Grimm invaded by "Natural Born Wesen"

Article first published as Grimm invaded by "Natural Born Wesen" on TheTVKing.

This week's episode of NBC's Grimm, "Natural Born Wesen," gets business back to normal, kicks off a new arc, and winds down a past one, all at the same time. Banks are being robbed by crooks that appear to wear very realistic masks, but are actually Wesen, revealing their hidden faces to the general public. Nick (David Giuntoli) tries to bring them in as a cop would, but their actions threaten Wesen everywhere, and Nick isn't the only one dealing with the problem.

I like that the cure for Juliette (Bitsie Tulloch) and Captain Renard's (Sasha Roiz) condition is over with quickly in "Natural Born Wesen." We see Juliette freaking out that Nick is lying prone on the floor, unmoving, but then he wakes up, Renard and Juliette drink a potion themselves, and everyone goes home. The secret about the two drinking Nick's blood could just be kept because of the gross factor, and I certainly didn't read anything more sinister into it. Considering how long this plot has been going on, it's nice to get some resolution.

It isn't just forgotten, though. Juliette goes home and sees a gaping hole in the floor of her house. She feels trapped, unable to go back outside, and it's clearly a metaphor for whatever is going on inside of her. We see soon enough that the hole is an illusion, likely because Julliette just lost an all-consuming element of her emotional state. But her ability to overcome it, and her happiness to hear from Nick at the end of the hour, seems to mean things are going back on the right path, even if we don't know if she gets her memory of Nick back or not yet.

Nick has got to tell Juliette everything if they have a chance of getting back together, and that will still be part of their story this year. If he doesn't, he will lose her forever. Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) try to vamp without giving anything away while Nick is unconscious, but Juliette doesn't want to hear it, just like she doesn't want to hear any more about the cat scratch. She's done being kept in the dark, and it is Nick's place, and only Nick's place, to tell her about the Wesen and being a Grimm.

One might assume that Captain Renard goes something similar to what Juliette experiences, but as a Wesen himself, is more capable of dealing with the strange feelings. We don't need to see a repeat, albeit a toned down one, with him, and he has other plot in this episode.

The bank robbers are of concern to the police, the Royals, and Wesen everywhere, and everyone has their own way of dealing with them. While Nick wants to do it within the confines of his job as a detective, locking them up in prison for their provable crimes, others are not content to give him time to act. Both Renard and Rosaelee take matters into their own hands, alerting the Wesen authority that deals with such rule breakers, those who would expose the Wesen kind, with a permanent silencing.

The fact that Renard and Nick can't talk about their varied approaches, as well as the other secrets they keep from each in this installment, worries me. Nick has the right to be upset that Renard hid his Wesen side for so long, but he should also be grateful that Renard saves Juliette's life. Renard wants to work together, and a team up between the two of them, as Renard says, could change the world. Renard is trying to reach out to Nick, and is even nice about learning Hank (Russell Hornsby) is on the secret, relying on Nick's judgment. Nick brushes him off.

Imagine, a Grimm and a Royal on the same team! Such power they would have, and the force to do good things! Renard seems like he's on the right side. Nick needs to see that and respond in kind.

Nick is cutting himself off from everyone. He doesn't make an effort to be kind to Monroe when Monroe makes him breakfast. He treats Renard with suspicion even when Renard tells Nick that he trusts Nick more than his own family. Nick does check in by phone with Juliette, but he's been distant from her, too. As mentioned in my previous Grimm review, this is not good for Nick. He is losing a lot of his kindness and what makes Nick Nick.

Nick is showing signings of the anger and callousness that make Grimm feared among all Wesen. His loves one are what make him different, and if he shuns them, he could end up being the villain in his own story. He needs to be surrounded by loving friends and family to keep him grounded. If not, he will be as bad as other Grimm we have heard about.

It's interesting that Grimm moves in this direction, making their star unlikeable, especially so early in the series' run. It's a cool concept to explore, and one they are handling well. I just hope it really is a thought out plan, and there will be resolution by the end of the year. If so, this will be a neat plot.

Now that the Wesen bank robbers have been killed in "Natural Born Wesen," what's next? They brag to Nick that others will follow in their footsteps. Is this just bravado, or do they know something he doesn't? An aggressive offense by Wesen to make contact with the outside world could prove to be quite a story, and will take everything Nick has, including trusting Renard, to stop them.

Grimm airs Fridays at 9 p.m. ET on NBC.

Community documents again

Review first published as Community documents again on TheTVKing.com

The latest installment of NBC's Community is "Advanced Documentary Filmmaking." As in previous "Documentary" episodes, Abed (Danny Pudi) sets about to film something for Greendale, but ends up taking it in a totally different direction than originally intended, or what others might like him to do. This year's subject: Changnesia, as Dean Pelton (Jim Rash) tries to get the school a grant to help Kevin (Ken Jeong) battle his crippling "illness."

