Burn Notice gets desperate

USA's Burn Notice returned this week with two hours of new episodes. The first, "Desperate Measures," is a follow up to the summer finale, "Desperate Times," centering on the team trapped in a foreign land. The second mostly moved on to another story, but kept some of the serial elements surrounding Michael (Jeffrey Donovan) this season as he seeks to get justice for his brother's death.

"Desperate Measures" is an exciting, action-packed episode as the team attempts to get out of Panama. Having captured Tyler Gray (Kenny Johnson), the man who actually shot Nate, it is soon clear to both Michael and Tyler, after some inconveniences that delay a return home, that their beef isn't with each other. Tyler has been lied to by Card (John C. McGinley) about the threat that Michael poses, and Tyler was simply following Card's orders when the tragedy occurred.

Donovan really handles the emotion swelling within Michael well in this episode. As a mostly collected guy, it's rare that we see Michael really loose it. His brother's death sparked some heavy grief, and because of that, Michael is definitely a danger to Tyler and himself. But, in the end, Michael's hero goodness wins out, and he spares Tyler, knowing that they are both somewhat in the same boat.

But then, in the second hour, "Means & Ends," Michael gets to confront Card, and he gets dangerous again. Michael has kept it together when dealing with people who don't deserve his rage, and he has above average abilities to empathize with others, and to try to help them. However, when he finally gets in a room with Card, his friends not around to even try to calm him down, it ends with Michael putting a bullet in Card's head.

I can't recall ever seeing Michael quite like this. It's clear that a line has been crossed for him. We know that Michael is a spy, and has probably killed people before. But after watching six seasons of him go out of his way to avoid getting lethal, it's chilling to see the lead character murder someone like Card, especially when Card is not posing an immediate threat. In this one instance, Michael moves beyond justice and goes for revenge. Sam (Bruce Campbell) or Fiona (Gabrielle Anwar), or even, to a lesser extent, Jesse (Coby Bell), might have been able to talk him out of it, but without his moral compasses in the room, Michael takes that big, irreversible step.

How will this change Michael, going forward? Will this mean that he's going to be colder, with a sharper edge? Fi and Sam are still around, so there will be influences to draw him back to the light, if he can let himself be happy with them. But will that be enough? What does it do to one's soul to commit such an act? I hope that Burn Notices gives Michael the time to fully explore the ramifications of his actions.

One thing does seem certain, and that's that Michael's mother, Maddie (Sharon Gless), will not be around to help. Unable to forgive Michael for letting Nate get killed, and disgusted with her living son's inability to be honest with her, no matter how good his intentions might be, she decides to leave town. Will this be the end of Maddie on the series? Let's hope not. Her sorrow is completely understandable, as are her negative feelings about Michael. But he is her son, the family she has left, and hopefully that will be enough to let her move past it.

There are other things going on, too. In "Means & Ends," Fiona's old prison friend needs the team's help. But at this point, these side missions take a backseat to the main arc, which is finally being given the attention it deserves. Burn Notice will probably continue to deliver some case of the week type stories, but the more it shifts focus to the big stuff, the better it becomes.

Burn Notice airs 9 p.m. on Thursdays on USA.

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

Glee - "The Role You Were Born to Play"

Glee returns from its baseball-induced hiatus with "The Role You Were Born to Play." It's time to audition for the fall musical, Grease, at McKinley High School. Some students are nervous about the roles they want to play, while others worry that a bad casting choice could hurt a relationship. But an alum, at pivotal moment of his life, returns to steer these young people in the right direction.


"The Role You Were Born to Play" is a solid Finn (Cory Monteith) episode. Though I haven't always been a fan of the character, he has really grown on me, and this installment proves his staying power. Here he is, down on himself, not believing he can do much of anything, but he still manages to provide some good advice to students who are struggling. It's a maturation moment, where Finn suddenly grows up very quickly and seems like an adult.

There is no question that Monteith can play adult. He is one, after all. But in "The Role You Were Born to Play," the character starts to seem closer to the actor's actual age of 30 than what he should be. Recently graduated eighteen year olds aren't able to show the wisdom Finn displays here. But it's forgiven because this is television, and Finn has always seemed smarter in some areas than is typical. Even the fact that the school hires him to direct the New Directions, a completely unrealistic occurrence, is overlooked because it serves his story well. And isn't that what's really important? A character's journey?

Of course, Finn also makes mistakes, and he makes a whopper of one in "The Role You Were Born to Play" when he calls Sue's (Jane Lynch) baby "retarded." It does not matter that she is fighting him on a casting choice, which, based on past revelations about her character, likely comes from a place of wanting to protect the students, rather than out of bigotry, even if she doesn't know how to express that. But Finn comes across as the real bad guy in that scene, callous and cold, even when he immediately apologizes. That is just something you do not say, and he has earned himself justified hatred from Sue. This will have consequences in episodes to come.

