"Who Are You, Really" TRUE BLOOD?

Article first published as TRUE BLOOD Season 6 Premiere Review on Seat42F.

Grade: 93%

HBO’s TRUE BLOOD season six premiere, “Who Are You, Really?” takes place on the night that season five ends. It would be extremely difficult to do a time jump, as the series has before, given the dire circumstances major characters are left in, so it’s gratifying to continue the story right where it leaves off.

I like TRUE BLOOD a lot, but I tend to think of it as a soapy, fun guilty pleasure, rather than high quality entertainment. I wouldn’t say “Who Are You, Really?” changes that stance completely, but it is certainly a very good hour of television. Either the series has improved in its return, or my opinion of it went down during its absence without my realizing it. But the point is, this is a fantastic installment.

The reasons I can point to for this praise are both smart writing for well-defined characters, which leads to oh-so-many quotable lines tonight, and a deepening of the mythology. Yes, this series has always been serial, with long-reaching arcs. However, often seasons are mostly self-contained, with one or two or three bigger stories starting and ending within the year. As season six begins, we’re continuing the tale of the Vampire Authority, the shortage of a blood supply, fairy babies, a werewolf leadership change, shifter secrets being spilled, and the mystery of Sookie’s (Anna Paquin) parents’ murder, so there’s definitely more of a feeling of cohesiveness now.

Because of this, certain spoilers must be revealed in the review. However, I do pledge to make them as slight as possible, and to speak in vague terms when I can, saving the surprises for the viewing of the event.

The big shocker last year is Bill’s (Stephen Moyer) death and rebirth. This new Bill, “Billith,” as Pam (Krisitin Bauer van Straten) so cleverly dubs him, is a complete unknown, presumably devoted to a religion and planning on carrying out goals related to such beliefs. The problem is, it’s a very old system, and no one is quite sure exactly what that means.

It’s a positive sign that Bill doesn’t slaughter Sookie, Eric (Alexander Skarsgard), Nora (Lucy Griffiths), Jessica (Deborah Ann Woll), Pam, Tara (Rutina Wesley), and Jason (Ryan Kwanten) as they flee the scene. However, he then reveals some darker nature, intentionally or not, as he calls his progeny to his side. And he certainly no longer aches for Sookie. So his continued benevolence is not guaranteed.

Unfortunately, Jessica is not in a good place to stand up to Bill, so if he is up to no good, she is susceptible to landing on the wrong side of the battle. She feels a very close bond with Bill, he being her maker, and after being rejected last season by Jason, she realizes she doesn’t have anyone. Enter Bill, who could (we don’t know yet if he will or not) take advantage of the vulnerable vampire.

There is also movement on Jason’s front, with his visions continuing. I don’t really want to go into that further, but there are definitely threats on multiple fronts in this season of TRUE BLOOD.

As well as familiar players, the new, annual Big Bad is likely to be Creighton Burrell (Arliss Howard). I say this not because of anything he does in “Who Are You, Really?” but rather because the character explicitly states “I am not the Big Bad.” That’s a sure sign that he actually is, no? It’s this wonderful, tongue-in-cheek, self-referential humor that gives TRUE BLOOD such a watchable quality.

On another front, “Who Are You, Really?” sees the death of a main character early in the episode. It’s someone whose fate is kind of revealed in the season five finale, but given the series’ penchant for keeping characters around, one is never really sure a person is dead in the moment of their passing. Now, in this new hour, it looks like we have a killing that will stick.

I applaud TRUE BLOOD for resolving the cliffhanger this way. Too often, the person has ended up safe, with no permanent repercussions. I’m not exactly thrilled by how this death affects a second character, who I predict will have the “lame” story this year, sadly, but at least there’s movement and development.

We get a bit of Alcide (Joe Manganiello) and his new pack, too. Alcide is originally caught up in very Sookie-centric stories, but after last year and this premiere, it appears he is definitely worthy of his own arcs, independent of the rest of the cast. This decision is a good one because Alcide is such a vibrant, rich character to work with, bringing elements to the show that no one else does, and providing complementary story. Cool.

Lastly, we get to see a very raw Andy (Chris Bauer) dealing with four babies, and the tough but sweet Arlene (Carrie Preston) assist, with a dab of help from Terry (Todd Lowe). There are times these people have been pushed into the background, but recent developments mean they stay relevant for now. The path Andy in particular is going down is ripe with some light-hearted disaster, which should keep TRUE BLOOD true to itself, even if the vampire side of things goes really dark.