The fly in the ointment, so to speak, is Jeff (Joel McHale). While everyone else buys Chang's changed behavior as "Kevin," Jeff is convinced it is all a scam, and that his friends are incredibly naive. He offers to help Abed, much to everyone's delight, but secretly plots to expose what Chang is really up to. In the end, he causes a scene, but Kevin is shown to be legitimate, Jeff looks dumb, and Greendale gets the grant.

Right from the beginning of the Changnesia story, it's obvious that Chang is faking. I say this not because of anything Chang does in particular, but from a familiarity with the character over the past three and a half seasons. It's understandable that the study group is convinced by Chang's act because he really sells Kevin, and they are "do-gooders" who want to do the right thing, putting that ahead of their ability to think logically. It shows foolish judgment, and will come back to bite them in the butt, but it's kind of sweet, in a twisted way.

Which is not exactly a complaint. After all, if Chang didn't fool everyone, he wouldn't be able to carry out whatever fiendish plot he is cooking up, apparently at the behest of someone else, as "Advanced Documentary Filmmaking" exposes to the viewer, but not the characters, in the final scene. And we want to see what Chang can do, because his threat provides an entertaining element of the series. Who would Chang possible be working for? Who wants to hurt the study group (that list is a long one)? And what ramifications will Chang's deception have by the end of the season? Could they be worse than in previous schemes?

Jeff tries to expose Chang by pointing out that he dials his ex-wife's (Andrea de Oliveira, reprising her role from season one) phone number. But what he, and others, miss is that Chang says he got the phone number from the vents. Why would Kevin be crawling through the vents, as Chang used to do? This seems to me to be an important clue that is lost in the chaos of Jeff's failed play. It also may or may not be a clue as to who Chang's boss is.

Once more, like the Thanksgiving installment, this is a strong Jeff episode. We see him confront something about himself, that he's so much more jaded than the rest of his friends, and try to work to change it. He doesn't at first, of course, dismissing their faith in Kevin. But that's what it finally comes around to, as we get to see more of Jeff's journey as a person, stumbling when he resorts to his old ways, and doing better when he follows his friends' lead. Will he be a changed man in the end, or will they need him to go back to who he was to save them all from Chang, thus legitimizing Jeff's personality of the first three seasons, and making him feel better about who he is.

The scene where Chang is the only one who will sit with Jeff at lunch is an interesting one. Does Chang really like Jeff? Is he just trying to sell his cover? Does Chang feel sorry for Jeff? Will Jeff see Chang as a friend in this situation? There are so many things to ponder about the small bit, a testament to the two performers at the center of the episode.

There are a number of amusing bits in this episode, from Shirley's (Yvette Nicole Brown) brilliant, sometimes thrown away, lines, to Britta's (Gillian Jacobs) inability to use a camera, to Chang repeating an entire conversation, to Annie (Alison Brie) missing an obvious reference of something smelling fishy, to Troy's (Donald Glover) view of what a detective partner should be, to Chang "remembering" that he is Chinese. Each of the main players gets a moment to shine, and the writing stays strong for the central cast.

Also funny were Greendale's scientist's way or shooting down Britta's theory for a cure, the payoff of Abed's request for an expensive song for his film, and a guest turn by Mike Hagerty (Wayne's World) as Sully, the fish farmer who uses Chang as slave labor for three months. Is Sully part of the plan? Or does he just provide a convenient place for Chang to hide out for awhile?

I don't know if I'd rank "Advanced Documentary Filmmaking" super high on my list, despite these good qualities. It certainly isn't a bad episode, but there's nothing in it that really makes it special, either. It's a typical Community filler, allowing some character development and fun techniques, but not really going to deep across the board, save a couple of choice moments. It ranks smack in the middle of the pack of this season's episodes so far.

Community airs Thursdays at 8 p.m. ET on NBC.

Bates Motel dreams of death

Article first posted as BATES MOTEL Review on Seat42F.com

Grade: 96%

A&E is not particularly known for their dramas. They’ve had a few scripted series up to this point, like The Glades, Breakout Kings, and The Cleaner, but they are formulaic crime dramas, not a complex, serial show that deserves attention and praise. With the premiere of BATES MOTEL on March 18th, that changes.

BATES MOTEL, as one might expect, is set at the same location as the classic Hitchcock film Psycho, and looks perfectly in sync with the earlier work. This television series is a prequel to the movie, set many years earlier. As the first episode, “Fist You Dream, Then You Die” opens, Norman Bates’ (Freddie Highmore, Charlie and the Chocolate Factory, Finding Neverland) father dies, and his mother, Norma (Vera Farmiga, Up in the Air, The Departer), moves them to a small town where she has purchased a motel and the house behind it.

