Grimm bares its "Bad Teeth"

Grade 84%

NBC became the first out of the gate with a fall show last night, brining back GRIMM for a second season. Yes, it’ll be weeks before any other networks throw their hats into the ring, almost a month until the first big wave of premieres, and one has to wonder if this experiment will work. Then again, with an odd show like GRIMM, it’s worth trying something bold.

GRIMM began season one as a police procedural that happened to have supernatural elements tossed in. Boring and sticking to formula, it delivered the kind of fare that clutters the airwaves. Then, late in the season, a remarkable thing happened. It became all about the mythology, some weeks not even having cases, and it tied together early events and characters from the beginning of the season, raising the whole endeavor up a notch. This may doom it to cult status, but it makes the series worth watching.

Season one ended on a cliffhanger, and season two’s first episode, “Bad Teeth,” picks up right where it left off. A little before, in fact, as viewers relive the climatic fight scene between Nick (David Giuntoli) and Kimura (Brian Tee, Crash), only this time from the perspective of Kelly Burkhardt (Mary Elizabeth Mastrantonio, Law & Order: Criminal Intent), who is skulking around the fringe. Viewers already know how this showdown ends, with Kelly subduing Kimura and revealing to Nick that she’s his long-thought-dead mother.

This changes the dynamics of the show immediately. Nick digests the information that she’s alive quickly enough, and seems to be glad to have her back, even if he’s a little annoyed she stayed away all these years. Of course, himself keeping secrets from his own loved ones to protect them, Nick can’t be too judgmental. He seems to accept her explanations at face value, and looks to already be counting on her help on a regular basis.

Kelly likely has other ideas. It’s incredibly difficult to trust her. It isn’t just that she hates Nick’s lovable friends, Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner, promoted to series regular), who happen to be Wesen, or fairy tale-esque creatures. It’s the way that she guards herself and averts her eyes. There is just something sinister about her and the way she carries herself, and she definitely has ulterior motives for showing up now, not just coming for a family reunion. Nick trusts her too much, telling her about the coins and the key, relics that can be very powerful, and she is likely to abscond with something valuable, hurting Nick.

Nick doesn’t need to be hurt anymore. He’s has a very rough go of things, with conspiracies he doesn’t know about yet closing in around him. One involves his girlfriend, Juliette (Bitsie Tulloch) who is in a coma, rapidly losing her memories, a final revenge act by Adalind (Claire Coffee) before she fled. But while Monroe and Rosalee work on behalf of a cure for Juliette, so, too, does Adalind’s mother, Catherine (Jessica Tuck, True Blood), at the behest of Captain Renard (Sasha Roiz).

Why does Renard want to keep Nick around and under his command? The mysteries surrounding Nick’s boss have been varied and confusing. Season one teases his involvement in larger plots, including the “families” we keep hearing about. But we’ve yet to see what motivates him, or what his plans are. It’s nice that they don’t involve hurting Nick, and he hasn’t really done anything against Nick, anyway. But are his intentions benevolent or is he just using Nick? It’s time for a little more revelation on this front.

There are also new characters introduced in the very busy “Bad Teeth.” James Frain (The Cape, True Blood, The Tudors) is up to no good, as only he can be. A Mauvais Dentes creature (Eddie Davenport) is trying to kill Nick. Kimura may be dead before episode’s end, but Nick has no shortage of foes left to face.

Which is why it’s hard to rate “Bad Teeth” as an episode. As much as last spring’s finale only felt like half a story, with no closure of any kind, so, too, does this episode feel very transitional. It ends on another cliffhanger, Nick’s life in mortal peril. Is this the way GRIMM is going to be now? Never finishing a story, just continuing bits and pieces of larger arcs? I won’t necessarily complain too loudly if this is the case, but it would be nice to have a little more movement on the mysteries.

Lastly, there’s Hank (Russell Hornsby), who is losing it mentally. Having seen Monroe as a Wesen, and getting other clues about the supernatural world, Hank thinks he is going insane. Nick doesn’t confirm anything to “protect” his friend. But the time for protection is over. Hank might be able to handle the situation if Nick fills him in. Right now, he’s just on edge, and on the path to do something reckless, screwing up his life. Shooting at a creaking door is not something a stable person does. Nick has to tell him the truth before it’s too late.