“Who Are You, Really?” has a few surprises, excellent set up, memorable dialogue, and contributing mythology that combine to make it a top notch return. We’ll miss creator Alan Ball, to be sure, but the premiere proves that the series has not suffered in quality without him, and may even find new life in the realm of the undead.

TRUE BLOOD airs Sundays at 9 p.m. ET on HBO.

DVD Return Policies Need a Change

Article first published as DVD Return Policies Need a Change on Blogcritics.

It’s been awhile since I tried to take a Blu-ray or DVD purchase back to the store. I remember a time when it was possible to return or exchange an unopened DVD, even without a receipt, for at least store credit. If a disc was opened and damaged, I could swap it out for a new copy. Merchants were accommodating and nice, making sure we got a good product and they got the sale. It made everyone happy, and produced loyal return business.

Sometime over the years, this has changed. I discovered this the ugly way last week when trying to swap out a Blu-ray combo pack I had received as a gift for the 3D version. Although I did not have a receipt, I didn’t think exchanging a mint-condition, unopened package, still in the plastic wrap, would be a problem.

Boy was I wrong!

First, I went to Best Buy, but without a receipt, I was turned away immediately. I was surprised, assuming that my local brick-and-mortar store would be the go-to place for excellent customer service. On this day, there were no apologies or well wishes, just a firm “No.”

Assuming this an anomaly, as, after all, big chains have lots of locations and employees, I called another location. This clerk was much friendlier, but again I was told that it would not be possible to exchange without a receipt. I trudged on.

But I had the same experience at Walmart. The customer service lady at Meijer was super nice and even brought a 3D copy to the counter, but before the transaction was completed, a manager stepped in and cut it off, telling me that store policy required a receipt. Target said they would exchange it, but didn’t have any 3D copies available at this time. I really didn’t want to wait the two weeks.

The more stores I contacted, the more I realized that this has become an industry-wide practice. I was completely confused and shocked. Why couldn’t they take my perfectly good, unused copy and put it back on the shelf? I was certainly willing to pay the price difference for a 3D version, but was not willing to drop $35 on a new copy of a film I already owned (albeit not in 3D).

Wanting to understand, I finally talked to a couple of friends who work at retailers not mentioned here. Both informed me that stores cannot resell a returned copy, no matter how pristine it is. It has to go back to the manufacturer, but that cannot be done with a disc not originally in a retailer’s inventory. And not having a receipt, I couldn’t prove which retailer my disc it came from.

In an age where viewers are increasingly shifting their focus to digital versions, and buying fewer physical copies than ever, why make things so much more restrictive for purchasers? I would certainly understand if a store declined to exchange an opened package, but when the one in my hand looks exactly the same as the one on the shelf, why can’t an exchange be made? To me, it is simply a case of bad customer service, and a policy that makes life more difficult for consumers, at a time when people can easily obtain the video without leaving their home, either legally or illegally, there will be little reason for people to return to stores.


In 2013, it feels like customer service is slipping in a great many areas. I just didn’t think it had reached these levels of ridiculous yet. All the more reason to stay home and find another, more practical use for your money.

At least, don’t accept the status quo. If you’re a customer and you can’t get what you want, don’t buy anything at all. I didn’t happen to spend money personally on this title, but I do purchase plenty of other releases. Now, I will think twice about which ones I buy, and from where I buy them. If you run store chain, push back against such terrible policies; they will cost you business. And if you happen to be an industry decision maker, think carefully about the direction in which the industry is heading, and don’t make dumb moves that will hurt everyone involved.

"One More Time" to SULLIVAN & SON

Article first published as "One More Time" to SULLIVAN & SON on TheTVKing.

As I sit down to write a review of the season two premiere of TBS's Sullivan & Son, "One More Time," I looked back at my article last year about the "Pilot," and realize that I want to say practically the same things. It's a funny, charming show that is thoroughly enjoyable to watch, even if the story and premise don't hold up to scrutiny. Yes, there are plot holes, but it's silly and heart warming and that makes it worth my time. It's not stupid or groan-inducing, and that puts it head and shoulders above many other sitcoms.