The elements one would expect from such a project are immediately present. Norman is eager to please and mostly obedient. Norma is controlling and manipulative. The motel itself is cursed from the beginning, it having been taken away from a family that has long owned the land by the bank, and a descendant of that family is not happy to let it go. The tone is creepy and disturbing, but not too obviously so.

The cast does a superb job. Highmore is the right mix of good son and budding psychopath. He is trying to be a normal kid, but that’s not the way his mother has raised him, nor does she let explore that option. Farmiga captures the portrait of the type of mother that would name her son after herself. The way she coldly receives the news of her husband’s death, then later handles Norman, is compelling to watch, and surely she is making a mark on the television landscape, owning the role.

Right away, death also comes to the Bates Motel. There are strong hints that Norma might have offed her own husband, and (very slight spoiler) there will be a second body by the end of the first hour. I don’t know if BATES MOTEL is a horror show, per se, and if there will continue to be serial killings throughout; after all, no one suspects Norman long after his mother passes on. But the stage is set for what must be.

Much of the purpose of the series will be to take Norman from normal child to cold-hearted murderer. We see he has a possible support system, with girls who want to be his friends and a teacher offering mentorship. But we also see how the boys don’t take a shine to him, and how Norma cuts him off from social interaction. And then, witnessing what Norma involves him in, we see the seeds of things to come.

Not that Norma is totally obvious in her machinations. To a viewer at home, sure, we can tell she’s a horrible mother because we see it all. To a character in the show, outside of the family, she may seem a little strict, but not someone to worry about. At least, not yet.

The supporting cast is just as good as the two leads, which helps with the overall effect. After all, BATES MOTEL is set in a town, so there must be townspeople. These fellow residents pleasantly round out the world in a very authentic way without distracting or mandating plots of their own. They include Nestor Carbonell (Lost) as the Sheriff, Keegan Connor Tracy (Once Upon a Time) as Miss Watson, Norman’s teacher, and Olivia Cooke as an odd classmate. Upcoming guests (according to IMDB and Wikipedia) will include Jere Burns (Justified), Mike Vogel (Pan Am), Richard Harmon (The Killing), and even Kate Winslet (Titantic, Mildred Pierce).

“First You Dream, Then You Die” is a lot of setup, especially the beginning, but manages to not feel too much like it is. We enter at a critical moment in Norman’s life, one that will put him on a certain path, and he already begins going down that path in the premiere. The start of the action is not sudden or jarring, and yet, this pilot does a good job of actually getting into the meat of the story. Credit writing, directing, and production, as well as the performers, because this is an excellent pilot in just about every way imaginable, with a definite cinematic quality.

My only slight complaint is that there is a bit of heavy handedness present. “First You Dream, Then You Die” begins with Norman listening to dialogue on a television talking about a grown man living with his mother. Norma wears the same dress and hairstyle to dinner that the corpse at the end of the film is sporting. But while it may have been better to spread out such references through multiple episodes, instead of sticking a bunch in the premiere, it does effectively tie this project to its source material, so it’s not totally unwarranted.

BATES MOTEL deserves attention, and Highmore and Farmiga will hopefully get some Emmy credit. Which means you probably won’t want to miss a show this good. I certainly won’t.

Redefining Cancellation

Article first published as Redefining Cancellation on Blogcritics.


This week, Rob Thomas and Kristen Bell posted a call on Kickstarter soliciting donations to produce a Veronica Mars film. Within, 12 hours, they'd raised the minimum $2,000,000 needed for the project, breaking all fundraising records for the site. As I'm writing this article, the total now stands at $3,572,678, and the more they raise, the bigger scale film they can make.

Many are calling this the act that re-defines how cancelled shows can be resurrected. Veronica Mars ran for three seasons on the WB and CW, and was beloved by critics and fans. The new project came together because the studio, which had no intention of making the film itself, agreed to let the show's creator and star handle things themselves. Can other series in a similar situation, like Gilmore Girls, Party Down, Bored to Death, and Jericho follow the same path?

Well, there are a variety of obstacles to such projects. Sometimes, it may too expensive to revive with fan donations, like Dollhouse. Other times, the cast may be so busy that bringing them together would be awfully difficult, like Firefly or Freaks and Geeks.

Some have theorized that fans of other cancelled shows who don't particularly care for Veronica Mars may have donated money just because they want this to succeed. If so, their own beloved favorite might be next. While there could be some truth to this, I can't imagine most of those types would have donated a lot of money, without any guarantee their cash would help towards their own goals, so I assume the majority of the backing (including my own) came from people who actually really enjoyed and miss the series.

Also, I do think some of the backers of the Veronica Mars film might be upset if the movie makes a big profit. After all, Warner Brothers still gets to keep the money the movie makes, and Kickstarter investors are not paid back. Is it fair for a studio to force the fans to pay for such things, then keeping the profit? Shouldn't they offer some sort of return on the fans' investment if the end result a profit? Or maybe, if Warner Brothers wants to keep the fans happy, they should go ahead and greenlight a sequel, giving Veronica Mars extended life, and letting us know we've been heard.