At first, it looks like Hank and Juliette are being let in on the secret, but for a series like GRIMM, that would be too many main characters clued in too quickly. These matters must be stretched out to build tension. Juliette is forgetting what she knows, so she’s basically being reset. Which leaves room for Hank to be the newest member of Nick’s gang.

GRIMM is walking a delicate tight rope here. It reached a level of enjoyability late last season that was amazing. But the messy events of the finale and premiere aren’t quite at the level of slightly earlier episodes, even if they contain some fantastic action sequences. The mythology is building, setting itself up for comparison to king of this world, Buffy the Vampire Slayer. But while GRIMM is trying to instill humor now, as well as drama, it doesn’t quite live up to that level of quality, with the writing being a little less snappy. This series will either grow into itself and be something great and memorable, like Buffy, or fall apart, like Heroes, and be nothing but shattered dreams.

Which will it be? Tune in Mondays at 10 p.m. on NBC to find out.

Doctor Who attends The Greatest Show in the Galaxy

Like many people, Ace (Sophie Aldred) hates clowns. So she isn't too pleased when the Doctor (Sylvester McCoy) drags her to the circus in the season finale of the original Doctor Who's penultimate year. The events of this story, The Greatest Show in the Galaxy, are enough to make anyone agree with the Doctor's companion!

As usual, the Doctor and Ace travel somewhere to solve a mystery and probably save some lives. This time, it just happens to be at a circus. Other travelers are arriving, too, and soon everyone is made a part of the show. Sadly, they perform only for a small audience, a family of three who are very hard to please. Even more sadly, if the family is not amused, the performer is obliterated on the spot.

Of course, it is never as simple as that. There is more going on than meets the eye, both with the circus, and with the vindictive audience. Why did the circus settle on this planet? Where did the rest of the staff and fans go? What can't Bellboy (Christopher Guard) remember? Who is Deadbeat (Chris Jury, Lovejoy)? And why do the Ringmaster (Ricco Ross, Aliens) and Morgana (Deborah Manship, Angels) argue so?

The Greatest Show in the Galaxy has its share of secrets which must be uncovered, as it typical for Doctor Who. But it also turns up the whimsy a notch. Besides the obvious circus references, there is a man named Captain Cook (T.P. McKenna, Straw Dogs - 1971), who travels the galaxy with a companion, Mags (Jessica Martin). Mags is more than meets the eye, and these two seem to be sort of a version of the Doctor and Ace seen through a twisted fun house mirror. Including them is interesting, and fits well in this particular setting.

There is something to be said for playing on deep, childhood fears. Not everyone is scared of clowns, but The Greatest Show in the Galaxy will bring out the terror in those who are, and might even skew the impression they make on everyone else. The all-encompassing makeup, the painted on smile; it comes across as inherently creepy when shown in a certain light. And this story makes a valiant play to do so.

The strength of these episode lies in the presentation, rather than the substance. There is a familiar formula often used in Doctor Who, and The Greatest Show in the Galaxy plays perfectly into it. Coming so late in the series' run, this results in a lack of freshness. Yet, it still works because of the allusions it paints, and the masterful way it plays with conventions. There is a reason Doctor Who is beloved, and when looking critically at a "typical" story such as this, that reason emerges in an unexpected way.

As with most of the Doctor Who releases, there is no shortage of extras. The audio commentary this time around includes actors Aldred, Guard, and Martin, as well as familiar voices Stephen Wyatt (writer), Andrew Cartmel (script editor), and Mark Ayres (composer). There are deleted and extended scenes from the first and third parts, two "restored" scenes, and the photo gallery and PDF materials fans have come to expect.

Interestingly, The Greatest Show in the Galaxy is know for its music. There is a unique blend of expected and surprising tones, which meld together nicely, complimenting the tale well. A soundtrack was released, and this DVD gives viewers the option of listening to isolated versions of the music. Also included is a music video, written and sung by cast members of this serial.

There are a number of featurettes, including a half hour "Making Of," which has several Who cast and crew involved in this production providing insight. "Lost in the Darkness" concentrates on model effects, while "Tomorrow's Time" is a more general piece about the Seventh Doctor. There is a Victoria Wood sketch too that is very amusing.

In short, another worthy addition to the Doctor Who collection. Doctor Who - The Greatest Show in the Galaxy is available now.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first published as DVD Review: Doctor Who - The Greatest Show in the Galaxy on Blogcritics.

Unleash the Franklin & Bash!