I think I like that Finn only has one song in this episode, a duet with Ryder (The Glee Project winner Blake Jenner). Monteith does have a good voice, but care must be taken to choose songs that really connect with him, and this isn't always the way he is handled on Glee. Luckily, the passing of the torch message in "Juke Box Hero" manages to satisfy both as a Finn melody and introduction to Ryder.

With the inclusion of Ryder, the second generation Glee core cast is complete, mirroring the original quartet at the center of the early seasons. Ryder is clearly the new Finn, Jake (Jacob Artist) easily steps in for Puck (Mark Salling), being his half-brother with a similar personality, Kitty (Becca Tobin) is a great Quinn (Dianna Agron) replacement, with a bit of Santana (Naya Rivera) tossed in for good measure, and Marley (Melissa Benoist) is the more relatable, hip version of Rachel (Lea Michelle). It may be a bit of a repeat, story-wise, but the characters are just different enough to still be enticing. Their tales shouldn't play out quite the same as their predecessors.

Which leaves Unique (Alex Newell) as the successor to Kurt (Chris Colfer). He won't be apart of the primary love triangles, but he is a fan favorite side character that draws enough attention to pull him into a status just as important as the others, even if that isn't the original intention. He (she?) also has enough of Mercedes' (Amber Riley) diva power to make another version of her unnecessary. Unique is easy to love, fantastic to root for, and his struggle with accepting himself, and earning the part of Rizzo in Grease, is both inspiring and moving.

On a side note, Unique's audition with Marley is a high point in this episode. "Blow Me (One Last Kiss)" is a great showcase for Unique's vocal strengths, and it also unexpectedly lets Marley out of her box a bit. She exhibits a side of her we have not seen before, and the growing friendship between Unique and Marley, as well as how they help each other, is Kurt and Rachel 2.0 in all of the best ways.

Thankfully, there is no one waiting in the wings to take over for Artie (Kevin McHale) or Tina (Jenna Ushkowitz). Sure, they aren't gone yet, but they might as well be. Glee would do well to focus on the characters that work the best, and one Artie and one Tina is plenty for this show's run.

With this new blood firmly established, it does seem a little strange to have the old people hanging around. Finn could slide into the teacher side of the cast (even though there should have been a few year jump to do that properly), but Mercedes, Mike Chang (Harry Shum Jr.), and Artie, who is still in high school, but feels more a part of the elder group, are mostly hangers-on. It's sweet they come back to help Finn find his way, but a satisfying turn of events would find each of them realizing their own directions and moving on sooner, rather than later. As much as I enjoy seeing Mike and Mercedes again, not everyone can stick around high school forever.

Relationship drama continues to pull focus in "The Role You Were Born to Play," as one would expect it to. Kitty and Marley fight over Jake, neither giving that must attention to Ryder, who will surely have a shot with either or both soon enough. Jake and Kitty's "Everybody Talks" is good, but most will still be rooting for Marley to get the guy. It's a little early in this drama to judge how well the various chemistries are working, or who will end up with who, but it is exactly the direction Glee always goes in, and should make fans happy.

This love fight culminates in a spirited version of "Born to Hand Jive" that is a highly memorable number for Glee. Anyone who has doubts about the selection of Grease as the fall musical should find them erased when confronted with such a show-stopping number that features many characters, and allows the drama to spill into the music, nicely pairing the two. This is merely an appetizer to what is coming.

Blaine (Darren Criss) is off on his own, separate from the others, mourning his breakup with Kurt. He does this to the Grease song, "Hopelessly Devoted to You." It's a heart-breaking sequence, and one just wants to give the poor guy a hug! Blaine is isolated without his support system now, and look for him to distance himself even further from the other New Directions soon. I smell a return of the Warblers!

Lastly, we have Will (Matthew Morrison) and Emma (Jayma Mays), who it's good to see did not actually break up like the other couples in the previous episode. They are having a big fight, to be sure, but that doesn't mean that it's the end of them as a couple. Fans have been through enough ups and downs with these two that we just want to see them together. It seems that wish is at hand, as they really do accept and support one another.

It's interesting that Beiste (Dot-Marie Jones) steps up as their counselor. Don't get me wrong; I live for Beiste scenes, and she's a much better choice than bringing in another guest star. It's just odd because her brief marriage ended so badly. However, she is a good friend to Will and Emma, knows them well, and is in a position to help them find the best in each other once more. If she doesn't officiate their wedding ceremony, I will be very upset.

"The Role You Were Born to Play" is a great return for Glee in what is shaping up to be a strong season so far. There are delightful songs, interesting character development, and it's just plain fun. It also feels more like a traditional Glee installment without the inclusion of Rachel and Kurt's tone-different New York, even though I miss them.

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

If you like my reviews, please follow me on Twitter! Check out my website, JeromeWetzel.com! Article first published as TV Review: Glee - "The Role You Were Born to Play" on Blogcritics.