Of course, there are some benefits to a Kickstarter campaign. Not only do fans get to take ownership and bragging rights, but the swag offered is also pretty good. For a donation of only $100, fans receive a movie poster, t-shirt, Blu-ray copy of the film, and a downloadable .pdf of the script. They will also receive a finished copy of the movie when it hits theaters. That's quite a bit of stuff thrown in for your support. Bigger donors will even get to name characters and appear on screen. These sorts of premiums and chances to be involved help fans feel even more connected and likely to support the project, though they are sort of unfairly balanced towards those who can afford to give big time.

But even should Kickstarter model not work long-term, there are other ways to resurrect a beloved series from cancellation hell. Sometimes network powers that be can be persuaded to change their minds, like AMC did for The Killing (with a little financial help from another source). Sometimes another producer or netword will come along to save the day, like Netflix did for Arrested Development or Comedy Central for Futurama. Occasionally, DVD sales are strong enough to justify another chance, like FOX did with Family Guy. Comic books can extend the show's life, like Buffy the Vampire Slayer.

Then there are the prequels and sequels. 90210 got five more seasons with a new cast on the CW. Dallas is back on TNT, mixing old and new characters. The Carrie Diaries seeks to tell the beginning of the story for Sex and the City, eventually bringing in many familiar faces.

The point is, never has there been a time when cancelled doesn't necessarily mean cancelled. Sure, The River won't come back in any way, shape, or form. But that doesn't mean that some of those that deserve it aren't finding ways to continue.

This isn't entirely a new phenomenon. The Brady Bunch and The Waltons made TV movies long after they went off the air. Star Trek went to the big screen and produced ten films spun off of two shows, not counting the new reboot with recasts.

However, I think the newer model is more encouraging. Veronica Mars may only live for two more short hours, but many of the other examples I've listed have gotten far more screen time, and some even run for years after their resurrection. This brings them to all new fans, as well as the old ones, extending their lives exponentially.

Are we out of new ideas? Of course not. There will always be a fresh series right around the bend. But that doesn't mean there isn't still life left in those that have been put out to pasture, and for some, getting to fulfill untapped potential, playing out as they should, rather than getting an early grave, this a trend to celebrate.

Doctor Who sails on The Ark in Space

Article first published as DVD Review: Doctor Who - The Ark in Space Special Edition on Blogcritics.

Now available from the BBC is the two-disc Doctor Who - The Ark in Space Special Edition. The second serial in the 12th season, these four half-hour episodes have been called the best of the classic Doctor Who by both Russell T. Davies and Steven Moffat, both driving forces in the latest reincarnation of the show.

Originally airing in January and February of 1975, The Ark in Space, opens with the TARDIS landing on a seemingly deserted, aged space station; it's a creepy place. It isn't long before the Doctor (Tom Baker) and his companions Sarah Jane Smith (Elisabeth Sladen) and Harry Sullivan (Ian Marter) discover that the place isn't nearly as empty as they first think. There is an entire population of humans slumbering peacefully within, frozen in cryonic suspension, waiting to awaken and find a new home to settle in.

But the ark should have already reached its destination, and the people should already be living their new lives. Instead, a dangerous alien parasite known as the Wirrn have taken over the craft. When a few crewmen are woken by the Doctor and his friends, the insect-like creatures take over the captain of the ark, called Noah (Kenton Moore), and the humans must engage in a deadly face-off with these things.

The Ark in Space is credited as being the first to show a darker side of Doctor Who, bringing a horror element to the series that continues to this day in "Blink" and other episodes of the modern version, most notably the ones featuring the angels. Doctor Who wanted to expand its appeal more towards an adult audience at the time, and this is how they chose to do it. They didn't go too far, even cutting out some footage deemed "too scary." But this is a turn away from the show's lighter, fluffier stories.

Part of why this serial is different from that which came before is the level of danger threatened by the enemy; there are casualties and heart-wrenching deaths. People cannot all be saved, and the ending is only happy for some, mixing tragedy into the finale. For those who have seen many episodes of Doctor Who, this may not seem all that novel or different a concept in 2013. But for the time period it aired, it represented something very fresh. And the experiment worked, buoyed by fantastic performances and a gripping script, garnering high ratings and forever changing the series.

The picture and sound have been remastered for this DVD release. As is typical for classic Doctor Who serials, it's not perfect, but it's far better than what is available prior to this release. The newer stuff almost always looks better (depending on the source used to make the DVDs), and considering The Ark in Space comes from the middle of the run, it's easy to find examples of restored Doctor Who that are both better and worse than this one. I would rate this towards the higher end of the spectrum, though, with clearer picture and more vibrant colors, as well as more detailed and less fuzzy sound, than many Doctor Who releases that I've recently reviewed.

