation, until Gibbons's strategy backfires, renewing Liam's commitment to the take down. Had Liam quit, it likely would have taken a long time to get a new undercover office in as deep as Liam is. Gibbons is causing his own downfall.
Which makes me wonder what the long-term story will be for this series. Gibbons, obviously, is the first big target, and a main character. But I don't see Gibbons staying in power more than another year, at most. Any longer, and the show risks growing stale. Chicago is know for corruption, so surely there are many paths that can be taken after Gibbons goes down, though hopefully the next will be in a different direction. Rather than getting ahead of myself, though, I'm going to force myself to slow down and enjoy the ride. Because it is extremely entertaining.
The Chicago Code airs Monday nights at 10 p.m. ET on FOX.
It ended with the wives. Of course, it had to. After five seasons, HBO's Big Love finished with a startling, powerful climax, and with a family held together by deep love, no matter what judgments society makes about them. I do not know what most viewers' reaction is to the death of patriarch Bill (Bill Paxton) yet, but I thought that, combined with the group hug and remix of the original theme song, is the perfect ending to a wonderful series. And the episode title, "Where Men and Mountains Meet"? Epic!
Bill has to die. That's the only way the series could have satisfactorily wrapped up his story. I did not care for the story arc of Margene (Ginnifer Goodwin) being underage when she married Bill, and thus, am disappointed that Bill's name is so blemished by the incident. Having had plenty of time to accept the bad twist, though, Bill is in a corner where, if he had lived, he would surely have tarnished his name, likely served jail time, and lost his senate seat. But killing Bill off right after his triumphant stand for polyagmy in the senate and his huge turnout at his Easter Sunday services, he is a martyr and a hero, rather than a man who would spend many years trying to rebuild himself, if he ever could.
In retrospect, Bill's death is much less of a surprise, when considering the points mentioned in the preceding paragraph. The weight of what was about to happen hit me moments before shots rang out on the lane. But there was no way I can think of to predict the method of Bill's murder ahead of time. While the seeds for such were laid, they were done so subtlety, it wasn't even on the radar as a possibility. For Bill to die senselessly at the hands of his neighbor, Carl (Carlos Jacott), upset over things that had nothing to do with Bill, is a shocker. I would have assumed Alby (Matt Ross) would do it, or at least a fanatic upset over Bill's political actions.
But Alby's plot wraps up early, arrested as Bill held a gun to him in the courthouse at the end of the previous episode. Bill has already won the Juniper Creek battle.
And what of Bill's vision of Emma Smith (Rebecca Wisocky)? This is a turning point for him. While debatable what exactly changes in Bill during that sequence, it is apparent Bill is undergoing some type of revelation. I like to think that he is realizing the power one woman had in the founding of the church, and through that, accepting Barb's (Jeanne Tripplehorn) holding of the priesthood, which he affirms as he dies. It is hard for Bill to change his beliefs, but he has done so a number of time, most notable embracing 'the principle' after living in a monogamous marriage. Accepting that women are not separate but equal, but instead, true equals, is his last transformation he needs to undergo.
Barb's embrace of the priesthood is a major conflict point in this final season. Had the show continued on, I am fairly confident this season would have ended will Bill and Barb separating over their disagreement. Instead, as an ending is imminent, Barb rejects her new religion to return to her family. I don't believe she is rejecting her convictions or ideas, nor do I think that she intends to end the fight with Bill. But her family is more important than her self, and so she returns to the fold. I think Bill would have eventually welcomed her as a priest holder into his church, and in the end he did. She becomes, seemingly, the leader in his stead. She was always the true driving force in the marriage anyway, and in the end, that is revealed to all.
The story of the show is of the family. More importantly, it is of the wives. As the three ride down the highway in Barb's new car, even Nicolette (Chloë Sevigny) allows a smile to tug at her lips, however fleetingly. These three very different women have come together over the same man and the same values. The show ends with the three hugging and Bill's ghost watching on with pride and love. Even without Bill, they stay together. Their marriage isn't just about him. The car ride shows that, before the tragic ending, and reminds us of the powerful feelings shared between them.
Nicolette gets the ending she deserves. With Barb, she finally accepts her own feelings. Her insisting she doesn't like touching, but allowing Barb to pull her into a hug, is the perfect in-character demonstration of this. Nicolette also gets to make up with daughter, Cara Lynn (Cassi Thomson). While the audience knows Nicolette's hurtful words to Cara Lynn are really directed back upon herself, Cara Lynn doesn't, until Nicolette basically shows her. Two years of plot pay off in that moment as daughter finally understands mother, and having accepted herself, Nicolette can accept Cara Lynn.