Copper arrests a Blu-ray release

BBC America's first original series, Copper, recently finished airing, and already there is a DVD and Blu-ray release of the freshman season. The two disc set contains all ten episodes of the 1964 New York City-set crime drama, as well as audio commentary, a handful of featurettes, including a "making of," deleted scenes, and video profiles.

Copper is the story of Irish-American Kevin Corcoran (Tom Weston-Jones, World Without End), a tormented man who returns home from the Civil War to find his family gone, daughter dead, wife missing. He becomes obsessed with finding out what happened, but while he does so, he becomes a cop in the Five Points neighborhood. His quest for justice extends to those he serves, and unlike many policemen of the day, he digs deep, rather than just believing whatever story seems obvious.

Kevin is not alone in this. He is aided by two detectives that he can trust, Francis Maguire (Kevin Ryan, Laredo) and Andrew O'Brien (Dylan Taylor, Defying Gravity). Not every copper on the force is nearly as noble as these three. While their methods may be brutal, and they are not above beating or killing those who deserve it, they also won't punish an innocent party, at least not once they realize the person isn't guilty.

Kevin is further helped along by a man at the cutting edge of forensic science, Matthew Freeman (Ato Essandoh, Blood Diamond). Interestingly, Matthew is a black man, which leads to all sorts of racial subplots. Matthew lives pretty well, being educated, though he has to deal with a mentally unstable wife, Sara (Tessa Thompson, Veronica Mars). But he will never be fully accepted into Kevin's world, and so most of his assistance is under the table.

While Kevin's crew slums through the lower-class people, dark and dirty and grimy, his investigations bring him into contact with high society, which may look pretty, but is just as seedy on the underbelly. His first encounter is with a child prostitute, Annie (Kiara Glasco), whom Kevin takes an interest in because she reminds him of his daughter. It becomes a pet project of his to keep tabs on Annie, and make sure she gets her life on track.

When venturing into the upper crust world, Kevin has a friend there, too, in Robert Morehouse (Kyle Schmid, Being Human). Robert serves with Kevin in the war. Although his pursuits are often of the aristocratic variety, Robert does have a moral compass, to some extent, and is more of a help than a hindrance to Kevin. This relationship extends to Kevin's cohorts, as well, including Matthew, with whom Robert has a shared history.

What is most interesting to me about Copper is the dichotomy set up between the two worlds. No one with sense in their head ever said that being wealthy makes you a better person. But rather than engaging in class warfare, Copper draws parallels between the two worlds, taking a page from British hits such as Upstairs/Downstairs and Downton Abbey, illustrating that people are very much the same no matter what their economic status. Showing prostitutes on both side of the coin, as well as criminals and righteous men, these neighborhoods are separated only by surface characteristics, not by any measure that matters.

Speaking of prostitutes, amid the cases of the week crimes and the ongoing plots of Kevin, Annie, Matthew, Robert, and the others, there is also time for romance. Kevin is drawn to two women, Eva (Franka Potente, The Bourne Identity), who sells her flesh for money, and Elizabeth (Anastasia Griffith, Once Upon a Time, Royal Pains), who nearly loses her soul to a wicked husband. Again, we have the two worlds clashing, as the series rounds itself out.

Copper is more than a genre show, and it's more than a period piece. It's extremely well made, terrifically acted, and a fully developed, visually pleasing universe. The characters and the setting feel completely whole, and the stories will suck you in, expertly mixing the adventure, romance, intrigue, and drama. I am still disappointed that BBC America is spending money on original fare instead of beefing up it's slim offerings from across the pond. But if they had to go down this path, at least it's something as fitting and wonderfully made as Copper.

Copper Season One is available now.

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

The Walking Dead defeated by the "Killer Within"

AMC's The Walking Dead takes the danger to a whole new level this week with "Killer Within." After two episodes where portions of the cast sat out, this episode jumped back and forth between the prison and Woodbury, illustrating a few very different dangers, and ultimately ending with the the deaths of two original cast members. And this wasn't even a season finale! No one (except maybe Rick) is safe.

What an opening! It is an incredible, action-packed sequence, with walkers invading at the worst possible time! I thought Hershel (Scott Wilson) and his missing leg would be gone for good, but am so, so, happy this isn't the case!

T-Dog (IronE Singleton) bites the dust first. Early in a battle with walkers, he is sadly bitten on the shoulder. Running through the prison, trying to protect Carol (Melissa McBride), he ends up sacrificing his (admittedly already doomed) life to provide her a route of escape. Torn apart in one of the bloodiest, most gruesome moments of the show yet, his body is later seen on the floor, confirming his demise.