This newest Special Edition release, like its peers, contains a whopping pile of extras. The commentary for these episodes is provided by producer Philip Hinchcliffe, joined by series stars Baker and Sladen. A photo gallery and PDF materials are included, as usual, along with the original BBC trailer for the serial and an alternate title sequence and special effects. There is also a shorter version of the whole serial in TV Movie format.

Plenty of featurettes appear are included with this release, including "A New Frontier" is a "Making of" special specific to The Ark in Space. "Scene Around Six" is Tom Baker captured by public news crews a few years later than this was filmed. "Doctor Forever! - Love And War" focuses on the novels written and published during the years Doctor Who was off the air. There is also an interview with a designer and some amateur film shot during the production of another episode. So there's a range of stuff, both pertaining to this specific adventure and to the series as a whole.

Doctor Who - The Ark in Space Special Edition is available now on DVD.

Justin Timberlake brings back Saturday Night Live

Article first published as  Justin Timberlake brings back Saturday Night Live on TheTVKing.

NBC's Saturday Night Live has good episodes and bad. In recent years, after the 2008 election, the bad weeks have outnumbered the good by quite a few. But all it takes is a fantastic host and a bevy of wonderful guests to turn things around, and last week's episode, which features Justin Timberlake as both the host and musical guest, does just that.

Right from the opening where Timberlake does a wonderful Elton John impersonation with a "Candle in the Wind" parody, the episode takes off. Timberlake is obviously a musician, having contributed to many of the best musical numbers in the series in previous episodes, and he uses that skill again in this gig. A good episode plays to the host's strengths, and this one most definitely does.

Besides the opening, he also sings with recurring characters like the parody-singing advertising mascot (this time a block of tofu, and ending with a Harlem Shake in Veganville) and a return of the "D*** in a Box" guys with Andy Samberg. Sure, it takes time to build up a recurring character's popularity, but the ones that the writers and actors love are usually the ones that the fans love to, so the effort is worth it. Timberlake manages to have a couple of very popular characters with only a limited number of appearances. It's quite impressive.

Besides Samberg, many other Saturday Night Live alumni dropped by. This is done in celebration of Timberlake joining the "5 Timers Club," since this is his fifth time hosting, so other frequent hosts including Steve Martin, Candice Bergen, Tom Hanks, Alec Baldwin, and Chevy Chase appear. The cast of SNL is a very important clique. But so is the job of host. Only a few have reached this pinnacle, invited back over and over again, and they all ooze with talent. Seeing them gather together, along with Martin Short, Paul Simon, and Dan Akroyd, is not only thrilling, but hilarious, as these are some of the funniest people of their generation.

Sometimes, though, guests can be wasted. That is not the case in Timberlake's episode. It isn't practical to include all of those named in other sketches, of course, because too many showed up. But Martin and Akroyd dust off their Wild and Crazy Guys for a bit, and Martin, Chase, and Short don their Three Amigos costumes, thankfully altered to accommodate their current bodies. It's these kind of touches that make the episode memorable, and worth the time of these non-hosts who show up.

There are plenty of sketches in this episode that will provide laughs for years to come, unlike the "5 Timers Club," which is fantastic, but not inherently funny. These all have one thing in common: a current cast member holds their own against the host and/or veterans. The dating game show, where poor Bobby Moynihan competes against two pairs of recurring characters is amusing, especially because of Moynihan's role in it, not in spite of it. He knows he can't compete against the others and embracing it, making him a valuable part of the sketch, rather than a throw-away. And the commercial where Timberlake dates a girl with a penis (played beautifully by Nasim Pedrad) will elicit a giggle or two.

I'm not a fan of the musical performances, and often skip them. I will say, though, that I stuck with "Suit and Tie," despite being lukewarm on the song itself, and it was a terrific performance. The stage looked great, the dancing was incredibly impressive, and tone was perfect.

Overall, Justin Timberlake once more delivers for Saturday Night Live. Let's hope they invite him back soon.

Saturday Night Live airs Saturdays at 11 p.m. ET on NBC.

Doctor Who messes with the Aztecs

Article first published as DVD Review: Doctor Who - The Aztecs Special Edition on Blogcritics. 

The Aztecs, the latest Doctor Who Special Edition released to DVD by the BBC originally aired towards the end of the show's first series. The serial consists of four half-hour episodes, which aired in May and June of 1964. It is now available on a two-disc set, complete with a wealth of extras.

As The Aztecs opens, the TARDIS lands in a tomb in 15th century Mexico. Upon emerging from said tomb, Barbara (Jacqueline Hill) is mistakenly hailed as an incarnation of an ancient high priestess. Considering she knows quite a bit about this period of human history, she decides it might be best to end the Aztec's practice of human sacrifice here and now, which, in her estimation, could spare them from their eventual extinction at the hands of Spanish conquerors.