TNT's Franklin & Bash completed their sophomore run this week with "6:50 to SLC." Bash's (Mark-Paul Gosselaar) law license is suspended because he misses a payment, which makes representing his buddy, Tommy Dale (Chris Klein, Wilfred), who is having problems with his campaign for governor, difficult. Meanwhile, Leonard Franklin (Beau Bridges) of Franklin & Franklin would like to purchase Infeld Daniels, whether Stanton (Malcolm McDowell) likes it or not.

It's a shame that Franklin & Bash has become such a procedural. Even in this episode, which spends at least half of its time focusing on firm politics, there is a case of the week that must be dealt with. In the beginning, that was OK because Franklin and Bash often made these cases fun and exciting with their big stunts. In this one, not so much.

Yes, there were great guest stars in "6:50 to SLC," like Klein and Paul Schulze (Nurse Jackie), who played Dale's campaign manager. And the story of two wives cheating on their husbands with each other is pretty scandalous. But they somehow made this boring, probably because of how toned down the two lead characters have become in court. In a story about Bash's old friend, this should never have been allowed to happen. It may be more realistic, but it's not as much fun to watch.

The other story, where Franklin's (Breckin Meyer) father tries to steal the firm right out from under their boss, is much more compelling. Stanton is a larger than life character, played a by a brilliant acting veteran who bites into the role with gusto. So when he is threatened and his vulnerabilities are laid bare, it makes for very engrossing television. Stanton shows his age a bit here, but he also shows his scrappiness and shrewdness, which got him to where he is today. The resolution is shocking and smart.

Stanton must reveal the real reason he hired Franklin and Bash and made them partners. They are a poison pill, a tool he can use to self-destruct the firm. They are not happy at all to learn this, two years (or only one year?) after they began working for him. But they do what must be done because they are stand up guys, making a huge fuss on an airplane. Stanton's later apology, and the boys' forgiveness, shows that there is a deeper bond here than a cynical arrangement. But their relationship with their awesome boss is rocked a bit, in a good way.

The other moments of greatness in "6:50 to SLC" come from Carmen (Dana Davis) and Pindar (Kumail Nanjiani). These are entertaining, quirky characters, who do not get nearly enough plot. Sure, it's nice to see Franklin and Bash make peace with Karp (Reed Diamond) and Hanna (Garcelle Beauvais), but I would trade an emotional Hannah scene for a funny Pindar bit any day. Again, going back to the complaint that Franklin & Bash has mostly become a rote procedural, more of these two characters would punch up the episodes.

Some hopes for season three, besides more outrageous antics and screen time for the boys' employees? Bring back their flying ban as a plot point, and make sure that Shiri Appleby returns for a sizable arc. It might be nice to see how Franklin handles a real relationship, and what she can do to the dynamic of the group.

This law show may have lost its way in the second season, becoming more predictable and monotonous. Hopefully, there will be a season three, which gives them time to make up for it.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Originally posted on TheTVKing

Viva Hell On Wheels

Grade 78%

AMC’s HELL ON WHEELS rarely has an episode that is about something. That’s not to say that there is no story; the stories just don’t usually wrap up tidily in 42 minutes. One has to look at the bigger picture of the season or the series to get the context of what they just watched.

Last night’s second season premiere, “Viva La Mexico” is no different. Several months, at least, have passed since last we saw these characters. They have grown and moved on with their lives. Where they are now is informed by what they did and what happened to them in season one. “Viva La Mexico” simply sets several events in motion, rather than telling a new tale.

The anti-hero of the piece is, of course, Cullen Bohannan (Anson Mount). Bohannan is now on the run from the law, which admittedly was the case in season one, too. The difference is that now he’s living actually as an outlaw, instead of hiding in plain sight.

After learning that his family’s bodies have been dug up, Bohannan goes to an even darker place than before. He has fallen in with a train robbing gang, saving up the money he steals so he can escape to Mexico and start a life. Thing is, Bohannan has already offended a number of his cohorts, who are quite a bit less scrupulous than he. He does have one friend in the group, Doc Whitehead (Grainger Hines), who warns Bohannan to run, which he doesn’t do.

During a train robbery, Bohannan comes face to face with Elam (Common), and to save Elam’s life, Bohannan botches the robbery, which puts him even more on the outs with his comrades. It isn’t long before Bohannan ends up in army custody, awaiting an execution. There’s a bit of symmetry here, as a similar circumstance occurred in the pilot, and Bohannan managed to come out on top for the rest of the season. Let’s see if lightning can strike twice.