At the start of "One More Time," it is not revealed how much time, if any, has passed since the season one finale. Yet, that only adds to my fascination with the series. The bar where the show takes place is timeless, with the feeling that one can walk in ten years after the first visit and nothing will have changed, including the patrons. It's sort of like Cheers, in that everyone knows everyone's names, as well as quite a bit more, and they welcome one another as a family. They just enjoy being together.

The 'B' plot of "One More Time" is a very typical Sullivan & Son story. Melanie (Valerie Azlynn) realizes that Owen (Owen Benjamin), Roy (Roy Wood Jr.), Ahmed (Ahmed Ahmed), and Hank (Brian Doyle-Murray) all lack some form of sports knowledge, and so sets about to fill in the gaps. The tutoring sessions quickly become group ones, with the format not unlike Alcoholic Anonymous, except that the flaw each has is that they aren't as knowledgeable as they pretend to be, rather than having a drinking problem.

This is absolutely hilarious because they are in a bar, and are awarded drinks for learning things. Hank's confusion that he is actually at AA for a minute is a bit odd, especially because he immediately drinks after, and we don't need hit over the head with the comparison quite so overtly. However, the chemistry of the characters and the choosing of such a standard problem for the setting make the story work, even though it's completely unrealistic that they need intervention for not knowing an obscure rule or two about a game.

 Of course, they have to make Melanie a part of the larger hole, and so her knowledge gap is about Sex and the City. Perhaps a bit cliche, to be sure, but by including her, she doesn't seem like an arrogant outsider. Had she just lorded her wisdom over the others, "One More Time" would not have been as good. By giving the guys a chance to assist her, even if they aren't all typically the type of guy who would have actually watched the girl-led show, it evens out the playing field.

The 'A' plot confused me a bit, though. It involves Susan's (Vivian Bang) husband (Community's Ken Jeong) coming to the bar, seeing how fun it is, and giving up his career to work there, too. Steve (Steve Byrne) isn't so pleased to have his brother-in-law around, especially because his parents make it clear they don't want to support Susan's family. Plus, the doc goes too far when he gets all of his co-workers drinking, too, and soon the hospital is almost completely without staff. Luckily, Steve helps them see that life balance is more important than just letting off steam, and they go back to work.

There are all kinds of problems to cite here. Susan's husband doesn't know pizza and beer are good prior to his visit? All of these doctors think they can just give up their careers and incomes? The local hospital is staffed only be a couple of dozen Koreans and three Jewish guys? It's OK for Steve to quit his job but not his brother-in-law? Not to mention, I was sure Susan was single in the first season, though I have been unable to confirm that on google.

Again, though, it's the overall tone of the series that wins out, beating its flaws. The story is amusing and it works for the environment. Jeong, whom I sometimes find over-the-top obnoxious in certain roles, stays within the boundaries Sullivan & Son is accustomed to. Steve's family interactions are a major selling point of the show, and he's a solid addition to that clan that will hopefully return again.

As such, although I wouldn't look too closely at "One More Time," I was completely entertained for the twenty-some minutes it took to view the episode. I like this cast and I like what they're doing, despite any complaints. It feels like the show is made of a bunch of buddies hanging out, and it makes you want to spend time among them. It's great escapism fluff to make you smile.

Sullivan & Son airs Thursdays at 10 p.m. ET on TBS.

OZ THE GREAT AND POWERFUL Is Good and Visually Powerful

Article first published as Blu-ray Review: "Oz The Great and Powerful" on Blogcritics.org.

It is extremely hard to bring the land of Oz to life, as Disney can attest, given the numerous unsuccessful attempts over the years the company has made to bring the specific, magical world to the screen. Some projects have gotten farther than others, but I think most will agree that the best effort by Disney yet is the film Oz The Great and Powerful, recently released on Blu-ray and DVD.

I’m not sure why Oz proves to be so challenging. It is a place with wickedness, but it’s also a place of wonderment and surprise. Fans of the book series know that even the characters who live their whole life in the realm can find something they’ve never heard of before around every corner. There’s a childlike wonderment inherent, and death is not something oft felt, as even those cut into tiny pieces survive.

Oz The Great and Powerful attempts to capture that tone in a variety of ways. The inhabitants in Oz are forbidden to kill. Kidnapping or chasing others away is more the norm, and even then, we don’t see anyone seriously hurt. The music is whimsical; the effects make the world seem just a little outside of reality, and the characters in this film are colorful, both literally and figuratively.