T-Dog has long seemed the most expendable member of the cast, with fewer plots, lines, and ties to the other characters. And yet, that doesn't mean I'm happy to see him go. The character proved to be a fan favorite because he was just plain fun, and his departure is regrettable. Even those who might have held back tears during the episode would have been hard pressed to continue to do so during the after show Talking Dead, which basically amounted to an extended tribute and goodbye.

Where is Carol? Surely she's alive. They only find her scarf. Hopefully she returns safely soon, rather than being missing and found dead like her daughter was.

One might be forgiven for thinking that in a middle-of-the-season episode, after losing an original cast member like Singleton, death would be sated. You would be mistaken. It isn't long before a complicated child birth takes Lori (Sarah Wayne Callies) out of the game, too, resulting in a much bigger loss for the group.

For those who read the comic book, the drawn Lori has a picture perfect death, (SPOILER!) mowed down by the Governor with her infant daughter in her arms while the group abandons the besieged prison. Sadly, despite how powerful that scene is, it will not come to pass.This happens quite a bit earlier, and proves once again that even for fans who have read the story, The Walking Dead TV show still has plenty of surprises to deliver.

If you just watch the show, though, Lori's death is foreshadowed, in retrospect. The character has always treated her pregnancy like a death sentence, and has openly talked about giving birth as the end of her own life. Her labor comes at a very inconvenient time, under terrible circumstances, and with complications. There is no other ending than to cut her open and save the baby.

A few things do bother me about this otherwise fantastic scene, though. One, it appears the door to the room where Lori delivers doesn't even close properly, and walkers are lumbering past. Why do none of them try to come in? Surely her screams would attract them? Two, Maggie (Lauren Cohan) gives up way too easily to get the baby out the natural way. Delivery can often take hours, and she should have been patient. It is understandable that Lori has given up, taking into account everything she says leading up to that moment. And Maggie is clearly terrified and susceptible to suggestion. But to just cut Lori open and let her die sucks. Third, why doesn't Maggie even try to save Lori? Yes, her stomach is cut apart and there's lot of blood, but in a hospital, women survive Cesareans all the time. Why is this not even a possibility here?

These things aside, Lori's passing is very moving, especially as Carl (Chandler Riggs, who is stellar this week) is forced to watch it, and puts the bullet in his mother's brain. We don't see him do this, so there is a chance that Walker Lori may appear in the next couple of episodes. But it doesn't change the fact that Carl witnesses and contributes to his mother's death. Even with her absolution and her asking for it, Carl will have to change even more because of this.

In fact, Carl takes the death better than Rick (Andrew Lincoln), with a stoic face as his father writhes on the ground upon learning the news. Granted, Rick is not in a good place with Lori in the end, and there will be huge amounts of guilt, especially with knowing that he didn't save his son from that moment. But it makes me worry that Carl will turn into a psychopath, a bit like one of the twins in the graphic novel.

All of this danger happens because Andrew (Markice Moore) returns and lets the Walkers into their area. Now, setting aside that Andrew should not have survived how Rick left him, as The Walking Dead does occasionally have near-miraculous survivals, it is kind of cool to tie the attacker back to them, completing an earlier arc. It also allows Oscar (Vincent Ward) to choose sides in front of Rick, putting down Andrew once and for all.

I want Oscar and Axel (Lew Temple) to join the group. It has grown smaller, and I feel like these two prisoners, alone of the five found, do not pose a threat. I could be wrong, of course, but they certainly seem eager to put group survival ahead of any personal criminal tendencies, trading playing nice for a better chance of living. Plus, there are only a finite number of characters that can be lost without adding new blood periodically. These two seemed prime to join the ranks, even if they don't make it out of the prison alive, as they did not in the comic. After all, no matter how the show might change the story, it seems certain that the Governor (David Morrissey) will eventually attack, and lives will have to be lost at that point.

Speaking of the Governor, he has definitely charmed Andrea (Laurie Holden), though Michonne (Danai Gurira) sees right through him. It makes sense that Michonne doesn't confess everything to Andrea, as Andrea appears to be swayed enough, and the evidence is circumspect enough, that she would probably confront the Governor with Michonne's charges, putting them both in danger. But the fact of the matter is, the women are in serious trouble. The Governor is not a nice guy, even if he has yet to (SPOILER!) brutally rape Michonne, something I think might still be coming, and they would be wise to be wary.

The question is, will Andrea's hesitation to leave ruin her relationship with Michonne? Because of the way time has passed in the series, Andrea has been with Michonne longer than she was with the group. The two have formed a very strong bond that is seriously being tested now. How might that change their dynamic going forward?

Lastly, in "Killer Within" Merle (Michel Rooker) tells the Governor he would like to go look for Daryl (Norman Reedus). The Governor says some nice things, but is definitely not in favor of such a plan. Might Merle try to strike out on his own? How will that ruin the relationship between Merle and the Governor, which seems to be tight prior to this stumbling block. And will Merle end up being a good guy, unlike how he is seen in early episode of The Walking Dead? It looks like it when he talks to Andrea.