Margene, I feel, is the weak link. So she leaves her little kids with Barb and Nicolette so she can go help poor people? I understand that Margene is young as Bill dies, and she still has much to accomplish with her life. But I just don't see her abandoning her children this way. Even if she took them with her, which doesn't seem to be the case, she wouldn't actually get much charity work done, so it would be a waste of time. Her ending is the most self-serving, and thus, the most dissatisfying.
Not far away, another moving death, this one much easier to see coming, is playing out. Frank (Bruce Dern) sweetly holds wife Lois (Grace Zabriskie) in his arms as she slips into death courtesy some drugs Frank apparently injected her with. It is a shame it took such a tragic story as Lois's dementia to bring the warring pair back together. For most of the series they fought bitterly, both attempting to murder the other. Yet, in these final moments we see the real love between them that has existed for decades, and how their relationship must have been when it was new. It is a tear-jerking scene, and leaves Frank slightly better as a human being. Lois herself has already been redeemed, as she struggles with a disease wrongfully inflicted upon her.
For those who question if Frank also has injected himself, so that he could die with her, as I first wondered, the series creators have insisted that no, Frank is not dead. He lives on. I really hope he isn't caught and arrested. He deserves jail time, but not for Lois. He actually treats her right in the end, and thus should gain a reprieve.
Finally, Ben (Douglas Smith) ends up with Heather (Tina Majorino). As soon as Heather makes her first appearance after Sarah (Amanda Seyfried) left the cast at the end of the fourth season, it is obvious that Ben and Heather are going to be together. There is simply no other reason to bring her back. At first, the pairing is awkward. Then it isn't, because Heather has always been drawn to the family, so it makes sense she would marry to stay involved with them. Ben has only flirted with polygamy for the same reason any teen boy would - more women to sleep with. He can give it up for a woman he truly cares about, and he is protective of Heather, so love is not far behind.
Going into this episode, I wanted to see all the supporting characters return in some form. Instead, I am very glad that didn't happen. Don (Joel McKinnon Miller) is around, and we get a glimpse of how Sarah and Scott (Aaron Paul) turn out, and that is plenty. Getting to its core is far more fitting than serving all of the debris that revolves around the family. I am also grateful that Tansy is only mentioned, after not being seen all season. Let's be honest; he recast was a mistake, though writing her out did feel awkward. As such, if the original actress could not be got, it's better not to see her at all.
One last musing: I understand the final shot is of the wives living on together, and it is very appropriate. I had thought, and still think seeing the family reunited in heaven would have also been nice. I don't think my idea is better than what aired, but it would have made a good ending credits sequence, no? Ah, well.
Thank you, Big Love for a big, loving story that was a thoroughly enjoyable experience.
It is finally here! So far this season, much of the action on NBC's Parks and Recreation has been geared towards prepping for the Harvest Festival. It is a be all, end all event that could save or kill the Pawnee Parks Department, so the stakes are high. I am not surprised at all that Leslie (Amy Poehler) is able to pull off the event with much success, as if she hadn't, the show would have a hard time continuing; the show's just been renewed for a third season. However, that does not take away the delight to be had at such a fun episode.
Shortly before the festival is to open, a local Native American approaches Leslie, asking her to move the event, since it is on the site of a sacred battle. As Leslie reveals, almost all of Pawnee is the site of sacred events to this tribe, so she refuses. He curses the event. As things begin to go wrong, egged on by Joan (Mo Collins), who is always looking for disaster, it appears the curse might be true. But with Leslie's sheer pluck and determination, she is able to right things once more, repairing her relationship with the Indian, who lifts the curse, and she earns praises for a job well done.
The plot with the curse is a shining example of Pawnee's unique character. While we generally only get to witness the Parks Department, the village itself has a specific, odd character that is often referenced. While it is a bit over the top for reality, anyone from a smallish, Midwestern area can relate to the attitudes and behavior of the locals. Parks and Recreation has managed to really capture this spirit, and it is a testament to the show that a lot of the bizarre going ons actually feel realistic.
