Archer doesn't even know what "Fugue and Riffs" means

Grade: 91%

WARNING! SPOILERS AHEAD!

FX’s ARCHER is finally back this week with “Fugue and Riffs.” Archer (H. Jon Benjamin) has not been seen since his mother’s wedding, having run off, traumatized. But he soon surfaces down by the shore, living with a wife and kids, and running a greasy restaurant…

I can’t discuss the opening of “Fugue and Riffs” without spoiling something incredibly special, so I am just going to ask right now that you watch the episode and then come back to this article, because I just have to reveal the twist: The episode opens with Archer thinking his name is Bob, and he owns a place called Bob’s Burgers.

That’s right. Archer is living in the world of the FOX cartoon Bob’s Burgers, in which the titular character is also voiced by H. Jon Benjamin. All of the touches of Bob’s Burgers are there, including Jimmy Pesto’s across the street, Mort’s funeral parlor next door, the children and their goofy clothes, and even John Roberts voicing Bob’s wife, Linda. The only major changes are the animation style, which stays with what ARCHER viewers are accustomed to, and that Bob is the kids’ step-dad, having only lived there for two months.

I cannot express how awesome this mash-up is. It’s always been a little weird to switch back and forth between the two programs (both excellent and hilarious) and hear that same, distinctive Benjamin voice. I only wish that the conceit had been kept up, and maybe we would find out that, somehow, Archer had long been sneaking off to this secret family of his. Of course, that wouldn’t really work, plot-wise, and I’m grateful that this has been allowed to happen under any circumstances. Still, it’s quite a tease…

This isn’t the first time that ARCHER has referenced things, tongue in cheek, outside of the series itself. Jeffrey Tambor, who plays Jessica Walter’s husband on Arrested Development (new episodes coming to Netflix in May), has guest starred in four ARCHER episodes, so far, as a love interest for Walter’s character. It’s a bit meta, but meta is incredibly in right now, and has yet to grow stale.

The rest of “Fugue and Riffs” isn’t nearly as good. How can it be? There are plenty of signature ARCHER elements, a KGB attack (that starts in the burger joint), fun banter between Archer and Lana (Aisha Tyler), uncomfortable moments with Malory (Jessica Walter), some terrific Pam (Amber Nash) / Cheryl (Judy Greer) hang time, and tons of great one-liners and visual gags. Even the ending of the episode, discovering that Barry (Dave Willis), still up in his space station, is behind all of the trouble this week, is so unexpected and fun.

It feels wrong to complain about the rest of the episode because, if the opening hadn’t been so big, it would have been a typical ARCHER outing, and not at all a let down. The issue is, when an episode chooses such an explosive first few minutes, there has to be follow through, and there just isn’t here. Maybe the Bob’s Burgers stuff should have been worked into the finale of the episode, rather than the beginning. Maybe it just needed to start a larger story. Whatever the reason, it makes this episode slightly uneven.

Luckily, I’m sure that won’t be the case in the coming weeks. As I said, most of the episode is perfectly in keeping with the rest of the series, and ARCHER remains one of the best half hours on television. Its witty humor, smart writing, and delightful cast chemistry combine to make something really special. “Fugue and Riffs” has proven that these elements remain intact, after we get over the distraction of a brilliant initial sequence.

ARCHER airs Thursdays at 10 p.m. ET on FX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

Suits is "Blind-Sided"

Grade: 94%

USA’s SUITS returns this week with “Blind-Sided.” Hardman’s name is being scraped off the office door, and that chapter of the firm’s ugly history is over. So everything is now copacetic. Or is it?

The following does not ruin the ending of the episode, but does contain major spoilers, as it is pretty difficult to talk about the series without mentioning what is going on. You have been warned.

Louis (Rick Hoffman) is excited by the return of Sheila Sazs (Rachael Harris). Not only is she there for Louis sexually, but she also has a business prospect for him – an associate named Maria Monroe that he can hire for himself, now that he’s a senior partner.

But Jessica (Gina Torres) shuts Louis down, shaming Louis, the little power he now has ripped from his grasp, made even worse when Jessica’s excuse, that they are in a hiring freeze, is proven immediately false as Harvey (Gabriel Macht) hires a new associate of his own. It’s incredibly frustrating for Louis, and it definitely hurts things with Sheila. Does Louis really deserve to be treated like this?

More than that, is it dangerous to the firm for Jessica to act this way? Jessica’s motivations might not be vindictive, but she is fine with Louis believing that they are, and that could prove to be a problem for her down the road, should Louis ever find someone else to side against Jessica with. Jessica’s overconfidence may be her undoing, believing that she can handle anyone that threatens her position.

The real purpose behind Jessica’s act, of course, is to protect Mike (Patrick J Adams). Maria is a force to be reckoned with, as is immediately obvious, and Donna (Sarah Rafferty) tells Harvey, who in turns tells Jessica, that Mike’s secret will be threatened by Maria’s presence. If word gets out that Mike isn’t actually a lawyer, it could threaten the whole firm. Mike’s secret is the gift that keeps on giving, to paraphrase a quote from the show.