At stake in The Aztecs, are the consequences of changing of history. If presented with the opportunity, should anyone alter the present, even if it is possible to rending the world a better place? Or is it preferable to let events run their course, considering that every bad thing still contributes into civilization as it evolves.

If you're satisfied with the present, why  risk messing it up by screwing with the past? What unintended consequences could the wreak havoc with the world? Is it even possible to change events, or are certain paths predestined?

These are questions wrestled with since the idea of time travel was first explored, and certainly since the beginnings of Doctor Who nearly five decades ago. There aren't easy or certain answers, and they are still debated today.

Doctor Who does itself a service by addressing them so early on in the show's history, and in a way that viewers would find relatable, as Barbara's intentions are noble. It's intelligent storytelling, and an excellent example of what Doctor Who has to offer the genre.

The Doctor (William Hartnell) is shocked and appalled that Barbara would even consider mucking up events. His mindset and values are not well known, especially at this point in the show's run, but clearly changing history goes against his grain. This makes for some tension between the Doctor and his companion.

The Aztecs is an exciting adventure, with lots of subterfuge and danger. Ian (William Russell) is tasked with battling to the death; there is poison and betrayal. It makes for a great and entertaining batch of episodes, even while raising some important moral issues.

Besides the action and musings, though, The Aztecs still finds room for humor. Both the Doctor and his granddaughter, Susan (Carole Ann Ford), accidentally become romantically involved with locals from the time, and must try to gracefully exit the situation without destroying local custom. This combination of so many elements makes The Aztecs a very good entry, indeed.

Which isn't to say that it's perfect. The fight scenes, like many shows of this era, feel stilted and fake. The backdrops are not always convincing. But this can be chalked up to budgetary issues and the style of the era, and not a complaint directed against the show.

The DVD picture and sound are far from the best among the Doctor Who serials on the market. However, considering that it comes from the earliest days of the series, the efforts taken to restore it should be appreciated. The technical quality could definitely have been much worse, and most fans will just be delighted to get to experience this classic tale at all. Guest stars in The Aztecs include Keith Pyott (The Prisoner), John Ringham (Just Good Friends), and Ian Cullen (Emergency - Ward 10), all of whom do a fine job.

There are many, many bonus features with this set. The audio commentary track is done by Russell and Ford, accompanied by producer Verity Lambert. The expected photo gallery and PDF materials are also present, as is an optional Arabic soundtrack for episode four. Big Doctor Who fans won't want to miss the previously lost story of Galaxy 4, tacked on here with the complete episode three, only recently recovered.

There is a half hour "Making Of" as well as several short featurettes, including one on design, and one on restoring the episodes. "It's a Square World," the very first Doctor Who skit, is included, and there are specials on the Spanish conquest of Mexico and the making of the film Daleks - Invasion Earth: 2150 AD. And there's even more than what I've listed.

Not all of the extras are directly related to The Aztecs. It's interesting to get some history of the time period, even if its a bit baffling as to why so much Doctor Who content pertaining to other stories is included. All in all, though, The Aztecs Special Edition is a jam-packed, very satisfying set.

Doctor Who The Aztecs Special Edition is available now.

The Bible not the greatest story in this adaptation

The History Channel presents THE BIBLE, a ten part miniseries premiering Sunday, March 3rd at 8 p.m. ET. Select stories from the religious tome are dramatized and presented as a saga over several nights, taking viewers through some of the best known, oldest tales on the planet.

This review attempts to examine the miniseries purely on its own merit, ignoring other versions already released, as well as the reverence many feel towards The Bible itself as a book. Any complaints in the review below are with the production, not the religious text, and no offense against any Christian is intended.

In 2013, with the technology at our disposal, and plenty of religious believers still around, it seems an opportune time for a project such as this. The Bible is the best selling book of all time, and many are familiar with the stories, hungering for a well-made screen adaptation using the best tools at our disposal to really sell the story.

This is not that version.

My issues with the piece start right away. THE BIBLE begins on Noah's Ark, rain pouring down, as Noah tells his scared family how the Earth was created, and also talks about Adam and Eve, and their offspring, Cain and Abel. This happens in just a few minutes, glossing over some of the best known, and possibly most interesting, parts of the book. Yes, the text presented as a quick oral tale takes up a relatively small amount of the source material, but they are also some of the most famous scenes, and to reduce them to a scant few minute overview seems a shame and a waste.

Not only that, but the special effects leave a lot to be desired. It's understandable that the budget for this project may not be huge, but surely enough financing could be found to present a convincing ark scene. Or, at least, a decent burning bush. Instead, anything supernatural looks very, very fake and low quality, running off any chance the project has at believability.