While Oz The Great and Powerful is not a good adaptation of the books, neither is the beloved MGM classic The Wizard of Oz, so that’s not the sole basis on which the movie should be judged. As much as I want to see a true version done that actually uses L. Frank Baum’s stories, and that has not been accomplished yet (to my knowledge). However, it is possible to create a enjoyable film without sticking to the source material.

This movie is fun, and does provide some nostalgia for fans of the original movie. The black and white beginning and reusing actors in both Kansas and Oz are both reminiscent of the 1939 classic Oz, and there are scarecrows, and flying monkeys, and munchkins that sing. Michelle Williams does a fantastic job as Glinda, not copying her predecessor, but catching just the right feeling for the role, something incredibly hard to do with such a strange, yet familiar, figure. And the China village, while sad not to see more of it or its people, is a nice addition.

There are a couple of issues I have with Oz The Great and Powerful. James Franco at times plays the Wizard too over-the-top, although there are glimpses of greatness in some of the smaller moments. It goes a little too dark, and some of the characters, Knuck (Tony Cox), in particular, are a little too abrasive to be from Oz. Dark characters are a hallmark of modern filmmaking, but they don’t really belong in this realm. Also, the pacing is a little too fast in Theodora’s (Mila Kunis) transformation, and we never return to Kansas, thereby wasting the double-casting device.

Most significantly, I think was a poor choice to make the Wizard as heroic as he is portrayed in the movie. We know that “after the credits roll” he sends a little girl to face the evil witch, but that action doesn’t jibe with how he’s written for this Oz. Oz The Great and Powerful stands OK on its own, but when considering it as a prequel, it really doesn’t work.

Despite this, overall I liked it, especially once the wizard meets Glinda. The story is a bit predictable at times, but then it also goes in unexpected directions in other places. The clash of our world and the fantasy world is very well done, and the score is sweeping in just the right way. Most of the performances are at least serviceable, in particular Williams and Rachel Weisz, who are far better than the rest, and the effects are very well mixed with the physical sets and actors. I would give it a solid B-.

The computer imaging in Oz The Great and Powerful is amazing! I was disappointed not to be able to obtain a 3D copy of the film, but after watching, it strikes me that it may not be necessary. The landscapes and opening credits, especially, already feel like 3D because they are so rich and layered. Somehow, the effect is created to some extent without glasses, though now I wonder how awesome a true 3D version is.

Picture and sound are flawless. I detected no errors or popping or static of any kind, and was extremely impressed with the visual and auditory presentation. Blacks are deep, and the vibrant colors really come through. I’d go so far to say this was probably the best looking non-3D film I’ve watched on Blu-ray. Clearly, more effort was put into the look than the writing or casting itself, and I found myself forgiving some story missteps because it all looked so good. Plus, aided by Danny Elfman’s very appropriate music, which, delivered crispy, enhanced every scene, never taking away from dialogue or action, it soared in this arena.

I also enjoyed the special features. One tells the story of Walt Disney himself trying to get Oz to screens big and small. Others go into Kunis’ transformation, Elfman’s composition, filming techniques with the China Girl (Joey King) and Finley (Zach Braff), and the production design. Each of these were entertaining, informative, and brief, which is probably a good decision for a Disney release. I only wish there had been more featurettes.

There is also a “second screen experience,” but unfortunately this only works for iPads, and since I don’t own one, I can’t report on it. I think this will disappoint some who may own other devices, and wish this additional feature was more universal.

Included in the Blu-ray / DVD / Digital combo pack is a “free” ticket to The Lone Ranger. Unfortunately, this voucher only covers up to $8 for the ticket price, and the theaters in my area (and probably most others) charge more than that, even for a matinee. The ticket expires less than three weeks after release, so you can’t wait until it makes it to the cheaper theaters. So while it’s a nice coupon, the “free” tag is misleading and somewhat inaccurate.

I recommend Oz The Great and Powerful, despite my complaints, because the movie is a visual masterpiece. Keep your expectations in check, and you may be pleasantly surprised by a pleasing movie and some awesome effects. Oz The Great and Powerful is available online and in stores now.

SINBAD Kinda Bad

Article first published as SINBAD Kinda Bad on TheTVKing.

SyFy is airing the British series SINBAD, beginning this week. With a similar feel as the recently-concluded Merlin, SINBAD seeks to retell the story of a legend with young, sexy actors, lots of special effects, a mix of magic and science, and enough mythology to keep a series going for awhile.