AMC does like to strain the definition of hero with its dark, morally ambiguous characters. Bohannan lives by a code, to be sure, but this code allows him to be a thief. It seems the only thing he doesn’t do is unjustified murder, though there is some wiggle room there, too. Still, it’s hard to judge a man living in these semi-lawless times, who has been through so much tragedy. The fact that he saves Elam should be enough to keep him likable, and it is. But can he remain likable if he keeps going down these paths?

Elam is also suffering a setback in the eyes of viewers, if not professionally. Having given up Eva (Robin McLeavy, now a main character), he has become a hired gun for Durant (Colm Meaney). Elam only does what he is paid to do, lifting not a finger in the name of righteousness, figuring this gives him more leverage with Durant. Durant appreciates this, and rewards Elam for his actions, which always must be paid for up front.

Is there any hope for Elam? Like Bohannan, Elam has a chip on his shoulder, only more so. The two men do seem to have some sort of connection, but Elam has no problem selling out Bohannan to Durant. This won’t help his reputation, as many of his co-workers now see him exactly as he is, in an unfavorable light. A man has to stand for something, and it can’t just be money. The sooner Elam realizes that, the sooner he can try to win Eva back, and find something worthwhile to do.

Durant, on the other hand, is the self-proclaimed villain of the piece, which means he’s winning. In these hard times, being rich and in power means everything. Durant has not only continued his railroad, he now has profits from leasing land, and he seems to have worn down Lily Bell (Dominique McElligott). Why does HELL ON WHEELS allow the wicked to come out on top? Was it ever really this bad, even in the wilderness?

Lily can hardly be blamed for taking up with Durant. It’s not like she is won over to his way of thinking. She is a survivor, and like her struggle to make it out of the woods after her husband’s slaughter, her new position shows her clawing through the muck just to go on. She won’t stay with Durant a minute longer than she has to. But her new station does allow her some liberties to help others, such as paying for a murdered prostitute’s funeral, proving her soul remains intact.

The souls of everyone but Lily are much less assured. Sean (Ben Esler) and Mickey (Phil Burke) are now Durant’s hired hands, selling land and collecting rent. Yes, the brothers try to behave fairly towards their tenants, and probably do a better job than most would. But when Ruth (Kasha Kropinski) has to tell them that her father can’t pay the rent, they only bend a little, and Sean even tries to leverage sex out of the deal, which, thankfully, he fails to do.

Their work may be honest, somewhat, but working for a man such as Durant limits the compassion they can have, and corrupts them a bit with their new, albeit limited, sway. This will likely turn them into bullies. This is kind of already happening as they step into The Swede’s old protectionist deal with the whorehouse. Sure, they may be offering help, but they’re also leveraging influence and wealth. Not exactly the pursuits of the noble.

What is up with Ruth? She knows her father, Reverend Cole (Tom Noonan), needs to preach to pay their rent, and yet she brings him booze. Is this to test his resolve? Is it so he will pass out and she can have carnal relations with Joseph Black Moon (Eddie Spears)? This doesn’t quite work, since Cole hears them, even if he does nothing about it. Is she trying to control her dad, help him, or just keep him out of her way? Why doesn’t she encourage Joseph to preach so that they all don’t get evicted? She is definitely the strangest character of the piece, and the one whose actions are least clear.

The bit of hope in “Viva La Mexico” is found in the most unexpected person: The Swede (Christopher Heyerdahl, promoted to series regular). The Swede has lost everything, having fallen from chief of security to garbage, toilet, and dead body collector after the tar and feather incident. And yet, alone of the characters, he remains optimistic about his future. He carries on with his work, uncomplaining, and doesn’t plot revenge, except perhaps against Bohannan, should their paths cross. He is an inspiration, and comes across as quite noble, even after the things we’ve seen him do. For the writers to accomplish this feat is quite impressive.

HELL ON WHEELS finds it within to surprise us and provide quality entertainment. The plot is a little slow moving and plodding at times. But there are some very interesting characters with depth, and it does a pretty good job by brushing off modern sensibilities in favor of the time period in which it is set. There are elements that could be improved upon, but it got a second season for a reason, and maintains the quality it delivered in season one. Most importantly, it continues to be worth watching, and fans of the first year should not be disappointed in “Viva La Mexico.”