The Walking Dead is having a frighteningly good third season. New episodes air Sundays at 9 p.m. ET on AMC.

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

Not "Voting" for Last Man Standing

After suffering through a number of episodes of season one of ABC's Last Man Standing, waiting for something to change, I finally gave up on the hope that it might get good. Still, Tim Allen has significant sitcom chops, and so I was curious enough to check back in on the premiere of season two to see if it had gotten any better.

It has not.

The problem is just a severe lack of funny. There are talented actors performing convincing roles, but that doesn't mean I want to laugh at them. Besides Allen the casts boasts Nancy Travis, Kaitlyn Dever, Hector Elizondo, and others who have proved their worth before. They are wasted here.

I will give credit to the season premiere, "Voting," that it does not just bash a political party. Patriarch Mike (Allen) fills his yard with Romney signs, but is disturbed to learn that his eldest daughter, Kristin (Amanda Fuller, Grey's Anatomy), and the father of her child, Ryan (Jordan Masterson), are Obama fans. He just doesn't see any reason for it, and is even more upset when middle daughter, Mandy (Molly Ephraim), is swayed to their side.

But in the end, Mike is proud to realize he has raised strong, independently-thinking women, and decides not to give them crap for voting for whoever they want to vote for, even driving Mandy to the polls. This is a nice message, and one hopefully a lot of Republican-leaning parents will see and remember when dealing with their Democrat-voting children, as there does seem to be a trend of a generational divide in many families.

I like that "Voting" does not single out either position as terrible. Mike and Kristin lob plenty of criticisms of the candidate they do not favor, but avoids turning it too ugly. They set a good example for their viewers by not letting it dissolve into the seriously depressing hate fest politics current are. The problem is, there aren't any good jokes to go with this plot.

I also am not a fan of the recasting. Replacing Nick Jonas with Masterson feels OK because Jonas only guest starred in a single episode, even though the character badly just forces himself into the group chemistry, pretending he's always been there, when he has not earned that right.. And hiring new children to play Kristin's son is a necessary evil that many television programs do, aging the child quickly and finding more capable performers to handle the demands. But Fuller neither looks nor acts like Alexandra Krosney, who played Kristin for the entire first season, so this is a jarring misstep. And Krosney was better.

The biggest disappointment continues to be with Vanessa. While I adore Nancy Travis, she is totally underused, and when she is present, it's for gags that fall flat. Her cheery "mysteriousness" in "Voting," where she refuses to tell anyone in the family who she supports in the election, is terrible. None of the other characters seem amused by it, and this viewer was not, either.

Could Last Man Standing still be saved? Yes. There are elements here that could be tweaked and make the series worth watching. But after an entire year, and a completely unimproved, even worse, season two premiere, the odds are that these changes will never be made. Banishing the series to Friday means it might not be around much longer, anyway.

Last Man Standing airs Fridays at 8 p.m. ET on ABC.

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

Once Upon a Time in "Tallahassee"

Last night's installment of ABC's Once Upon a Time may have been called "Tallahasse," but not a single moment of the episode took place in that Florida city. Instead, "Tallahassee" is a dream. It represents home and family for Emma Swan (Jennifer Morrison), a chance to be with the man she loves and raise a kid together.

But this dream is dashed eleven years ago, as we see when Emma finally gets her own flashback. Yep, the backstory of "Tallahassee" tells a fairy tale in the real world. Thief Emma meets another criminal, Neal (Michael Raymond-James, Terriers, True Blood), and together they become a sort of Bonnie and Clyde. Seeking to prevent a tragic ending, August (Eion Bailey) arranges for Emma to end up in jail and Neal to step back until Emma has fulfilled her destiny.

How might Emma's life be different if August hadn't been "protecting" her? Neal seems to really love her. Maybe they could have had a happy ending together. Yes, a content Emma might have been harder to drag to Storybrooke, but she would have been a less angsty person. If August really wanted to help, shouldn't he have thought about this? Not to mention, why couldn't August get her to her destiny much sooner?

That aside, though, we now know the meaning of the opening scene of season two, and who the Mysterious Man is. He will surely come for Emma, as his apartment showed no signs of him having moved on without her. Will Emma be able to start to forgive him, the way she is doing with Snow (Ginnifer Goodwin) and David (Josh Dallas), who abandoned her for equally noble reasons? As a "normal" human, what will Neal's introduction to the fairy tale world be like? What has he been doing in the intervening years? And what is in August's box that moved Neal to listen?

In this very Emma-heavy episode, Once Upon a Time also follows her in the story book land. She climbs a beanstalk with Hook (Colin O'Donoghue) to get a compass from the last giant (Jorge Garcia, Lost, Alcatraz). She completes the quest, of course, in her own unique way, and earns her battle stripes in this world, no longer the fish out of water she began as a few episodes ago.