Unfortunately, in “Blind-Sided,” Mike is beset by personal issues, and is not earning his keep. Jessica isn’t happy that she has to bend over backwards in the first place for Mike, but because Harvey thinks Mike is worth it, she usually does. Now, with even Harvey tired of Mike’s shenanigans, how much time does Mike have before he is kicked to the curb? He doesn’t seem the sort that would blackmail Jessica and Harvey to keep his job, so if he stops being useful, he could easily be gone.

“Blind-Sided” sees Mike at his worst. Not only has it been just one short week since his grandmother’s death, which he is still dealing with, but he’s continuing his affair with a married woman, Tess (Elisabeth Hower), is back to smoking pot, and memories of his parents’ death are dredged up by the case he works on. We have never seen Mike this erratic, and while there is definitely still sympathy to be felt for the guy, we need our heroes to overcome their obstacles, not allow themselves to take the low road, as Mike is doing.

Can Mike get himself back on the right path before it’s too late?

Harvey also crosses a line in this episode, engaging in bribery to help the case. This is in stark contrast to the soft, warm side of Harvey we see during his date with Zoe (Jacinda Barrett) earlier in the hour. So which is the real Harvey? Is he ready to open himself up and settle down? Or is he still someone who will do whatever it takes to win in court?

Both Harvey and Mike do right and do wrong in “Blind-Sided,” and yet, Harvey comes off as a good guy, while Mike is painted as bad. No matter how much Mike insists, there is no strict right or wrong, and circumstances color viewers’ opinions. What SUITS doesn’t show is just as important as what it does, a subtlety that makes the rich layers of the installment all the more memorable.

That’s why SUITS continues to be USA’s best show. What happens on the surface, and the dialogue delivered, do not tell the whole story. Instead, we get these brilliant characters whose decisions affect others, not just themselves, and who won’t always agree on the course of action. Their complicated chemistries and interactions build on one another to make this a smart serial, not a common lawyer procedural.

There’s also a fair amount of romance tossed in, with Mike still on shaky ground with Rachel (Meghan Markle), who claims to not be the goody-goody she comes across as, and Harvey and Louis’s affections for Zoe and Sheila, respectively. “Blind-Sided” allows all of the main guys to tend to matters of the heart, but also reveals that they can’t necessarily control how these things play out, a nice, realistic touch. When will it be the ladies in the cast’s turn to get wooed?

The trademark charm and witty dialogue that have become a hallmark of SUITS continue, with great one-liners delivered by Donna, Harvey, and Louis, in turn. It’s fantastic to have compelling plot, but add to that some zingers that stand out, and it raises the overall quality of the thing considerably.

You won’t want to miss SUITS, returning to finish their second season January 17^th at 10 p.m. ET on USA.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first published on Seat42F

This series is Legit

Grade: 87%

FX’s latest sitcom is LEGIT. Starring Australian comedian Jim Jeffries as a fictional version of himself, based on his stand up routine, LEGIT finds Jim wanting to grow up and be a responsible adult. Unfortunately, this is something that will not come easily to him.

The “Pilot” opens with Jim and his roommate / best friend Steve (Dan Bakkedahl, The Daily Show, Community) waiting in line. We soon learn that Jim tricked Steve into coming because Jim didn’t want to stand in line alone. This tells us immediately what kind of self-centered jerk Jim is, and that Steve is the schlep who follows him around. It sets the tone very quickly as to who these characters are, and what their relationship is with one another.

From there, Steve and Jim’s conversation moves towards the possibility of Jim being a father, which he decides he can only do if the mother dies. Not right away, mind you; he’s not completely cruel. And he’s be willing to continue the sexual intercourse, even if his mate’s body becomes disease-ridden.

This sequence is a fantastic opening. I really feel like it does a great job of outlining Jim himself, what his sense of humor is, and how he sees the world. He likes to think that he’s a good guy, but clearly, he is a long way off from that. But Steve hangs around him for a reason, and we get glimpses of the good Jim right away, even if it is couched in a self-involved narcissist.

I feel like I could keep repeating the same observations in every scene of the episode; that’s how good LEGIT is at explaining itself right out of the gate.

Now, Steve is not a total rube. He has limits as to what he will put up with, and he isn’t shy about correcting Jim’s bad behavior. He may be pushed into doing things that he’d rather not to, but he sets limits, and mostly sticks to them. He is also just about the best brother in the world to his younger, handicapped sibling, Billy (DJ Qualls, Road Trip, Memphis Beat), so he’s easy to root for.

The rest of the first episode involves Jim and Steve taking to find a hooker. Billy has muscular dystrophy, so he hasn’t had any experience with women, but he is a normal horny man, and would like to correct that oversight. It’s a very good thing Jim is around, because Steve only agrees reluctantly to go along with it, and Billy’s mother, Janice (Mindy Sterling, Austin Powers, Desperate Housewives), does not approve.

Jim keeps telling Steve that he wants to improve himself, and it’s at Steve’s encouragement that Jim sets out to help Billy. It’s not the way that Steve thinks Jim should be helping, and Jim’s openness with everyone he knows (and a twitter feed) spread the story much faster than it should be spread. But at least he helps, and it’s hard to fault someone with being who they are, open and honest. And yes, at the end of the day, Jim sees a way to help himself by helping Billy, but at least he’s helping, right?