HELL ON WHEELS airs Sunday nights at 9 p.m. ET on AMC.

Jeff Ross will burn you

Jeff Ross is s roaster extraordinaire for Comedy Central during the annual event where comedians go after an "honored" celebrity. With frequent appearances, usually providing some of the funnier material in the specials, it seems natural for Ross to move on to his own show, roasting anyone that he wants to, whether they like it or not. Thus is born the new series that premieres last night, The Burn with Jeff Ross.

The title tells you everything that you need to know about the series, really. Ross stands up on a stage and lays into famous people. Some deserve it, some don't. Jokes are broken up into segments, but there isn't any real sense of distinction between what belongs in each solo-performed category; instead, it just provides a way to break up the show a bit.

Ross has an edgy style that may go too far. In fact, in the first episode he starts a bit called "Too Soon?" This week's topic is Sally Ride, and he rips on the recently deceased female astronaut. Ride is a pioneer and a hero to Americans. While some may be shocked that Ross says anything negative about such a woman, at least he does seem to take it easier on her than his still-living subjects.

Besides these monologues, Ross also brings on a few pals. In the first episode, Amy Schumer, J.B. Smoove, and Ralphie May are the victims, er, guests. Ross actually leaves them alone, for the most part, just allowing them to partake in his rant-fest, if it's even severe enough to call it that. This is a bit of a shame, because here are some targets that would fight back, which could be amusing. Instead, they all just feel like they're having fun, bonding over telling mean jokes, but not getting too carried away. Sarah Silverman appears briefly in a smaller segment, to much the same effect.

This exposes the "secret" behind The Burn: Jeff Ross is not mean. Sure, he may touch on topics that are a bit taboo, and say some things that will offend some. But his smile betrays his genuinely nice qualities, and the guests are his friends, proving he isn't a total jerk. This is why he gets away with picking on people who aren't defending themselves. Even when attacking meter maids on the street, half of them smile at Ross's gags at their expense. A segment in the first episode where Ross roasts his elderly uncle is also aces at demonstrating the real Ross.

So will a nice roast format work? Is it really a burn if the person delivering it is nonthreatening and likable? Eh, that's debatable. The bottom line that people will really care about is, is The Burn with Jeff Ross funny? And like most weekly comedy shows, the answer is: sometimes. It's hard to pump out so much new material on a regular basis, and while Ross tries, he only succeeds part of the time. Which makes me doubt the longevity of such a program.

Enjoy The Burn with Jeff Ross while it lasts, Tuesdays at 10:30 p.m. ET on Comedy Central.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Originally posted on TheTVKing

Closing out The Closer

TNT's The Closer ended much the same way as the show lived. In "The Last Word," Brenda (Kyra Sedgwick) investigates a murder that she is sure Phillip Stroh (Billy Burke, Twilight) is behind. She is reminded of her restraining order, but is allowed to pursue Stroh based on legitimate evidence. Brenda crosses the line a bit, maybe more so here than before, and then the bad guy is caught.

But a few things are a bit different about "The Last Word." Brenda is fired / retires, depending on who is telling the tale. She has crossed the line many times. In fact, she's kind of known for it. But attacking Stroh in an elevator because of some verbal bait is just one instance too many. She knows she won't have a job heading Major Crimes anymore because she's stepped out one time too many. So she accepts a career change when the offer comes along.

The Closer is, by and large, a crime procedural. Even the finale episode focused on the case of the week quite a bit. One might wish for a series finale to stray away from that formula, and it does, a little. But as a fan of story and character, spending even this much time on some random crime seems a waste of a good actress, Sedgwick's swan song being almost every-day mundane, rather than a super special episode.

Yes, there was some personal meaning to Brenda, as the suspect had been in two other episodes, establishing him as a character in this world before now. She is also at a crossroads and takes a witness's words to heart. But Brenda has been so close to having to leave before that it doesn't seem that spectacular or different that this is the time that she flames out. The rest of the world will go on, but she will no longer be a part of this corner of it.

It's kind of a shame she takes a job so close by, then. Viewers are going to anticipate each Sedgwick drop by, and it doesn't feel like she will do many, if at all. Moving her into the job they do leaves the door open, but when the actress is made it clear she doesn't want to continue the character, why tease people like that? Maybe it's to allow Fritz (Jon Tenney), her husband, to appear in Major Crimes on a recurring basis, but it's still kind of a jerk move.