When first we meet Sinbad (newcomer Elliot Knight), he is a street rat, rigging fights and picking pockets to make ends meet and support his family. With brother Jamil (Devon Anderson, EastEnders) in tow, Sinbad runs through the town, making lots of enemies, but without many worries or stresses. He assumes his charm and wit will get him out of any tough situation. Up until this "Pilot," it does.

Then things go horribly wrong, with Sinbad and Jamil arrested not only for thievery, but also for the death of the heir to the city, Lord Akbari's son. Lord Akbari (Naveen Andrews, Lost) is furious, intent on making Sinbad feel as bad as he does. Akbari takes some revenge, which I won't spoil because it is quite pivotal, but it's not enough to satisfy the lord, who intends to keep hunting Sinbad down, though he doesn't get a second shot at the boy in the premiere.

We all know that Sinbad won't be put to death in the "Pilot" of a series that bear his name, so there is little risk of spoiling things to reveal that he escapes Akbari's prison. But the stakes do seem pretty real anyway, a credit to the writing. SINBAD starts off making us care about the characters, and after introducing us to Sinbad's life for half an episode, dramatically changes it, which is the kick start of the story.

I think it's a good decision to hold off on the main plot until halfway through the hour so that viewers get a sense of who Sinbad is. After all, if he is going to change and become a hero, he has to have a starting point, a pit from which to climb out of, if his journey is to mean anything. This "Pilot" sets that up nicely.

Unfortunately, the follow through leaves something to be desired. After being cursed by his own grandmother (Janet Suzman, Tinga Tinga Tales) to always roam the seas, seldom ever setting foot on land (spurred another plot point I won't spoil), Sinbad wastes no time in making up for his bad deeds. The boat he sets out on encounters some scary water demons, and he pretty much single-handedly saves the day, rescuing almost everyone, and earning himself some new friends.

This comes way too easily. The crew knows what kind of person Sinbad is the moment he steps on board, but after witnessing his somewhat selfless actions, they are won over. This doesn't present any real challenge for the character, not having to fight his way up the ladder, instantly being instantly beloved. I guess it's understandable, as the others have only Nala's (Estella Daniels, Thorne: Scaredy Cat) words to paint a different picture of the lad, she being the only one personally wronged by Sinbad.

Having Sinbad be a hero washes out the personality of the rest of the crew, at least in this "Pilot." The compassionate doctor, Anwar (Dimitri Leonidas, Grange Hill), the funny cook (Junix Inocian), the sturdy crewman, Gunnar (Elliot Cowan, Da Vinci's Demons), and Rina (Marama Corlett, The Devil's Double), a fellow stowaway, all seem like chumps, falling for Sinbad's schtick. Of course, they probably are chumps if not one, but two, stowaways managed to make it on board. But if they are to be as layered as Sinbad, it doesn't happen in this installment.

As such, despite a promising start, I am not won over by SINBAD. It looks fantastic, to be sure, and Sinbad is a legend begging for a good adaptation. But on the heels of other mediocre historical drama efforts, such as Da Vinci's Demons and The Borgias, it blends into the pack, not giving us enough to really make a name for itself.

My hope is that the magic aspect of the series will be played up as the episodes unfold. In that realm is the path for SINBAD to win loyal viewers, establishing itself as an enjoyable genre series. The characters and story just don't have enough depth for it to break into the mainstream, nor to entice me to watch the other eleven episodes.

Should you be so inclined to tune into the series, be warned that SINBAD has already been cancelled in Britain, and these twelve installments will be the only ones one made.

SINBAD airs Saturdays at 9 p.m. ET.

MAGIC CITY Lacks Magic

Article first published as MAGIC CITY Season 2 Premiere Review on Seat42F.

Grade: 84%

Starz’s MAGIC CITY second season premiere, “Crime and Punishment,” picks up right where season one leaves off. Ike (Jeffrey Dean Morgan) is still in jail for murder, and various people want him out for various reasons. Will Ike make someone’s fears come true before he can be released?

Eh, it’s hard to care, to be honest. As in the first season, the characters just aren’t that compelling. We’re talking the Mob and business dealings with Cuba and hotels, casinos, and houses of prostitution, and yet none of it holds that much interest, or magic, if you will, making the series unfortunately named.