LEGIT should fit in just fine with the rest of FX’s comedy lineup. It’s most similar to Wilfred, and not just because Jeffries looks and sounds a bit like Jason Gann. The humor is along the same lines, as is the sensibilities of the lead, and some of the show’s themes. The most surprising thing is that LEGIT may even be slightly filthier than Wilfred (or Archer or anything else on the network). If you like WILFRED, but don’t enjoy strange mysteries surrounding men in dog costumes, than LEGIT is the show for you!

I personally find this type of humor pretty darn funny. I admit, it is not for everyone, and it’s not a series that families can watch together or the easily offended should view at all. But for young adults and those in college, LEGIT could easily become something to tune in to every week.

I don’t know that it’s really relatable. Everyone may know someone like Jim, but few real people would go to the extremes that this comedian does. However, it’s not really necessary for LEGIT it be relatable, and the jokes are accessible enough the way they are.

LEGIT premieres Thursday, January 17th at 10 p.m. ET.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

"Where Waldo?" On Justified

Article first published as TV Review: Justified - "Where's Waldo?" on Blogcritics.

FX's Justified continues its second season this week with "Where's Waldo?" Art (Nick Searcy) is drawn into the mystery of Waldo Truth, whose name and bag are found in Arlo's (Raymond J. Barr) wall. When Raylan (Timothy Olyphant) realizes that Arlo killed a man in prison just because he overheard Raylan talking about the bag, the Marshalls decide that they need to pay Waldo's family a visit.

The tale of Waldo Truth, and his connection to Justified's characters, seems to be the main storyline this season. By the end of "Where's Waldo?" we know that Arlo probably helped cover up a fake death, and, for some reason, Art is interested in the case, which he seems to already know a little about. This is a deeper plot that first realized, with connections to the past of main players. It is a ripe fruit to pick.

Justified is sort of a cop series, but it's much more about people than action. The show has always taken the time to let the actors really dig into their characters, and present complicated individuals with convoluted relationships. While law enforcement types will probably figure out what crimes have been committed and who has committed them in the end, that's not really the point of the episode.

A great example of this is when Raylan, Art, and Tim (Jacob Pitts) go to confront Waldo's family. At first, they meet up with punk kid Milo (Ethan Jamieson, The Hunger Games), who just deserves to be smacked so hard! Then, they talk to the matriarch of the family (Beth Grant, No Country for Old Men, Jericho). Instead of getting the information that they need and leaving, the scene lingers, letting the personalities clash in delicious ways.

The reason Justified can get away with this is because they are able to cast such fantastic guest stars. No one who saw it has forgotten what Margo Martindale did in season two. I don't know if Beth Grant is being set up for a similar run, but she will most definitely be back, probably multiple times, and her bits this week are intriguing.

Besides the guests, though, watching Raylan, Art, and Tim is fun in and of itself. They aren't often working as a team on the show, but when they do, it's always superb. When one of the Truths tells them to get off their property in 10 seconds, and then five, Tim ribs Raylan that his line is being stolen. When Milo calls the Marshalls perverts, and then Raylan has to relieve the kid of his gun, the reactions among the various feds are great. These details are what keep viewers tuning in week after week.

I also love the increased story for Art. We know that he is nearing retirement age now, and he's out in the field in "Where's Waldo?" to prove he's still fit enough to run his department. This is a man who has pride, who is not ready to be put out to pasture yet, and who thinks that only he can handle his cavalcade of unhinged deputies. The scene where he talks about his people, listing their issues without naming their names, is a particular favorite of mine in this episode, catching you up with some of the more minor characters' stories, while also showing us something about Art.

The retirement plot isn't laid out overtly, but rather, Justified gives you the pieces and the viewer is supposed to put them together. There is no line where Art talks about his motivations, and his possible pending resignation from the unit is just briefly mentioned a couple of times. Yet, Searcy conveys a lot that doesn't need to be put into words.

Bottom line, it's not smart to play on your phone while watching Justified. You're going to miss something.

Across town, Boyd (Walton Goggins) makes a move against preacher man Billy St. Cyr (Joseph Mazzello, The Pacific, Jurassic Park), only to learn that the real threat comes from Billy's sister, Cassie (Lindsay Pulsipher, Hatfields & McCoys, True Blood). We are just beginning to get a glimpse of the religious fanatics. Billy seems sincere, so it's probably Cassie who is up to no good. We have not seen enough to figure out what she might want, though, and as Boyd is doing, it's wise to bide one's time and keep an eye on her, for now.

Besides, Boyd has other troubles when he finds drugs being dealt in his territory. It doesn't take long for the Dixie Mafia to come after their dealer who Boyd has taken hostage, and they send Wynn Duffy (Jere Burns) to be their voice.

Wynn is a fantastic character, one whom Justified keeps finding ways to bring back. This latest tiff shows that Wynn is definitely a bad-ass again, his superior from last season no longer keeping him down and scaring the crap out of him. It is a bit thrilling to witness a villain returned to glory, even when we know it will only make trouble for the good guys.