In a similar vein, and equal to the curse plot, is the story of a tiny horse named Sebastian that Leslie brings to the festival. Sebastian was at the previous festival many years ago, and while getting fairly old, is on hand for the recent event. Ben (Adam Scott) is the voice of the audience, wondering just what fascination this small equestrian holds over the local residents, who are also worshipful. Yet, he goes along with it to win Leslie's affection.
Since the show dumped its old 'everyman' at the end of last season, Ben is a necessary, and superior, replacement. Instead of just tolerating the others, as Mark (Paul Schneider) did, having been around them for awhile, Ben is trying to fit in and build a life in Pawnee. Through him, we viewers can relate to wanting to be accepted by this group of lovable people. Scott handles the part with finesse and authenticity. His slowly building connection with Leslie is just bonus.
It never occurred to me before, though they have had multiple bits together, that the names of two Parks Department workers, Tom (Aziz Ansari) and Jerry (Jim O'Heir), match those of a certain feuding animated feline and rodent. In this episode, Tom loses Sebastian and blames Jerry. Now that I get the name joke, I especially can't wait for more capers between the unlikely pair. While it is always fun to blame Jerry for everything (LOVE the scene where Tom gets his friends chanting "Jerry's fault!"), it is also nice to see Ron (Nick Offerman) call Tom out on it this time. Even a scapegoat can get his feelings hurt.
This week, April (Aubrey Plaza) confesses her love to Andy (Chris Pratt), though instead of returning the words, he yells "Awesome sauce!" and tries to high-five her. These two are absolutely perfect for each other. While April does spend much of the episode frustrated with Andy, it is obvious that he does love her. He's just a clueless goof, not realizing why she is upset. As soon as his mistake is pointed out to him, he is quick to let her know he feels the same way, and April instantly forgives him. Since they are still new in their relationship, it is understandable that April doesn't realize Andy is just being dense. Once she does, her acceptance of him is just as immediate as his desire to make her happy. Wonderful.
Then there's Ann (Rashida Jones), struggling to get over being dumped by Chris (Rob Lowe, MIA this week). Poor Ann is such a sweet, pretty girl. It's surprising that she has been so unlucky in love. First Andy, then Mark, now Chris doesn't work out for her. Donna (Retta) encourages Ann to hookup with a Guido to try to forget Chris, which is out of character for Ann, but she needscomfort, so she goes for it. When will Ann find true love? I personally am rooting for a reunion with Chris, since they both have more heart than any other characters on pretty much any show. I guess, after only about ten episodes since Chris first appeared, it's still way too soon for a happy ending.
I wouldn't say this is one of the funniest episodes the series has produced, but there is enough emotional weight in it to keep viewers satisfied. I really like the twists and developments, and it is a good example of how the writing has become tight and polished. If you tuned out during the uneven first season, it's time to give Parks and Recreation another chance.
Parks and Recreation airs Thursday nights at 9:30 p.m. ET on NBC.
What an exciting finale ABC's V delivered! While the show is frequently uneven, and suffers from major plot holes, more so than almost any other show on television, when things work, they really work. The second season finale, entitled "Mother's Day", has few problems. In fact, it is probably one of the strongest episodes to date. Considering the steadily increasing quality, I am really holding out hope for season three, as the series may hit its stride given one more chance. Plus, with a cliffhanger like this, we just need to see more!
The culmination for control of the V race came to a head. Lisa (Laura Vandervoort) lures Anna (Morena Baccarin) into a trap, intending to kill her. Anna sees what her daughter is about to do in a conveniently located reflective surface, and fakes emotion convincingly enough to stop Lisa. I can see why Lisa gives her mother the benefit of the doubt. Lisa has developed emotions, and so would want to think the best of her mother, no matter what past experience has taught her. Despite Erica's (Elizabeth Mitchell) anger at her, I think Lisa is justified in her actions.
Sadly, that justification comes with steep consequences. Anna kills her mother, Diana (Jane Badler), whose friends have helped her escape, then installs Lisa in Diana's former dungeon. Anna's backup queen egg hatches, and Anna has her new daughter made to look exactly like Lisa and given her memories. Lisa 2.0 mates with, and kills, Tyler (Logan Huffman), whom Lisa is in love with, while Lisa watches helplessly on a video screen.
This series has proved to me that Vandervoort's bad run on Smallville was either a fluke, or she has improved greatly in her acting ability. This episode gave her an even bigger chance to shine, as we got to see her as the Lisa we've grown to love AND a ruthless, cold blooded killer more chilling than even Anna. If for no other reason, V needs a third season pick up so we can watch Vandervoort work her magic in the duel role. From what we've seen so far, she is good, like Nina Dobrev in The Vampire Diaries level good.