What viewers are reminded of in this episode, though, and what Emma already well knows is, people are complicated, and you can't always take what they say at face value. Who is the real bad guy in "Tallahassee," the giant or Hook? The giant hates people and almost kills Emma, but his people were slain by men, so there's no wonder he holds a grudge. And once Emma spares his life, he does her a favor AND allows her to leave. So he's clearly not unreasonable.

My question is, though, how believable is it that the giant learns to trust Emma? He is described as the baddest of them all, the only survivor from the war. Would he really, after so much suffering and loss, be able to strike a deal and some sort of trust, slim as it might be, with Emma? Wouldn't he just kill her? The fact that he doesn't makes him not only a good guy, but a hero of the highest order. Which means he should definitely return again.

Hook, on the other hand, I do not trust. I think Emma is right to have the giant keep him for ten hours and allow the ladies to escape. I don't care what he tells them, I can't help but feel he is still playing out Cora's (Barbara Hershey) plan. And while I think there is some real grief behind Hook's motivations, and do think that he is sincere when he tells Emma about his motivations to get to Storybrooke, the story behind it all cannot be discounted, knowing his love began in the most unorthodox and sinister of ways.

And I guess there will be no Jack in the story of this giant and beanstalk, given the pile of bones on the floor.

There is another danger revealed in "Tallahasse." Both Henry (Jared S. Gilmore) and Aurora (Sarah Bolger) have nightmares about a red room with burning curtains. Are they seeing each other in the room, or a villain we have yet to meet? What does it mean? When did premonitions enter into the mix? When will this go down? Scary stuff, a level of danger that might just edge out everything we've seen so far.

There are a few weak points, such as characters making leaps not fully explained, but overall season two of Once Upon a Time has been an exciting thrill ride. I'm ready for Emma and Snow to get back to their friends, but definitely excited about what's to come next. "Tallahasse" is not as good as recent episodes like "The Doctor," "Crocodile," and "We Are Both," but is still a fun time.

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

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

Malibu Country might catch the Romney/Ryan crowd

Reba McEntire, these days known as just Reba, is a great singer and a capable actress. Who can forget her role in the classic (a term used only slightly tongue in cheek) sci-fi film, Tremors? And after a successful six year run of her previous sitcom, Reba, a new vehicle for the former country star seems like a no-brainer. Paired with another comedy comeback, Tim Allen's Last Man Standing, the time slot should work for it, serving as ABC's attempt to reach out to a demographic different from their norm.

What might be over looked by some viewers, though, is just how bad Malibu Country is. Possibly worse than Last Man Standing.

The plot is this: Reba's husband, Bobby (Jeffrey Nordling, Body of Proof, 24) cheats on her. She tries to stand by her man, but then he demands that she actually speak in public, and she loses it, in the nicest way possible while still expressing hate. This event prompts her to pack up her two teenage children, Cash (Justin Prentice, Winx Club) and June (Juliette Angelo, New Year's Eve), and with her alcoholic mother, Lillie Mae (Lily Tomlin, Web Therapy, The West Wing) in tow, move from Nashville, Tennessee to Malibu, California.

So why does Reba, a strong, intelligent woman, stand next to Bobby in the first place, before coming to her senses? There should have been a more dramatic scene that explored these opposing elements of her personality, but that sort of pathos will never be explored in a comedy this broad. What's more, we learn that Reba gave up a promising singing career to raise Bobby's kids in the first place, an action that seems at odds with a woman strong enough to leave him and set out on her own. I'm not saying a woman cannot be complex in this manner, I'm only complaining that the characters presented in Malibu Country do not come across as complex, and in fact, complexity would feel out of place.

Oh, and Reba right away writes a song sure to be a hit, quickly and single-handedly sure to re-launch her long-abandoned career as a singer. Talk about fantasy! Where is the struggle? Audiences root for a mountain overcome, not fame handed out on a silver platter, which might not happen, but based on the "Pilot," probably will.

Worse than the characters is the way that Malibu is portrayed. It is a land full of drugs and homosexual boys who still kiss girls, awash in their heathen, immoral ways. It is surprising that the character of Reba is only a little judgmental, when the writers of this drivel clearly get their current events from FOX "News." Reba is not a hate-filled person, but whoever made up these characters and situations is. Sure, California is more liberal than Nashville, but there would not be a switch flicked that puts Reba quite so out of her element.

Interestingly, Tomlin, who for some reason must change the spelling of her first name when in character and wear a terrible wig, is a lesbian herself. So was the "Pilot" created by small-minded people, and then the actual production handed over to those less concerned with such things, but too lazy to fix them? Or ordered not to? After all, ABC already has their bases on the other side covered with Modern Family.