Wynn's method of dealing with the situation is awesome, but it's a shame that he kind of shuts down Boyd. Boyd wants continued involvement with Wynn's employers, which would be nice for fans of the series, as it gives Wynn an excuse to return on a recurring basis. After Wynn refuses Boyd's offer, we're left in the dark about how he might be back next. However, there's the distinct impression that he will be, and sooner, rather than later.

I like that Boyd has Colt (Ron Eldard, Blind Justice, Super 8) working for him now. As great as Johnny (David Meunier) and Ava (Joelle Carter) may be as characters, they are not all that threatening, and with Boyd getting into plenty of scuffles, he needs a strong right-hand man to keep power. Colt is definitely that guy, violent and a little insane.

The only thing I'm not crazy about on this side of the series is the larger presence of Ellen May (Abby Miller) so far this season. It is likely because I'm not a fan of the character, and so I don't relish her extra screen time. She is definitely a pawn in the game, so she may just be held up to be expendable. However, while she is still alive, I'm getting a little annoyed about seeing her so much.

The other side trip in "Where's Waldo?" involves a man named Randall (Robert Baker, Grey's Anatomy). He has a brief encounter early in the hour with Raylan, and then the episode continues to follow him, even though he is no longer interacting with anyone familiar. It is kind of odd, but it's a good way to pique interest, teasing us with the certainty that Randall is important, but not revealing why until the end of the installment. I kind of wish that they'd kept the mystery going longer, but it's still a cool way to handle things.

"Where's Waldo?" doesn't have a ton of action, but a few key scenes, as well as stellar acting (as usual) make it a fine installment. Two episodes in, and already I'm hungry for more, wanting to know the rest of the story that the show will patiently spin out bit by bit over the next couple of months. Justified is a very well-made show, and with episodes like this, it's easy to see why.

Justified airs Tuesdays at 10 p.m. ET on FX.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

The Hour returns for another bout

As BBC's The Hour begins its second season (recently released on Blu-ray and DVD), it has been over a year since we last left the characters. It's 1957, and in Freddie's absence (Ben Whishaw), Bel (Romola Garai) struggles to keep the show within a show living up to its potential, mostly failing, as even she will admit. Her mission is complicated by the fact that Hector (Dominic West), the face of the broadcast, has let his celebrity go to his head, and has become notoriously unreliable.

Luckily, it isn't long before Freddie is back in town, and a new scandal involving a crime syndicate in Soho, where Hector hangs out, is enough to get the team engaged in real news again, climbing out of the rut they are mired in.

It's funny how The Hour continues to be as relevant today as it would have been in the time it took place. It excels in illustrating that as much as things change, they also stay the same. Hector's behavior is obviously easy to draw parallels to with modern celebs and scandals, and the fight between being journalists over addressing commercial concerns is still current, as cable news goes after ratings and ad money, sacrificing reliability and thorough work.

There are plenty of similarities between The Hour and HBO's effort The Newsroom. Both are inspiring tales that make journalism sexy and something to root for. They build up the people behind a program, casting them as heroes in the fight against the powers that be. It's a trend I'd like to see more of. Forget cops and lawyers and crime scene investigators; we've had enough shows about them already. This decade is about the reporters!

The Hour is very character driven. The relationship between Freddie and Bel, complicated when Freddie comes home with a wife, Camille (Lizzie Brochere, American Horror Story: Asylum), continues to be one of the catalysts that moves the plot along. The actors have fantastic chemistry, and The Hour does as all dramas do, throwing stumbling block after stumbling block in their way, keeping the friction between them alive, and allowing the simmer to propel the plot. I want to see them get together well before the series ends for good, but for now, the dance between them is delightful.

With no Bel to pursue anymore, since they didn't work out as a couple, Hector has to give his time over to other pursuits. It saddens to see his character lose his way, but, on the other hand, it's much better that he sticks around The Hour post-relationship, rather than disappearing from the cast. It gives West the chance to milk the pathos and personality of a larger than life man who just isn't finding his place and purpose in the world, an intriguing concept, to be sure.

I really like the new addition Randall Brown (Peter Capaldi, Torchwood: Children of Earth, The Thick of It) as the boss. He is someone who not only proves worthy of matching wits with the employees under him, our protagonists, but his secrecy and the way he clouds his motivations make him interesting in of himself. He's a good wrench to throw at our main characters, and he keeps things interesting at the news station, providing the internal pressure to balance out external concerns.

Sadly, the special features on the Series 2 DVD comprise a single behind-the-scenes featurette. With the historical context, this season featuring Caribbean immigrants and the Space Race as plot points, one wishes there were something to explain the choices of tying certain real events into this fictional world. There is not.

Aside from that, though, the episodes are solid, and the performances continue to deliver. I would definitely recommend checking out The Hour 2, available now.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on TheTVKing

Being Human has no shame, about Ray or otherwise

Grade: 95%

BEWARE! SPOILERS BELOW!

SyFy’s American remake of BEING HUMAN is back for a third round this week with “It’s a Shame About Ray,” airing Monday at 9 p.m. ET. It’s been fifteen months since we last saw the roommates, and fifteen months since they last saw each other. Josh (Sam Huntington) and Nora (Kristen Hager) search in vain for Sally (Meaghan Rath), still trapped in limbo, and Aidan (Sam Witwer), still buried in the ground.