Most History Channels specials don't have access to the use of the latest effects. THE BIBLE is on par with the offerings of other fare from the network. However, given what this is, a sweeping story, rather than some crude animation to supplement interviews in a non-fiction broadcast, one would think that priority might be given to such an endeavor, and a little more cash infused. In an era where amazing, realistic things can be created on a computer, THE BIBLE lacks all of that. It's quite a shame, as this has the opportunity to really make a splash for the network.

I also found the story itself completely the opposite of compelling. The first hour follows Abraham as he leads his people into the desert, watches Sodom be destroyed, and fathers two sons, one of whom he almost sacrifices to his god. Yet, we don't get the motivation for any of this.

Is it faith? How has Abraham come by this faith? Doesn't he ever have any doubts about it? Because the time table is so tight, the action skims right over the events without taking even a second to get into the mind of the character. When he takes Isaac up the mountain to sacrifice him, we see a little emotion in Abraham's face, but don't get a sense for a single moment that he might hesitate. We don't see him regret leading his people into poverty. We don't see the basis for his relationship with God. Addressing these complaints would make for far better television.

The narration also feels flat. Rather than adding insight into events, it is used instead to keep things speeding along. Why could it not slow down a little, and let us appreciate what is happening?

Perhaps ten hours just isn't enough time to do this correctly. Maybe the team should have gone for something a little less ambitious, maybe just the old testament, and allowed the characters to breathe a little more. If they did that well enough, they could always come back and continue the tale later with another miniseries. Instead, by forcing such a quick flow, they shoot themselves in the foot, and ruin what they have here.

The actors in the piece aren't bad. They do the best with what they are given. In the first section, there aren't any faces among them that I recognize, but the principal players are convincing enough for what they are doing.

In all, THE BIBLE proved to be highly disappointing. While not believing the story myself, I was hoping for an entertaining presentation of an exciting story which serves as the basis for the beliefs of millions. Instead, we get a watered-down, low budget, too-fast-paced drivel that fails to inspire or surprise. Maybe in a few years, someone will do a screen version of The Bible right, but this is not that effort.

Dallas Honors "JR's Masterpiece"

Article first published as Dallas Honors "JR's Masterpiece" on TheTVKing.

TNT's Dallas says goodbye to a legend this week, JR Ewing, in the special episode "JR's Masterpiece." In the installment, several people from JR's past, family, lovers, business partners, and crushes, come together with those who are still in his life every day for a funeral tribute. They talk of how he touched the city of Dallas, the goods things he did, and the type of man he was. Evil or not, he had his charms. Even if one did not watch the original Dallas, as I unfortunately have not yet done, this episode is very moving.

Even the theme song in "Face Off," redone with a sadder version of the melody and a focus on JR, is touching. It's soulful and heartfelt, and will bring tears to the eyes of many. It perfectly sets the tone right from the beginning, and is perfect for this moment.

There are lots of guest stars, but the main focus of the episode is on our main characters. For the most part, this is very welcome. I'm not sure Elena (Jordana Brewster) needs to be included quite so much, but by keeping the members of JR's family who remain closest to him the stars of the memorial, the show stages a fitting ceremony for the man and those most affected by his passing.

But as much as the hour is an honoring of the character, it is also a goodbye for the actor that played him on and off for thirty five years. JR Ewing is one of television's greatest villains, and Hagman is one of its most beloved performers. It's hard to separate the two while watching "Face Off." One may love to hate JR, but there's only affection for the kind-hearted guy behind the character, the one who manages to make an evildoer compelling. This comes through very nicely.

Those lines are blurred in "JR's Masterpiece" for fans and characters alike. The memorial service isn't a total love fest, with old foe Cliff Barnes (Ken Kercheval) bursting in to rail against the deceased. But listening to Bobby (Patrick Duffy) and Sue Ellen (Linda Gray) speak at the grave site, JR is loved dearly by those who he's hurt the most. If they can forgive him, anyone can.

I feel worst for Sue Ellen. She turns back to the drink, reading a letter where JR asks for another chance with her, romantically speaking. They have been drawn towards one another for a very long time, and for him to be ripped away before there can be resolution is very sad indeed. I wish there had been time to give them a more complete, fitting end, but with Hagman's unexpected passing, no more could be filmed, and from a story standpoint, it makes sense that death can come at any time.

Bobby also takes it rough, but has the extra challenge of keeping a secret from his family, not telling them that JR is murdered, not accidentally killed. Will Bobby begin to turn into JR a bit without his brother around to balance him out? Can he rely on those that trust him and stop keeping the truth from them? Only time will tell the direction that Bobby will go in, but I expect it to be at least a little bit darker than his recent plots.