The really scary thing about this episode is that Anna finds the true nature of her evil. Up until now, Anna has fought against human emotions, even as they threaten to overwhelm her. The human skin the Vs cover themselves with somehow plays on them, making them more susceptible to feelings. When Anna fights against those emotions, it weakens her. Now that Anna discovers emotions can be used as a weapon, which she wields extremely effectively, she is more dangerous than easily imagined. This is the real consequence of Lisa's failure.
Also scary? Anna now has a way to bliss mankind, effectively making us her slaves. Little Amy (multiple actresses, as she is rapidly growing), a human / V hybrid, is able to easily deliver bliss to humans, and she loves Anna. While I have viewed Amy mostly as a distraction, and have not at all liked the affect she has had on her father, Ryan (Morris Chestnut), clearly she is something more. Should the series be renewed, I would expect an adult actress to be cast to play a fully grown Amy, and stop the rotation of children. Anna and Amy together may just be unstoppable.
Of course, humanity does have hope, however slim. Erica Evans began the series with a small cell of people she just met. Earlier this year, she found out how vast a net the Fifth Column casts, before taking over the group. Now, in the finale, she (and we) learn of Project Aries, (led by Marc Singer, like Jane Badler, a cast member in the original V) an international group determined to take out the V. It's interesting, because Erica thought she was fighting alone, and keeps finding larger and larger circles of people who already have the same goal. My question now is, given the scope of anti-V organizations, why didn't they do something before now? Why has Erica been the only one to really strike a blow against the Vs?
As mentioned above, the body count last night was very high. We lost Tyler, who was mostly an annoying distraction to his mother. We lost Ryan, who has become annoying while being distracted by his daughter. It was only slightly surprising that Dianna died, because Anna had to overcome her somehow, and what transpired is far more exciting than Anna hiding and plotting quietly to take out Diana as she rules in peace, as next season could have been. As such, I don't see any really big losses to the cast, other than possibly Diana, but for the reasons above, I'm OK with it. If anything, the writers did a good job pruning. Time to bring in some fresh blood.
Thankfully, Chad (Scott Wolf), who used to be annoying, but it just getting started in his usefulness, is merely captured by the Vs, not killed, though why not, I can't imagine. Unless Anna just plans on blissing him and doesn't want to bring in a new reporter to train all over again. I would also like to know where Hobbes (Charles Mesure) has gone, but I am hoping that his character will return to his roots, freed of the burden of Erica. I like the two of them together, but she did tame the beast, so to speak.
Which just leaves Jack (Joel Gretsch). I really saw a love triangle developing between Erica, Hobbes, and Jack, now that Jack has lost his priesthood collar. It is incredibly ironic how Jack talks of looking to the sky, meaning god, for answers, and that's how Erica finds him at the end of the episode. Only instead of looking at god, he's being blissed by Amy.
When FOX's Glee announced it would be tackling original songs this week, I knew it would either be amazing or horrible. I didn't really see an in between happening. It is the former, by the way. What I did not expect is the volume of new songs! SIX! I expected two or three for the Regionals competition, and of course we get those, but we also got more in the middle of the episode. Here is a ranking of the original songs in reverse order of greatness:
6. "Only Child" Another Rachel (Lea Michele) misfire, which, in concept, has potential to be good, but is executed poorly. Score: 2/10 (By comparison, "My Headband", Rachel's previous outing, gets 1/10, but it's a good thing for the show that both rank so low, as it is intended.) 5. "Get It Right" A Rachel power ballad, which I will discuss below. Score: 7/10 4. "Big Ass Heart" Puck's (Mark Salling) second attempt to woo Lauren (Ashley Fink) by song should have been equally offensive as his first, but she's no longer immune to his charms. Plus, he writes it himself! Score: 8/10 3. "Trouty Mouth" Santana (Naya Rivera) sings this one to Sam (Chord Overstreet). You can really feel the love. Hehe. Score: 8.5/10 2. "Hell to the No" Mercedes (Amber Riley) kills it in a number that fits her so perfectly, it has to be written for her. And by her. Sorry Will (Matthew Morrison); it was plenty good enough for Regionals. Score: 9/10 1. "Loser Like Me" No surprise here. The New Directions have been picked on for far too long, and they channel that frustration, and their triumph over it, with a song that captures the spirit of the series better than any other. Love watching Sue (Jane Lynch) squirm in her seat as she realizes she inspired it. Score: 10/10
The songs that are chosen for Regionals are certainly fantastic. Rachel's ballad is drawn from her experiences with Finn (Cory Monteith) and Quinn (Dianna Agron). They are secretly dating, and Finn wants to hold off telling Rachel until after the competition. Quinn reluctantly agrees, but befriends Rachel in an effort to keep her enemy close. Rachel finds out anyway, accidentally, and pours that hurt into an emotional song she delivers with trademark talent from the stage. While I like other songs in the episode better, for what it was, "Get It Right" is fitting.