Fifteen months. I can’t believe that the series make such a time jump, but it really works. The past year plus hasn’t been all that interesting for the characters, with little happening, so it makes sense to skip over it. It also allows a reset, of sorts, and puts everyone in different places from where we left them. It really starts the year off interestingly.

What a way to live, though! Josh’s frustration as they visit with psychic after psychic is understandable. For over a year, he and Nora have been looking for a way to bring their friends home, and to no avail. It’s amazing that Nora still has the patience she has, and that Josh is still participating. Most people would give up after a year. Which just goes to show how strong a bond the main characters of BEING HUMAN have.

Of, course, Josh has other issues, too. He definitely feels guilty about killing Ray (Andreas Apergis), and that doing so only cured him of the werewolf curse, not Nora. Apparently, murdering one’s maker does not extend the fix to the next limb of the family tree. For Nora to be a human again, Josh must die, and Josh has to live with the knowledge of what he has done to her, and that he can’t do anything about it, other than killing himself, which would also hurt her deeply.The U.S. version of BEING HUMAN has differed pretty drastically from its UK counterpart by this point, and Josh being human again is just one of the many ways. One wonders if Nora satisfies the werewolf contingent for the series, or if Josh will have to be turned back, possibly by Nora in some sort of poetic justice. Josh as a human or as a werewolf both present intriguing possibilities, so hopefully the human thing will be explored, at least for a little bit.

Nora and Josh do catch a break when they find a witch named Donna Gilchrist (Amy Aquino, The Finder, Harry’s Law). Donna can bring Sally back, but she needs $2000, the heart of someone Josh or Nora have murdered, and Sally’s body. And the spell will return Sally as a human.

It’s a dark spell, to be sure, but I like how it all ties into Ray’s body, and Josh and Nora’s story. I do think that Donna has some dark plans having to do with Ray, as glimpsed at the end of the hour, and I don’t know what her motivations are to help, because I doubt it’s just for the money. There’s a mysterious and enticing character here, and I hope Aquino sticks around for awhile.

So Sally is brought back to life in “It’s a Shame About Ray,” as a human. Before you say “like Josh,” though, there are complications with Sally’s resurrection. Namely, she stuck close to Nick (Pat Kiely) and Stevie (Robert Naylor) while in limbo, and brings both of them through the door into her body with her, not realizing the consequences.

From the way that Sally lies gasping on the bed, one has to wonder, is she suffocating because three souls don’t fit in one body? Or is that just a symptom of her recovery from the traumatic ordeal of being resurrected? Will the three take turns sharing control of Sally’s body? If so, will the writers make the obvious sex-related jokes out of the situation? Or might the boys have woken up in their own bodies, buried under ground and decomposing, not having the suave made from Ray’s heart to restore their physical forms, like Sally did? What will happen next? So many questions, AND we get a Stevie Nicks joke out of it! Well done!

The third member of the trio, Aidan, is the most alone, as usual. And yet, he’s not. He hallucinates Sally and Josh with him every step of the way, below and above the dirt, proving his feelings for them are just as strong as how they feel about him, something that one might have doubted earlier in the series.Aidan has been through a terrible experience, being buried alive and left there, then dug up by a crazy member of the Amish cult, who subsequently dies after trying to kill Aidan. He needs Josh and Sally, and yes, Bishop (Mark Pellegrino), too, to help him will the motivation to survive, being close to a final death repeatedly. Aidan isn’t as much a loner as he would have his friends believe, and with their moral support, imagined or real, he should eventually be able to get home.

As “It’s a Shame About Ray” gives us this very personal story for Aidan, we also get clues as to bigger going-ons in the vampire world. Mother (Deena Aziz) is dead, as is much of her order, due to a very timely human flu. Their civilization is crumbling around them. Will Aidan want to get involved, and if so, how might he see himself in the new power structure?

The only thing I didn’t like in the hour was the flashback where we see Josh not turn into a wolf, and Nora does. It seems unnecessary, and as the only glimpse we get of that time period, extraneous. It is already explained well enough without showing it, and the scenes does almost nothing to add to what is already understood about the characters.

This episode of BEING HUMAN is probably one of my favorites of the series, giving three separate stories for the three main characters, and yet, connecting them in intimate ways. It balances the character-driven plot with the larger action arcs, and does so in a way that feels completely organic. It may have taken three years, but if this episode is any indication, BEING HUMAN is truly finding its stride.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

Continuum - "A Stitch in Time"

Grade: 84%

The first episode of the Canadian series CONTINUUM, titled “A Stitch in Time,” airs this Monday at 8 p.m. ET on the SyFy series. Beginning in the year 2077, CONTINUUM presents a bleak view of the future. Everything might seem glossy and technologically advanced, but democracy has given way to corporate control. A terrorist group known as Liber8 decide that they must do something about the lack of individual freedom, and so blow up government buildings, killing tens of thousands of civilians in the process.