It's the way everything in Malibu Country seems at odds with itself that kills the show. That, and it's just not funny. Most of those involved deserve better, and hopefully audiences won't tune in and find a populist point to rally around anti-West coast culture. The last thing we need this election season is more divisiveness, pitting the middle of the country against the coastal regions. But, considering the other series it's paired with, which shares a similar, though far less obvious, sensibility, this is exactly what might happen.

Malibu Country airs Fridays at 8:30 p.m. ET on ABC.

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

Don't really want to move to Mockingbird Lane

Considering the cast and crew of NBC's Mockingbird Lane, created by Bryan Fuller (Pushing Daisies), I was super psyched for the series this fall. When it was held back, and decided that the "Pilot" would be aired as a stand alone Halloween special, without producing more episodes, disappointment set in. That is, until it actually aired. Then disappointment of a whole other kind appeared.

It's not that Mockingbird Lane is bad; it's just that the first episode doesn't live up to its potential. The set and effects (save for the werewolf in the opening sequence) are spectacular, and glimpsing the Golden Gate bridge behind the infamous house is a stroke of brilliance, providing a stark contrast every time it's seen. This links the show to the real world, even as it feels like fantasy. Lily's (Portia de Rossi, Arrested Development, Better Off Ted) introduction is even more cool, spiders flowing gracefully around her to make her garb.

But the rest of the episode is just too tame. Whereas The Munsters, the goofy sitcom Mockingbird Lane seeks to update, relies on gags and schlock, Mockingbird Lane treats itself like a serious drama. This doesn't work. Sure, these actors are capable of deepening the characters, and making this new show mean a lot more than the old one. But they don't get the chance, skipping over much of what should be an introduction-based episode, and jumping right into a boring story. Combining the comedy with the drama is what it needed here, and the mix is almost absent in this premiere, which skews more towards the drama side.

The crux of the first episode is how Eddie's (Mason Cook) parents are going to tell him that he is a werewolf, a monster, or Munster, like them. One would think that this is exactly what Mockingbird Lane should be doing, since it is taking an element of the classic series, and putting it into context people can relate to, providing a moral dilemma. Instead, the implications of what this means are glossed over, replaced with an empty "be yourself" type of mantra.

Herman (Jerry O'Connell, The Defenders, Crossing Jordan) is the only one of the Munsters that comes across as fully realized. He knows he is dying, but refuses to let Grandpa (Eddie Izzard, The Riches, United States of Tara) kill Eddie's new scout leader, Steve (Cheyenne Jackson, 30 Rock, Glee), to obtain him a new heart, thus saving his life. He also wrestles with what to do about Eddie. As a man who is made into a Munster by Grandpa, Herman straddles the two worlds, and is a compelling lead.

It's too bad this plot is cut short, though, when Steve accidentally dies. His death is funny, but there is definitely more that could have been milked from the situation, considering Herman's internal struggle is the best part of the episode. Once Steve is dead, not murdered, Herman doesn't mind taking his organ. Which kind of ruins what is built up til that point. How much darker and deeper would it go if Grandpa killed Steve, and then forced Herman to take the heart against his will? How would that affect family dynamics, as well as how Herman feels about himself? And why not let Steve stick around for a few episodes first, so the family can get to know him, and his death would mean more? After all, Jackson is terrific in the part.

Grandpa can be excused for being how he is, because it seems logical that he would think the way that he does. I just wish he was played more over the top, or commit to the scary, rather than doing neither at one hundred percent, either of which Izzard would shine in. Lily doesn't get much to do in the first episode, so it's hard to see where she fits in, though she is clearly torn between Herman's want for the family to be good, and Grandpa's longing to return to the traditional ways of feeding on humans freely. De Rossi has the chops to make this work, given screen time to do so, which she is not in the "Pilot."

The real problem is with the kids in the cast. Eddie is too flat, not up to the task of the real emotion his situation calls for. Marilyn (Charity Wakefield) is no better, though her fault lies in the writing. We know that she wants to stay with the family, even though Grandpa despises her for being born normal. This needs to be explored, especially in the opening of the series, but is pushed off for another day, if ever.

Should Mockingbird Lane be allowed to continue, there is plenty of potential here for a fantastic show. I just fear that the luck luster plot of the "Pilot" combined with the lack of faith the network has put into it has killed a bold experiment before it even begins.

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

It's Always Sunny plays out nightmares

This week, FX's It's Always Sunny in Philadelphia, which recently began its eighth season, celebrates Halloween with "The Maureen Ponderosa Wedding Massacre." Maureen (Catherine Reitman) is getting married, and Dennis (Glenn Howerton) crashes the ceremony to make sure that she goes through with it, so that he won't have to continue paying her alimony. The rest of the gang comes, too, some to support Dennis, others who want to ruin things so that he will stay miserable. But what they don't count on is encountering the McPoyle clan, who soon begin acting like a hoarde of zombies.