While I am glad for the song it produced, the triangle with Quinn, Finn, and Rachel could be handled better. While Quinn was growing as a person at the end of last season, recent episodes have shown her backslide. This week, it appears she is only with Finn so she can win Prom Queen. While later admitting she has a whole future planned out for them, once they take over Burt's (Mike O'Malley) auto repair shop, it looks like Quinn only wants Finn for what he can give her, not who he is. I am disappointed, as Agron has the chops to handle a more serious plot, so I don't understand why she is not getting it. At this rate, Rachel and Finn will reunite by April.
And how about the modest acceptance speech by Rachel when she is named Regionals' MVP? Talk about character growth! Quinn may be backsliding, but Rachel sure isn't.
I expected the show to drop the Santana / Brittany (Heather Morris) thing for at least a few episodes now that their feelings are out in the open, and Santana has been rejected. Thankfully, I underestimated the writers. We only get one sweet moment this week where Brittany worries over Santana staying with Sam, but it was one more than expected. I am told that Santana will be back to her old self soon, chasing anyone that breathes, but that the final three episodes of the season will really get heavy for the two of them. Looking forward to it very much!
On the other side of the gay coin, Blaine (Darren Criss) finally kisses Kurt (Chris Colfer)! In the smooch seen 'round the world, the relationship the show has been dancing around for months finally culminates into something official. Inspired by Kurt's sad rendition of "Blackbird" after the death of his pet bird, Blaine makes a move. I love the two of them together; what fan of the show doesn't? And while I am straight myself, Kurt easily manages to move me with his sappy Beatles numbers, so I get why that would push Blaine to act. While not at the level of last fall's "I Want to Hold You Hand", and how could it be, with the motivation for each being on diffrerent levels, "Blackbird" is a more than an adequate showcase for the young man's talent.
I am curious, though, when did Blaine become the voice of the Warblers? He is a junior member, and while he was well respected when the group was introduced, I do not remember him being the only soloist. All of a sudden, Blaine is the one who makes all the decisions for them. The stuffed shirts are against any changes at all to their formula, until Blaine asks for a duet with Kurt at Regionals, and then suddenly, everyone is on board. I would be more upset if the two weren't so damn good. They master "Candles" with ease. So I guess I'll just suspend belief and think that high school kids would willingly give out solos based solely on talent. Though that's a pretty big leap.
I'm glad New Directions went with original songs, because otherwise I'm not sure how they would have shown themselves better than the other groups. The Warblers, besides the aforementioned duet, also rocked "Raise Your Glass". I almost wish for a spin-off series (notice, I said almost) so we can get to know this bunch, who is clearly teeming with talent. I also like their attitudes, as they were cheering for the New Directions in appreciation of what the other group accomplishes, but are disappointed by their loss. Totally legit, mature outlook.
As for the third group in the competition, Aural Intensity, under the direction of Sue Sylvester, I really, really liked their "Jesus Is My Friend". Sure, it is pandering, but it is very good pandering. The choreography and vocal tones are spot on. It is almost so good that it isn't cheesy. Almost. The star of David takes it over the top, and kind of ruins any legitimacy that is creepy up.
A great delight in this episode are the judges at Regionals. Continuing the tradition of bringing in famous faces, the episode also stays committed to this year's promise of keeping the focus on our favorite kids. While the trio does not get a lot of screen time, they expertly tear up what they do get, and make a memorable impact. Well, two of them, anyway. Some quick googling, and I can't find any information on the third, including who the actor is.