As “A Stitch in Time” begins from a terrorist’s perspective, in the form of Edouard Kagame (Tony Amendola, Once Upon a Time, The Mask of Zorro), it immediately sets us wondering if we should be sympathizing with the cause. After all, in the modern world we celebrate democracy, and many hate big business, especially after the economic recession of the past few years. Maybe Liber8 has a point.

But then again, after seeing the destruction Liber8 causes, it’s hard to feel anything for them. Anyone who would callously murder so many innocents cannot be a hero; it goes against the grain of what a hero stands for. Unless they think these deaths don’t matter, since they are working to prevent this time from ever happening, but thinking that way will just give one a headache. So, instead, we root for the cop who represents the government, Kiera Cameron (Rachel Nichols, Star Trek, Alias).

The beginning of CONTINUUM is amazing. Besides the situation itself, which is not only intriguing, but also something we can relate to, exaggerating a battle that has already begun in our time, the visuals are outstanding. Everything about 2077 is cool, from the buildings, to Kiera’s built-in technology. It’s an impressive look at a futuristic world.

Then, on the day the Liber8 terrorists are to be executed, they manage to set off a bomb that takes the eight of them, plus Kiera, to the year 2012. Why does the show do this? Sure, it’s probably much cheaper to set a television program in the current era, and yet, after such a stupendous opening, the rest of the hour feels like a let down, wishing fervently we could go back to the future.

Kiera also has that wish, because she has a young son. She is not well adjusted to 2012, her mannerisms stiff, and her behavior awkward. Her instincts remain intact, as does the equipment in her body and clothing, so she is still able to do some of her duties. Thus, the protagonists mission becomes two fold: stop the bad guys from destroying her world, and to get home to her family.

Quickly, “A Stitch in Time” moves into police drama territory. Kiera takes up with the local cops, in particular, a man named Carlos (Victor Webset, Castle, Mutant X). It seems a bit reckless, knowing that these police officers aren’t prepared to take on the criminals of the future, but Kiera has to turn for help somewhere. And so, the set up seems to be that Kiera and Carlos will try to track down the terrorists from 2077 and stop them, a pedestrian premise, not nearly as interesting as what is happening in the beginning.

The wild card in CONTINUUM is Alec Sadler (Erik Knudsen, Jericho, Scott Pilgrim vs. the World). Played by William B. Davis (The X Files) in the future, Sadler is a young kid in 2012 who is just developing the technology that Kiera uses in her everyday work. The frequency in her suit connects the two of them, and he provides a thru line, with “A Stitch in Time” showing viewers how he ends up in the future.

What role will Sadler play? He provides Kiera with some time travel theory, which explains his lack of surprise when Kiera and the others leave 2077. But that doesn’t tell us whether they ever get home or not. It merely sets up that he remembers meeting her in the past, and knows something about what is going on. Is that why Kiera isn’t all that happy to talk to him, or act odd in discussing how he ends up? She is upset that Alec didn’t warn her, or save her from this fate?

How much does the future Sadler know, and because he does seem to have knowledge is these past events, does that mean the terrorists will fail in their plots, leading to the same world introduced in the opening? As viewers, we know that Sadler becomes a corporate giant, another clue that the series writers may be pro-capitalism and anti-democracy. We also know Sadler won’t be killed, but other than that, his role remains a mystery.

Overall, I am intrigued by the mystery and the set up, but really, really wish that at least some of the show’s action would be set in 2077. With that brilliant tease, nothing in 2012 will seem nearly as enticing by comparison. If the show will return to that time, or maybe even jump to a mid-point, giving us some of the setup, but also moving towards that better tech, it could be much better than what it appears to be on its face.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

Still not Enlightened

This season, HBO's Enlightened is going dark, with Amy (Laura Dern) seeking revenge on her company, hoping to bring them down. Well, she claims in this week's premiere, "The Key," that she is not motivated by any need to get even, but I think that the lady doth protest too much. The question is, will her stated noble reasons to hurt her employer win out, or will her emotional state ruin the mission before it even gets started?

As Amy approaches reporter Jeff Flender (Dermot Mulroney, New Girl, My Best Friend's Wedding) with information she obtained from hacking executive e-mail accounts, she appears confident that she has enough dirt to bring the whole corporation crashing down. While watching, though, there is little suspense. Viewers know that she can't possibly have what she thinks she has, because that's just not the type of person Amy is. She doesn't succeed like this.

The choices Dern makes in playing the character are interesting. She overreacts, and forces drama where there need not be, at least, not as much as she makes present. She has a holier-that-thou attitude, but her flaws are obvious, and constantly on display. She gets completely ahead of herself, such as in "The Key," where she is printing a few e-mails, and already imagining herself as Time's person of the year for being such a great whistle-blower. She thinks she is clever in fooling her boss, but she's not.

We all know someone like her, but they are the person one avoids. Centering an entire series around her is a bold choice.

I admit, it has taken awhile for Enlightened to grow on me, likely for just such reasons. There's plenty of television programs that serve up a delicious anti-hero, but Amy is an annoying and whiny girl, who doesn't easily get audiences to root for her. I feel like this year's mission to actually turn her causes into something worthwhile may be an attempt to connect and build a fan base. It remains to be seen if that will work.