The thing is, with the sets staying up, and most of the cast continuing in Major Crimes, there isn't too much of a sense of closure here. Sure, Brenda is given a purse by her men to replace the one she shoots Stroh through. It's a touching moment for her. But then they all go back to work the next day, as we soon see in the first episode of the new show, airing right after this. In such, it's only a goodbye to one character, and does not feel the end of much of anything.

Well, technically it is a goodbye for three characters. Pope (J.K. Simmons) moves into a new position that, like Brenda, should come into the department's circle from time to time. Unlike Brenda, he may actually pop in periodically. And Brenda takes Gabriel (Corey Reynolds) with her, so he, too, could show up once in awhile, but won't continue on as a main character.

Will Brenda be missed? Of course. Many tuned in for her. But that's the thing about crime procedurals. You can lose a character and continue on just fine. The main point of these kinds of shows are the cases that flit in an out in an hour, never really taking the time to go deep into the characters. That's why Major Crimes will just feel like The Closer continues on. And why neither are really worthy watching on a regular basis.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first posted at TheTVKing

Animal Practice doesn't make perfect

Grade: 69%

ANIMAL PRACTICE, a new NBC sitcom, is airing a special preview of its “Pilot” tonight after the Olympics. Set in a huge veterinary hospital, Dr. George Coleman (Justin Kirk, Weeds) runs the show in his unprofessional style, gambling while helping patients, assisted by Dr. Rizzo (Crystal the Monkey, The Hangover Part II, Night at the Museum, Community). Then his ex-girlfriend, Dorothy Rutledge (JoAnna Garcia Swisher, Better With You), takes over, and as they say, there’s going to be some changes around here.

It’s smart of NBC to air their new shows following a popular sporting event that lots of people tune into, considering that not a lot of viewers generally watch NBC shows. However, this only works for series that are smart and funny, like Go On. In the case of ANIMAL PRACTICE, it will probably be counter productive, confirming the negative opinions about the network, and not earning any extra eyeballs come September.

On paper, ANIMAL PRACTICE should be good. Kirk is brilliant in Weeds, Garcia Swisher is charming and funny, and they have decent enough chemistry. The animals, especially acting pro Crystal, lend an air of whimsy, and actually contribute positively, not just being used for gags, or wasted as set dressing. There is also a terrific ensemble, which includes Tyler Labine (Reaper), Bobby Lee (MADtv), and Kym Whitley (Sparks). Plus, the setting is unique and quirky enough for viewers to expect something original and neat, a la Better Off Ted.

Unfortunately, ANIMAL PRACTICE does not live up to the sum of its parts. The main problem, and I can’t believe I’m saying this, has to be Kirk. Or more accurately, Kirk in the part of Coleman. He just isn’t right for the role. I’m not asserting that Kirk can’t handle being the center of a series, as I don’t believe that to be the case at all. He just doesn’t feel right in this one, even though he should, given his past work. The entire half hour, I wished that Labine would switch places, and then there might be something here. But alas, no.

Coleman is supposed to not play well with humans, preferring the company of animals, but I think that part of the issue is that Kirk does display empathy to other people. He can’t help it. His character is allowed to show that just a bit, even as we’re hit over the head with the knowledge that he’s actually the opposite of this. This can shift, given time, but at the moment, nothing really adds up, and that’s unacceptable because he is the show’s lead.

The second change that should be made is to immediately fire Betsy Sodaro’s Angela. She is a weird person, which again, should be a good fit for this type of humor. But she’s too weird. Her presence is disturbing, and every time she’s in a scene, it distracts from what’s going on, in a bad way. She’s part of a new sitcom trend, like Jennifer Irwin’s Creepy Carol in Breaking In, that should never have been started. Again, the actress is probably fine, though I’m not familiar with her previous work. But unlike Kirk’s Coleman, she isn’t necessary, and I don’t see any way that she could become an acceptable part. Best just to ditch her now.

Now, there is room for ANIMAL PRACTICE to grow. Just because Kirk isn't connecting with the rest of the cast and his surroundings now, doesn't mean he won't eventually. He's a smart guy and a talented actor; he can probably figure it out, and I'm willing to wait around and give him that chance. After all, there are some good jokes, and there are enough positive ingredients to hold my attraction. So my recommendation isn't to avoid the show, but don't hold high expectations for it at the start, either.