Kathy Griffin plays a tea party member inspired by Sarah Palin and Christine O'Donnell in a way only she can. Even her preemptive announcement that she is not a witch made me laugh. While Kathy can sometimes stray a little too corny, I loved her Life on the D-List, and the editing boosted her legitimacy here. Equally funny is the wonderful Loretta Devine (Grey's Anatomy, Eli Stone), playing comical as a newly-minted nun who was, until recently, a stripper. Bonus laughs, in a sad sort of way, that the nun sees right through the Jesus pandering by Sue, but the Republican tea party candidate does not.
So what is next on the docket for the New Directions? Well, we were promised a season finale at Nationals in New York City whether they were performing or not. Clearly they are. And with the original song ceiling busted, I bet we'll be seeing a lot more new pieces. Especially at Nationals, as they can't go backwards in competition once they have broken new ground. Also coming up, Sue puts together a team of fellow miscreants to take down Will, which will include his ex-wife, Terri (Jessalyn Gilsig), seen-once-before Glee club coach Dustin Goolsby (Cheyenne Jackson, 30 Rock), and the former McKinley High glee director, Sandy (the great Stephen Tobolowsky). And we'll get the return of Holly Holliday (Gwyneth Paltrow)!
We didn't have to wait very long to see what Jane Bentley (Robin Givens) is up to: she is heading up a new Intersect program! I was wondering what the rest of this season of NBC's Chuck is going to be about, and now I have my answer. Bentley is turning other agents into new Chucks, tweaking and downloading the computer program into more heads. Anyone else see a creepy parallel to Dollhouse and its series finale, where brains could be taken over remotely? Scary stuff!
Bentley's operations are revealed when Sarah (Yvonne Strahovski) and Chuck (Zachary Levi), bored at not getting any missions, spy on their own teammate, Casey (Adam Baldwin), steal his hand print, and break into the new super-secret lair within Castle. They are as surprised as viewers may have been to discover Chuck's father's laptop and two new Intersects. It seems the Greta program has a deeper purpose, as two Gretas (Stacy Keibler and Isaiah Mustafa) have already been loaded with a tweaked version of the program. Sarah and Chuck are reduced to B-Team status, picking up a puppy, while Casey and his new co-workers do the dangerous stuff. Until Casey gets both teams together, the Gretas screw things up, and Chuck has to save the day.
Keibler and Mustafa were welcome to see again, though I wish the other Gretas, Olivia Munn (Perfect Couples, The Daily Show With Jon Stewart) and Summer Glau (Firefly, The Cape), had been included. I know both of the latter ladies have busier schedules than the ones used, but I still want to see more of them. I was disappointed that the Greta conceit seemed to be abandoned last fall after only four Gretas, so it's nice to know there is a larger plan, and the possibility for returns.
Even better, I like when the Gretas are relieved to get the computer taken out of their heads. It gives a small insight into what Chuck deals with, having been the Intersect for four years now. Early in the series, we used to see Chuck struggle with what was going on, and for awhile, he was even experiencing pain from the cpmputer. I'm glad the show took time to remind us that, as easy as Chuck makes things look, being the Intersect is no walk in the park.
That being said, I am completely enthusiastic about Chuck taking control of the program. Next week, Chuck will be training a number of other possible Intersect candidates. We've gotten to see Chuck as a spy, and now a new side will be revealed as he becomes a leader and a teacher. I have no problem with new Intersects coming into the equation, as long as Chuck remains the best. After all, this reminds Chuck's bosses just how valuable he is.
As to what Bentley will do next, that is anyone's guess. She steals the laptop and takes it to Ellie (Sarah Lancaster), hoping that a Bartowski will be able to figure out the programming, as Bentley cannot. I assume, based on what we've seen of Ellie's interaction with the device so far, Chuck's sister will be able to help Bentley, albeit without knowing what Bentley is really wanting. Is this Ellie's reintroduction to the spy world? And how will Bentley use what she finds? I think Bentley is bent on taking back the Intersect training program, and she is willing to cross some lines to do it.
Ellie and her husband, Devon a.k.a. Captain Awesome (Ryan McPartlin), flirted with the spy world earlier in the series, but have been away from it for awhile. Their main interest has been in raising their baby daughter, and that provides some comedic moments. Even put together, successful doctors like the two of them have trouble taking care of an infant. It is sweet, sweet justice that the only sounds that will keep their baby quiet are those of Jeffster, the amateur band formed by Jeff (Scott Krinsky) and Lester (Vik Sahay), two almost subhuman Buy More employees. They played baby Claire into the world, and now she is drawn to them. Best. Development. Ever. How soon til they babysit?