Yet, there is something that has kept me watching all this time. Maybe it's the wonderment that Dern has so fully committed to and fleshed out the character of Amy. Maybe it's the side characters, who get drawn into Amy's plans, and the need to see them make it out of her influence and be OK. I'm not quite sure why, but I do end up enjoying the show.

Sadly, Amy's vendetta has got to have some casualties. Most likely, that will be in the form of Tyler (Mike White), whose password she uses to hack the e-mails, and whom drives her across down to meet with Jeff, but then Amy leaves him in the car. Tyler's a long-suffering sidekick, and while he probably won't be going anywhere on Enlightened, that doesn't mean his character's job isn't in jeopardy.

I am not worried about Jeff. He's a smart, shrewd individual who knows exactly what he is doing. He is willing to work with Amy because he can use her to get the story that he wants, and he's not going to waste time with the drivel that she initially gives him. There may even be a little spark of attraction between them, him seeing something in her that he likes in the way that she is disgusted with her company's terrible, but not illegal, practices.

The question there is, will Levi (Luke Wilson) return home and compete with Jeff for her affections? Levi doesn't appear in "The Key" because the action picks up soon after last year's finale, and he is away at the retreat. Or is he? I'm honestly not sure, because he doesn't seem like the kind of guy that would benefit from Amy's favorite place in the world. However, when he does come back, and if he wants Amy again, there could potentially be some organic competition there. That Amy will most definitely blow way out of proportion.

Enlightened airs Sundays at 9:30 p.m. ET.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on TheTVKing

Shameless still not blushing

Grade: 94%

Showtime’s SHAMLESS comes back this weekend with “El Gran Canon,” airing Sunday at 9 p.m. ET. While the Gallaghers may be the same old family they’ve always been, the stakes of season three have definitely been amped up, with real life-and-death danger threatening them all.

I refer, of course, to Steve / Jimmy’s (Justin Chatwin) father-in-law. Estefania’s (Stephanie Fantauzzi) dad blows into town, and, after watching Jimmy for awhile, takes him to Estefania’s apartment and murders Estefania’s boyfriend, Marco (Thierre Di Castro). Then he tells Jimmy that he expects him to watch out for Estefania, and keep his nose clean to avoid trouble with the law, meaning Jimmy will have to get a legitimate job.

Marco’s death is disturbing in that Jimmy is forced to witness it. But Marco is known to be abusive, so despite Estefania’s protests, it’s probably not a bad thing that he is dead.

The point of this really appears to be to put serious fear into Jimmy so that he will do what Estefania’s father wants him to do. This looks to be very effective. Jimmy is noticeably shaken, and while he would have probably helped out Estefania without the threats, he definitely will do his best now.

The thing that goes unspoken between Jimmy and his new “boss” is that Jimmy can continue to live with Fiona (Emmy Rossum) and her family, as long as he puts Estefania’s needs first when she needs him. This is all well and good for Jimmy, but the thing he should consider is, he is putting his new family, the Gallaghers, in danger by hanging around them. If Estefania’s father would kill Marco so callously to manipulate Jimmy, it is likely that he would not be above hurting one of the Gallagher children to continue to do so.

Fiona, for her part, remains oblivious, but she wants to be. As “El Gran Canon” begins, she is bored of Jimmy acting as the house mom, helping with the responsibility, seemingly being a normal, though not legal, husband. The danger presented by Estefania’s father’s surveillance of the house and Jimmy’s disappearance for a day excites her, and she’s soon hopping into the sack with him, whereas before, she made excuses to avoid sex.

Fiona has always seemed the normal, responsible member of the family. It’s a little disappointing when SHAMELESS reveals that she is not much better than the rest. Is her attraction to the danger around Jimmy a character flaw, or just a method to blow off steam? Either way, she is jeopardizing her charges, putting them at unnecessary risk.

Other than that, though, Fiona is doing good, finally moving up in the working world. She has a chance to do a promotion night at the club, and she hands over her last paycheck from a crappy job to do so. Her irresponsibility in not paying the property tax could come back to bite her in the butt, but hopefully, by then she will be making enough money to fix things. One can wish, anyway. At least she might be able to break even, and keep the status quo.

The rest of the Gallaghers are doing what they normally do. Lip (Jeremy Allen White) is getting into trouble with the law, misusing his formidable brains, but never far away from taking the right path. Ian (Cameron Monaghan) continues his affair with Jimmy’s dad, Lloyd (Harry Hamlin), though he is starting to pull away, a good decision, even if Ian may do it for the wrong reason.

Debbie (Emma Kenney), alone, has put her life on hold. Frank (William H. Macy) has been missing for over four months, and while the older children know enough now to worry about him, maybe even hope that he won’t return, Debbie prays at an altar set for Frank, and looks for him every day. It’s sad, knowing that she will be disappointed by her father soon enough. Yet, it’s cool that SHAMELESS lets us see a kid not yet cynical and spoiled by reality, the way the rest of the family is.

Frank is actually down in Mexico, without identification, unable to cross back into the United States after a really bad bender. While this could spell trouble for most, Frank is a conniving sleaze ball. It doesn’t take him long to find passage home, using his anal storage talents, and setting a record in the cocaine smuggling world. This is the comic relief of “El Gran Canon.”