ANIMAL PRACTICE previews tonight, and then officially premieres Wednesday, September 26th on NBC.

NTSF:SD:SUV:: the F stands for Fun

Right from the opening in the season two premiere of NTSF:SD:SUV, viewers knew that fun times were to be had. After all, the episode was rated F for Fun. And then we get labels for locations like the NTSF hallway and Kove's (Kate Mulgrew) office. What's not to like about that?

The story of the premiere, entitled "16 Hop Street," finds Piper (June Diane Raphael) and Trent (Paul Sheer) sent undercover to Nick Cannon High School (wtf?), where the popular kids are being kidnapped. They are tapped because the President of the Navy's (Rob Riggle) son is one of the victims, and the 16 Hop Street task force were all recently killed. What they find is a typical high school, infiltrated by all sorts of adults with various goals, and the kidnapper.

"16 Hop Street" is funny by itself. From Trent refusing to listen to Piper when she says Nirvana sang about smelling like teen spirit, even though he later remembers it's the truth, to the disappearing kid at the dance, to the school musical's cast list posting, there are plenty of humorous moments. Yes, the title is a play on the movie from earlier this summer, 21 Jump Street, as is the plot, but that is far from the only move references. Back to the Future, Back to School, and Never Been Kissed, among others.

What this means is, on top of the police jokes, "16 Hop Street" also serves as a backdoor pilot for a similar take on high school tropes. The preview at the end, promising a spin-off entitled Filthy Dirty T$$ns may or may not be real. For the sake of the great cast, which looks to include Charlie Saxton (Hung), Carly Chaikin (Suburgatory), Desperate Housewives' Max or Charlie Carver (who can tell?), and possibly Steven Yeun (The Walking Dead) and more guest spots by Rob Riggle, let's hope that it does come to pass.

There are other great guest stars in the episode, too, but since the official website and IMDB aren't current for this episode yet, I could only list the ones I recognized and knew.

NTSF:SD:SUV has a great formula. It's similar in vein to its parent show, Childrens Hospital, but embraces enough differences that the two don't seem similar. It makes itself action packed, even when not necessary. The characters are just as clever, but in different ways, embracing the talents of the actors who play them. And it continues to deliver laughs. For it to birth its own spin-off would be very welcome.

Watch NTSF:SD:SUV Thursdays at 12:15 AM (technically Friday) on Cartoon Network's Adult Swim.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! First posted on TheTVKing

Common Law brings a "Gun!" to the party

Freshman series Common Law brings its first season to an end with "Gun!" Travis (Michael Ealy) and Wes (Warren Kole) come to their senses, realizing that they need Dr. Ryan's (Sonya Walger) help after their new therapist (Ed Begley Jr.) has them going through his ex-wife's tax returns. To get back in her good graces, they finally open up about the events that led them to counseling, and with her guidance, they do something about the situation.

I stopped watching Common Law early in the season when I realized that, sadly, this series was destined to be more procedural than the direction most USA shows are moving towards. Every week, there's a case, and that's the main focus. And while the therapy aspect lends a certain original twist to the proceedings, there just isn't enough long-term story here to keep it interesting.

This is not the case with "Gun!" The last hour of the season is compelling and rich. Not only do we get flashbacks to where Travis and Wes were when they met, and what brought them to the point of Wes pulling a gun on Travis, but we also get to see them at their best. Whether in the past or present, these two have each other's backs, and are smarter than most everyone around them.

Unfortunately, this does not mean the show is improving upon my original assessment. An episode like "Gun!" can't be replicated week after week. Because of the conceit of the show, Common Law is destined to remain a case of the week affair. And while the guys will continue to grow with Dr. Ryan, especially now that they're voluntarily seeking her help and actively participating in their treatment, this does not lend itself to any big, sweeping arcs.

There is something to be said for character development. Many of the best shows on television concentrate on that. The problem isn't the therapy, which is actually quite illuminating, but that too much screen time is given over to Wes and Travis doing police work. Maybe they do it a little better than just about anyone else could, but that's just demonstrating skills, not revealing personality. So Common Law fails in this.

Even Mike (Jack McGee), who viewers learn something important about in this episode, gets the shaft because Common Law does not allow the characters to discuss his situation. Mike was kicked out of his house? Why? He did the therapy, and has become less angry. What's going on? I know it's a busy hour, but why tease this if it's not going to be expounded upon? This character deserves more.