I like that Casey gets some focus this week, as he sometimes doesn't get enough plot for my taste. There is never any doubt in my mind that the Colonel is still loyal to his old partners, as we had seen a couple of week's ago Casey's refusal to leave Burbank. I understand why he feels like a third wheel and wants a new, independent assignment. Bentley is right about Casey's talents being wasted. However, Casey is happy with this group, and happiness sometimes means more than career aspirations. Casey has always put career first, but he's never had such strong reasons not to. I predict even more drama, as I think Casey will soon be revealed to his daughter's mother, whether he wants to be or not. Will that give him another reason to stay, or push him away?
Morgan (Joshua Gomez), too, is showing more of a striking out on his own individualism streak, allowing much personal development. While his screen time may have been limited this week, the last few episodes have found him finding a new apartment and getting pretty serious with his girlfriend, Casey's daughter, Alex (Mekenna Melvin). And this week, Morgan stands up to Chuck and Sarah, showing off the spine he has been slowly growing. They are unable to get any information from him about Casey's activities, which they assumed would be easy enough. Our little Morgan has become a man!
One of the current best shows on television, Chuck airs Monday nights at 8 p.m. ET on NBC.
I still haven't decide if FOX's Bob's Burgers is good enough to warrant a second season pick up. But it has often been as funny as other, longer running shows on Animation Domination, so in that regard, I would like to see the series renewed. I don't really care for the 7:30 showings of American Dad caused by five shows sharing a broadcast night, but instead of running reruns as much, if the five shows were to be put in a rotation, I think it might be a really cool system. I can't think of a network that's done a rotation block of this sort, and it's high time to try it.
In last night's episode, Linda (John Roberts, but not the Chief Justice) decides to turn the family's small dwelling into a bed and breakfast during a long weekend, taking advantage of the tourist traffic. Three guests show up: a couple who would like to stay in their room having kinky sex and an entomologist who is mating beetles. Besides the sexual sight gags, the animations smartly included more and more beetles crawling on the walls as the episode wore on.
Linda is not at all satisfied with their participation in her many planned events, so she lets restaurant regular, Teddy (Larry Murphy, Delocated, Ugly Americans), who is really excited about the concept, stay, too. Unfortunately for Teddy, or fortunately for viewers, she lets Teddy have Louise's (Kristen Schaal) tiny room, and Louise sets out for revenge on the unwanted guest. She accomplishes such by using the aforemention beetles, as well as playing on Teddy's extreme discomfort with customed characters in a very visually entertaining scene.
Louise has quickly become my favorite character, voiced by the hilarious Schall, who also is a correspondant for The Daily Show With Jon Stewart. Louise seems to live in a world all her own, but unlike other characters in that vein, say Stewie from Family Guy, Louise is bound by reality. Still, if you need a lock picked, or an idea that no one else would think of in a million years, Louise is your girl. She is also the youngest of the clan, but not a toddler, which I find refreshing.
Many episodes thus far have dealt with the family helping out Bob, but this is the second time that Linda and her schemes have been the focus, and I like it. As Linda tries to implement her dreams in their lower-middle class reality, she struggles with the execution. In these times, Bob (H. Jon Benjamin, doing double duty as the title character in both Bob's Burgers and Archer) gets to demonstrate what a loving, well grounded husband and father he is. Bob has his flaws, but he comes through in a pinch, more so than other animated TV dads.
I like Bob's Burgers because, while not always as laugh out loud funny as The Simpsons or American Dad, the family dynamics are more realistic. The show demonstrates humor in characters that are odd, but not as over the top as their peers.
Bob's Burgers airs Sunday nights at 8:30 p.m. ET on FOX.
It was high time Cheech Marin and Tommy Chong, better known as Cheech and Chong, got to guest star as themselves on FOX's The Simpsons. I was stoked to see them. They were smokin'! OK, enough with the pot puns. This episode has enough drug references for a season's worth of episodes. But they weren't just stereotypical chariactures, thank goodness, so it ended up being a fairly funny.
Apparently Cheech and Chong are from Springfield, go figure. They began life as local broadcasters, until a strange smell wafted in and made them who they are. So, this week, they return to their hometown to do a show. Homer (Dan Castellaneta) takes his family, because, of course, they will certainly be putting on an appropriate performance. But Chong decides he is tired of the classic bits, and wants to do something more daring. With Cheech left on stage by himself, Homer is encouraged by friends and family to step up to the plate, since he knows all of their bits by heart. Cheech is so impressed, he invites Homer to go on tour with him as Cheech and Chunk.