While there is definitely real danger for many of the characters presented in this episode, it’s hard to believe that Frank will ever come to real harm. The good die young, but the bad don’t. Frank always stumbles into something to save himself. His family would be better off without him, but as Fiona promises Debbie, Frank will always find his way home.

Speaking of homes, Sheila (Joan Cusack) seems to be building one with Jody (Zach McGowan) and the baby. I wonder how long Sheila can possibly be happy with her daughter’s immature, hippy ex-boyfriend? At least Jody cares, and appears willing to take on the responsibility of fatherhood.

Lastly, Kevin (Steve Howey) and Veronica’s (Shanola Hampton) latest venture is performing racist, historical, live sex shows on the internet. It’s funny because it’s so wrong. The only complaint I have about this sequence is, how come their “fictional” sex is so much less raw and dirty than their real intercourse? This couple’s passion is renowned, but it’s not very evident here. However, maybe they think of this as a joke as much as viewers will, thus why they aren’t giving it their all.

Because the stakes have been raised, this season of SHAMELESS should grow in ways that will be exciting and feel fresh. Yet, the characters remain true to themselves at their core, bringing the same sensibilities they always have. “El Gran Canon” is a fitting season premiere, and is tantalizing enough to get fans pumped for the rest of the run.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F

Please forgive Calfornication

Grade: 99%

Showtime’s CALIFORNICATION comes back to “The Unforgiven.” Hank (David Duchovny) wakes up after spending several days slipping in and out of consciousness. He learns that he is in the hospital because of Carrie’s (Natalie Zea) suicide-murder attempt, which only succeeds on one count.

This is Hank as we have never seen him before. He is self-loathing, yes, but now he has the guilt of Carrie’s death on his head. Or, assumed death, as she is on life support, and will likely die once the plug is pulled. Carrie is a crazy psycho, to be sure, but if it wasn’t for Hank, would she have been driven to take such extreme measures?

One would like to think that yes, whoever Carrie had been dating would be the victim, and Hank deserves none of the blame. This is not what Carrie’s friends and family believe, which is unfortunate, as they should know her better than anyone, but it is definitely the thought that Hank’s loved ones cling onto.

The problem is, Hank has never been big about listening to others. And despite his sins, he has a very strong moral compass as to how he treats women. He tries to never degrade them, or make them feel down on themselves. His whole schtick, which is what gets him laid so much, is building up a woman, making them very special, a skill that he excels at. Sadly, he fails to do that for Carrie, at least, fails to do it enough, and so he takes her actions very much to heart.

Viewers of CALIFORNICATION are treated to a look inside of Hank’s mind in “The Unforgiven.” In the hospital, and after, as he drinks himself into a stupor every night, we see Hank dream about his time with Karen (Natascha McElhone). But every time Hank is heading towards a happy place, Carrie invades the scenario, screwing things up, pulling Hank back towards the pain. Hank wants to be happy, but refuses to let himself, thinking he is not deserving.

As is typical for Hank, when he hates himself, he cares little about what happens to him, physically. The flaw in his attitude of caring for others is that he doesn’t consider the fact that hurting himself might hurt them, too. The incessant alcohol intake is ruining his physical and emotional state, but it’s also making Karen, Becca (Madeleine Martin), Marcy (Pamela Adlon), and Charlie (Evan Handler) miserable.

That is why they stage an intervention. It’s a crappy effort, because everyone in the group has plenty of their own issues that prevent them from being completely there for Hank. However, it’s the dysfunction that has brought them together as a group, and is the basis for their love for one another. Thus, their attempt is enough, in my book, and it does succeed in its drive.

I think, of all of Hank’s friends, Charlie is the one who takes the situation the least seriously. This may be because Charlie is used to Hank’s ups and downs, and looks up to him. Charlie assumes that Hank doesn’t need to give up alcohol completely, and should put himself back in the line of temptation if it means a good job. In this case, Charlie wants Hank to help rock star Atticus Fletcher (Tim Minchin) turn A Crazy Little Thing Called Love into a rock opera.

I feel like Charlie’s actions will jeopardize any healing that Hank may embark upon. We’ve seen before how Hank gets when living the rock star lifestyle, and while Hank was able to break away once, he’s far less strong, emotionally, than he was before. Charlie may have good intentions, but his efforts could be the thing that keeps Hank floundering all season.

And we need Hank to get better. Karen needs him, after this way-too-long, on-again-off-again thing between them, she is still in love with Hank. Becca needs him, as she is thinking of pursuing the writing career, following in her father’s footsteps, which may not be the best idea, especially if she shares his judgment. She’s also finally joined the adult cast, and this is a critical time in her development, moving into a new stage of life. Marcy needs Hank, to talk her up so that she doesn’t go back to the cheating Stu Beggs (Stephen Tobolowsky).

Bottom line, Hank has to get better, and as of “The Unforgiven,” it looks like he may need to ditch Charlie to do so, something Hank surely won’t do in his present state, especially after Charlie took a bullet for him in last year’s finale. Which means that we’re in for another glorious, rocky season of CALIFORNICATION, airing Sundays at 10:30 p.m. ET on Showtime.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!

Article first posted on Seat42F