Still, it's impossible not get a bit choked up when Wes and Travis do finally take down the group who killed their friend, Paek Man (Kelvin Yu). The music is pitch perfect, and the action is wonderfully orchestrated. As far as cop dramas go, this one is done right, and definitely is no less than deserving than others currently on the air. Dominic Purcell (Prison Break) makes a great villain. It all comes together just as it should, and there is a happy ending.

What if Wes and Travis hadn't solved the case so easily? At one point in "Gun!" it looks like Paek Man's killer will get away with it, and the partners will be separated. Why not pursue that for a few episodes next season, with the two working alone, investigating, then eventually teaming up again, off the job, to bring down their foe? Would that not make a far more interesting TV show than them saving the day in half an episode and restoring things to status quo?

Oh, well. Common Law isn't the first series, nor will it be the last, to squander potential in favor of formula. Let's just hope that they can figure out a way to do more episodes like "Gun!" and make stories last longer than forty-two minutes. Otherwise, thanks for this finale, but I've seen enough, and there's no reason to tune in very often in the future. Should there be a future.

Common Law has not yet been renewed for a second season.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com First published on TheTVKing 

Don't forget Childrens Hospital

Adult Swim's Childrens Hospital returns for season four with "The Boy with the Pancakes Tattoo." A young boy comes into the hospital with the word 'pancakes' tattooed on his arm. The doctors quickly realize that this boy has also brought a form of airborne amnesia with him, and then they forget. Soon Glenn (Ken Marino) is left alone to figure out a cure before he, too, succumbs to the virus.

Even though Childrens Hospital is only a ten minute show, a lot is crammed into "The Boy with the Pancakes Tattoo," including a ton of non-specific movie references. Glenn wakes up in a supply closet with no memory of what has happened, but his name written on his hands. A virus takes down the staff one by one. There is a twist ending, revealed through flashback. The world descends into chaos.

It is also a supremely funny episode. One-liners zing one after the other in a constantly flood of humor. Some of the best moments: Lola (Erinn Hayes) talking her way through the process of losing her memory; Glenn asserting than an eleven year old is too young to be douchey; Nurse Dori (Zandy Hartig) figuring out her name through the context of Glenn's question; the brain scans being different only in color; the amnesia virus being defeated by being given amnesia; Lola's line about this being one of the craziest Tuesdays she's had all week; sound effects of a door being sealed, even when it's clear that it's still open a crack; Chief (Megan Mullally), Owen (Rob Huebel), AND Lola all thinking they are at a restaurant after losing their memories; Sy (Henry Winkler) randomly fingering a 'code' into the keypad behind him as he slips into his panic room; the fact that clowns can't catch amnesia.

Yes, that is right. For some strange, unexplained reason, clowns are immune. Which means that Glenn isn't the only one who doesn't immediately go down. Blake (Rob Corddry) also remains sane. But rather than helping Glenn, he crowns himself King and tricks Val (Malin Akerman) into believing she is his girlfriend.

And with only a ten minute running time, these are only some of the wonderful jokes. Wow.

Now there are inconsistencies and flubs in "The Boy with the Pancakes Tattoo." Some of them are listed above as the best parts of the episode. In a show like Childrens Hospital, continuity doesn't matter, as long as the actors play their parts well, and this bunch does, better than just about anyone else out there. The only thing that bothered me about the episode was that the virus is airborne, yet Glenn removes his mask when talking to Blake, and it takes Blake shoving Val's spit into Glenn's mouth to infect him.

But that can be overlooked, especially considering how many dots are connected in this episode. There are so many little things, like the pancake through line, or Val's arc, or the guest stars popping up in multiple places that lend such credibility to what they're doing here. It's like someone realized this 'mistake,' and decides the sight of Blake fingering mouths was silly enough to override any concerns. And that person or persons is right.

The point is, Childrens Hospital is crammed with very, very funny jokes and site gags pulled off by amazing comedic actors, an ensemble without exception, all at the top of their games. "The Boy with the Pancakes Tattoo" is a non-stop riot, and it amused greatly. Really, what more can you ask from a show like this? Absolutely nothing.

Childrens Hospital (not a cartoon) airs Thursdays at midnight on Cartoon Network.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first posted on TheTVKing