Cheech and Chong are merely the latest in a long line of famous celebrities willing to bring a bit of themselves into the small town supposedly bursting with connections to funny people. Funnily enough, the stereotypical image of the two of them gels much better with the denizens than the reality. This episode played up the latter, so the fit was a little uneven.
Homer is a drinking man. As referenced in the episode, beer has always been his thing, not pot. As such, I find it odd that Homer would know and enjoy stoner comedy so dang much. Wouldn't this be a better role for a side character? I understand that the Simpson family is the heart of the show and are usually central to the main story, but I can't help but feeling that Homer was the wrong man for the job. However, since Homer has gotten himself into many situations he probably shouldn't ever have been in over the years, it can be sort of excused, because it has become a common conceit of the show.
Chong also interviews replacements for his own new act. For no apparent reason, he thinks the unfunniest man is the right one, so he hires Skinner (Harry Shearer) for Teech and Chong. My biggest regret in this episode is that we didn't get nearly as much of Teech and Chong as Cheech and Chunk. I find the principal's antics far more entertaining than Homer's in this case, and wish there was a better balance.
The B plot involved Marge (Julie Kavner) venturing into the Crazy Cat Lady's (Tress MacNeille) lair and discovering why she is so crazy: she is a hoarder! Once Marge removes all the junk, the cats begin to wonder away, and the woman finally finds her speech after twenty years of appearing on the show. Remarkably, she sounds just like a number of other women in Springfield! Yeah, that last comment is sarcastic. But the temptation of the junk is too much for Marge, who becomes a hoarder herself.
Setting aside how unrealistic it is that the Simpson household completely fills with junk so quickly, I don't think it is in Marge's nature to ever be a hoarder like this. She is concerned with a neat house, and prides herself on her homemaking skills. As such, I don't see her actually falling into this trap.
But, I admit, I am overanalyzing. The Simpsons is meant to be enjoyed without question, and have apparently earned the right for that to be the case after more than two decades on television. I personally don't think that is an excuse to rest on their laurels, but I'm not a fraction as successful as Matt Groenig, so who am I to judge?
It just makes me sad when they don't try just a tad bit harder sometimes. There have been many brilliantly funny episodes of The Simpsons over the years. I feel like when guest stars are stuck into characters that would have worked for any voice actor, they are more successful than when the show is worked around the guest stars. This episode was definitely in the second category, and that may be why I was a little less than satisfied with it, even though I delighted at the concept.
That being said, my favorite sequence is the A Midsummer Night's Dream reference of Bart (Nancy Cartwright) as Puck at the end, tying everything up neatly. Only incredibly loosely did this episode resemble the Shakespeare work about two couples confused in the woods by fairies, but at least the bit tied in the title.
The Simpsons airs Sunday nights at 8 p.m. ET on FOX.
If I could do anything I wanted to, I'd split my time between writing exciting novels and developing television programs, and reading great books and watching wonderful television shows.
Steve may not take down Wo Fat this year, but two or three years from now, it'll definitely be time to find a new bad guy.
I know this is the most popular new show of the season, and I will anger people with my criticisms, but it is the truth. Watching the same thing over and over again gets boring. I have watched all 19 episodes thus far, and have really enjoyed only about a third of them. Thus, the series joins the ranks of other popular shows that are really not very good. I'm looking at you CSIs, Law and Orders, NCISs, The Mentalist, etc. It's not a coincidence that most of those air on CBS. I won't even get into the plethora of reality shows like Dancing With the Stars and American Idol. The biggest difference with Hawaii Five-0 from those other shows is that this one has the potential to be really great, and sometimes is, rather than staying mediocre and rote.
To make a consistently better show, I recommend they give more screen time to the larger arcs, and less to the case of the week. Sometimes, get rid of the case of the week all together. Have more interaction between team members. Sure, the group is often together in various combinations, but much of that together time is spend examining evidence. Steve and Danno's one on one conversations in the car are ALWAYS a high point of any episode. So why not have two or three, or even four, every week? And give a little more to Chin Ho (Daniel Dae Kim), who has had fewer fun bits than anyone else. Making Kamekona (Taylor Wily) a series regular, also not a bad idea. Embrace the humorous elements, and play them up more. Lastly, an English translation of the episode titles at the beginning of each episode would be nice.
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