I am not a fan of the McPoyles. I love It's Always Sunny greatly, but sometimes it ventures into a territory a little too gross for me. This includes pretty much every instance in which the incestuous clan shows up. Thankfully, they've done only a few episodes in the past eight seasons, but as I believe I am in a minority opinion here, it's inevitable that they return.

This time, however, I feel like the McPoyles are used correctly. It's hard to watch them being sweaty and gross, but considering the point of "The Maureen Ponderosa Wedding Massacre" is to be creeppy and scary, it works well. Who wouldn't be terrified trapped at a wedding in the woods with a bunch of inbred hillbillies? No one would want to be eaten, or have sex with, any of this group.

And the fake-out blowjob bit between Liam (Jimmi Simpson) and Ryan (Nate Mooney) is funny.

As things go from bad to worse, told in a series of flashbacks at the police station, Dennis not only ends up fleeing after ill-advised sexual relations, but Dee (Kaitlin Olson) attacks Charlie (Charlie Day) and Mac (Rob McElhenney), and Frank (Danny DeVito) is sort of behind all the trouble. They all get away with their terrible actions, consequence free, as always, because they don't do anything illegal. But one has to admit that, even when they stay within the confines of the law, what they're doing isn't right. This will surely catch up with them some day, a la the Seinfeld finale, only hopefully better executed.

The Mac / Charlie / Dee sequence is my favorite part of the episode, especially when the truth behind Dee's attack is revealed. Mac and Charlie are pure bozos, and it's hard to believe how believable it is that they would wreck her car and think they could lie their way out of it. Priceless comedy gold!

The only thing that really rings hollow in "The Maureen Ponderosa Wedding Massacre" is why Liam is marrying Maureen in the first place. She has fixed the dead tooth and gotten new, big boobs, so she's way too attractive for the very gross Liam. Liam is definitely still in love with Ryan, so it makes little sense that he would want to marry her. And while I won't say that Maureen can do better, as she is still as weird as ever, and improving her look can't fix that, why would she want Liam? There is no chemistry and no reasonable explanation for the union. This would have been an easy fix if only Maureen had invited Dennis to the wedding, going through with the whole thing just to make him jealous, which he does become on his own, temporarily.

Overall, It's Always Sunny in Philadelphia remains a great series. This is a serviceable episode with some fantastic moments, though perhaps overall falls a little short of some other installments. But week in and week out, It's Always Sunny makes me laugh, and any series that can do that is worth watching.

It's Always Sunny in Philadelphia airs Thursdays at 10 p.m. ET on FX.

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

The B in Apt 23 still deliciously untrustworthy

ABC's Don't Trust the B---- in Apt 23 returned for a second go-round last week with "A Reunion..." James (James Van Der Beek) is happy to once more blow off his former Dawson's Creek co-stars' request for a reunion show. That is, until June (Dreama Walker) tells him how much it will mean to millions of girls, and probably bring him new, young female fans. The problem is, as James soon finds out, Chloe (Krysten Ritter) is the one who has been sending the letters to manipulate her pal into giving her things, and James' cast mates want nothing to do with him. What is a washed up television actor to do?

It's a shame that more Dawson's Creek stars aren't available to appear in "A Reunion..." Busy Philipps (Cougar Town, returning on TBS in January) drops by to break the bad news to James about why he is hated, which is great, but as she says, she was only on the show for two seasons. There would be a little more weight to the story if we got to see Joshua Jackson or Michelle Williams or Katie Holmes, even just in a quick cut-scene.

Alas, Don't Trust the B---- is just starting what will hopefully be a many-year run. It's a little too early to bring in those types of cameos, especially considering the success that they have found post-DC. Which means, this plot may have just been done too early in the series' run to fully live up to its potential.

That being said, "A Reunion..." is pretty darn funny. James Van Der Beek is as excellent as he has been in every episode so far, and focusing on him is a good idea. We get a bit of Chloe being ridiculously mean and self-absorbed, shooting people with a tranq gun, and a bit of June being starry eyed and naive, and then the meat of the episode falls onto James' shoulders, with nary a peep from the other side characters, save some gold from Luther (Ray Ford). This is the winning formula the show should stick with.

The guest stars they do have are well used, too. Besides Busy, Frankie Muniz (Malcolm in the Middle) gets to do a JVDB-style version of himself when a reunion-obsessed James tries to force his way into a Malcolm special, and Mark-Paul Gosselaar is fantastic in setting James on the right course, though I do wish some mention had been made of Gosselaar's more recent TV effort, Franklin & Bash. Stars playing unflattering versions of themselves has become the new chic (see Showtime's Episodes), and when talented people are allowed to act in this manner, leaving their pride at the door, they can really shine, both because of the delightful results, and because it shows they are people who aren't afraid of being the butt of a joke, a wonderful quality.

Don't Trust the B---- in Apt 23 may still be trying to find its audience. But if any of the above sounds appealing to you, and it should, check out the show Tuesdays at 9:30 p.m. ET on ABC.

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