One way to try to make up for JR's departure is to play up John Ross (Josh Henderson) as more of a villain, giving him a larger role in the series. He is obviously deeply affected by his father's death, unable to even speak at the memorial. Perhaps this will turn him a little, make him truly want to follow in his father's footsteps. He has already shown an inclination to that path. For Dallas to continue to succeed, John Ross can't be a clone, but must be somewhat of a replacement for his departed daddy. He is on his way, but he isn't there yet.

It's nice to see Christopher (Jesse Metcalfe) offer John Ross some comfort. Whether it's getting in a fight by his side, or standing by the grave long after the others have left, John Ross and Christopher can have a similar type of bond that Bobby and JR do. Even as John Ross goes down the wrong path, I hope the show keeps taking time to let there be affectionate moments between the two young men. These are some of the best scenes of the series.

Hagman's JR is a weaselly snake who betrays his own family many times over. Yet, he also protects his relations from outsiders, and can be fiercely loyal when they are threatened by someone else. As the clan discovers post-funeral, JR is investigating a couple of things just before his untimely demise, and everything he's found is relayed to the others so that they can continue the search.

The big reveal in "JR's Masterpice" is that Pamela Barnes Ewing may still be alive. This will be far more surprising to those who know who Pamela is, but even new viewers will understand that finding Christopher's mother, the love of Bobby's life, would be a big shakeup for the series. The actress who originally played the part doesn't want to return, but I understand certain plot developments make it easy to recast without messing up the plot. Not that it would be easy to pick an actress to play such a pivotal role, but story-wise, there isn't the need for much explanation. With the right person in the part, this will be truly awesome.

One thing is certain, Dallas is gearing up for war, and whoever is in the picture is in the path of harm. It's hard to tell at this point just how the battle will shape up, and a few characters may even switch sides a time or two before its over. But as disappointing as it is that JR is gone, it's cool that his character kicks off a major story arc that should be more exciting and engrossing than anything else the new episodes of Dallas have done up to this point.

Dallas airs Mondays at 9 p.m. ET on TNT.

Grimm will tear your "Face Off"

Article first published as Grimm will tear your "Face Off" on TheTVKing.

NBC's Grimm has really grown into something special in its second season. Sort of like a darker Buffy (at least compared to the early seasons of Buffy), Grimm is about a group of people, some with supernatural powers, some without, who fight the evil beasts who threaten their world. More and more people are brought in on the secret, gearing up for an epic battle.

Unlike season one, which mainly focuses on a case every week, season two travels one long arc, as Juliette (Bitsie Tulloch) loses her memory of Nick (David Giuntoli) and finds herself hopelessly and passionate attracted to Nick's boss, Captain Renard (Sasha Roiz).

Last week's episode, "Face Off," picks right up where the fall finale left off, so much so that it feels like the second hour of a two hour episode. Not only do we find Juliette and Renard fighting their feelings, but Nick is called to investigate four bodies that he himself kills in the previous hour. It's really quite exciting that the story just keeps going, even if I feel little like I need a refresher viewing of the previous episode.

It's because of this that Grimm has moved from good to great. There's a deep mythology and forward momentum for the series. The characters continue to grow, and the consequences of their actions come back to bite them down the line. Each story cannot be considered separately, and is part of a larger whole. Plus, the characters are easy to connect to, and the stories feel like they have high stakes, making the result quite entertaining.

That being said, I'm ready for the Juliette / Renard plot to come to an end. Nick is almost about to spill the beans to her about what he is and the supernatural world around them before her coma, and since then it's felt drawn out. It's frustrating to watch Nick and Juliette be apart week after week, with her not remembering him at all. It's time for her to know everything and get on the same page as the rest of the characters.

Hopefully, that will happen next week. Nick drinks a yucky concoction in "Face Off" that is the first step in a two step process to break the spell.

It's a little disappointing that Nick has to step in and save the day here. Yes, he's the central hero of the story, but Renard has been trying to figure out a way to stop the attraction himself. Also, Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) are the ones who have been researching the issue and concocting an antidote. Why not let someone else share a little more of the spotlight?

That is probably my only complaint about the direction of the show so far: Nick is getting too much of the focus. He has a great group of friends, and the show has a strong ensemble. I think the stress of being responsible for everyone is getting to him. He has plenty of reason to be mad at Renard and Juliette, before he learns the full story, but there's a darkness in his gaze at the house where they are that isn't present in the character before. I think there might come a breaking point before long where he just can't do everything himself, and that will not only be good for the character, but also for the show.

I'm also intrigued by Adalind's (Claire Coffee), especially if the baby is, in fact, Renard's. This will not only shake up the dynamics of the central group, which I'm hoping Renard will soon be a part of,  but also the royal family over in Europe. Grimm is giving us pieces of the royals' story slowly, but I feel like they may be bigger players in upcoming stories, and I'm looking forward to that.

Grimm airs Fridays at 9 p.m. ET on NBC.