What is wrong with MAGIC CITY? It’s hard to pinpoint the issue. Jeffrey Dean Morgan is a fine actor, as proven in Watchmen and Grey’s Anatomy, and perhaps he just isn’t given a lot to work with here. Instead of capitalizing on his brilliant knack for human interaction, he is often isolated, such as while sitting in a prison cell, and when he is around others, the million things he has going on in his head keep him from true connection. Ike can never be in the moment, which fails to provide the window viewers need to attach to him, too.

Maybe the stakes aren’t high enough. Ike is charged with killing someone, but we know the charges won’t stick. He’s the main character, and him getting convicted this early in the show’s run would run him out of business and kill the story of glamorous life at the beach. If one of his sons were arrested instead, that might be more uncertain, but that’s not the path the writing takes. Even Ike’s wish to risk his beloved hotel in “Crime and Punishment” to go run Cuba’s vacation industry doesn’t seem like a real threat, knowing it’ll never happen.

Similarly, Vera’s (Olga Kurylenko) turn in the boardroom isn’t compelling. The hotel is Ike’s life. As much as Vera’s involvement may temporarily strengthen her bond with her husband, we know Ike will return to run things soon, and so she feels like little more than a placeholder. A plot point that she is going to perform again to bring in guests and make them money is interesting, but barely addressed here, instead spending her time on something that doesn’t really advance her story.

And then there’s Ben Diamond (Danny Huston), the villain of the piece, who seems to have been de-clawed. He doesn’t make Stevie (Steven Straight) pay for sleeping with Ben’s wife, Lily (Jessica Marais), because Ben likes to watch. He doesn’t aggressively go after Ike because assuring Ike gets out from behind bars, something Ben makes happen, keeps Ike’s mouth shut. Instead of raging or worrying about Ike, we see Ben cavorting with hookers. So the teeth aren’t bared.

Now, there is a little bit of drama present. Jake Klein (Matt Ross), the State Attorney for Dade County, is determined to take down Ike and / or Ben, and doesn’t seem to be willing to stop until he does so. But his utter, complete failure to gain any traction in “Crime and Punishment,” his efforts swiftly rebuked, despite his crossing of the line to destroy evidence, makes him seems like little more than a joke. He’s a pesky annoyance, but he has neither the power nor the brains to strike an actual blow.

MAGIC CITY needs to be unpredictable. The title implies flash and spectacle, and instead we get slow-burn period drama, like in Mad Men, but without the outsize personalities, clever twists, or hidden meanings. What you see on the surface is what you get, and there’s a lot more attention given to the boring reality than the things that would set the people and locale apart.

Can MAGIC CITY recover from this? I think it can. The cast is solid enough. But it needs to ditch most of the supporting players and bring in some challengers who will really shake up Ike and Ben. Whether Ike or Ben gain alliances to use against one another, or they have to team up to combat an outside foe, anything that takes the two series’ leads and knocks them out of their comfort zones would be welcome. Jack may have been an attempt at this, but it’s time to drop him and move on. Bring in the bigger guns.

MAGIC CITY continues much the same as its first season played out Fridays at 9 p.m. ET on Starz.

"Redefining" Awkward.

Article first published as "Redefining" Awkward. on TheTVKing.

How does a series such as MTV's Awkward. stay fresh three seasons in? After all, we've seen the lead character, Jenna (Ashley Rickards), date both of her possible guys now, so she can't just keep breaking up with each and bouncing back and forth. It has to figure out a new path that still feels like it's in the same vein, and that Jenna isn't going too far off into left field, but still keeps the plot interesting.

The season three mid-season finale, "Redefining Jenna," solves the problem by refocusing the show on Jenna herself. While it's fun to see her figure things out with Jake (Brett Davern) or Matty (Beau Mirchoff), whom she hooks up with is secondary to who Jenna herself is. Early season one episodes give us a peek into Jenna's psyche, and while this has continued, she, and the viewers, have been distracted by guys as of late.

Now, she has a chance to really determine what she wants out of life. Strong hints are dropped that Matty may not be intellectual enough for her, despite their physical attraction and how kind he is. New guy Collin (Nolan Gerard Funk) offers Jenna a different choice, someone who is not nearly as wholesome, but appeals to a side of her that isn't being served. This causes Jenna to stray.

Yes, many fans will be upset to see Jenna kiss Collin as it makes her a less likeable character. There really is no excuse for cheating, as her mother (Nikki Deloach) tells her, and it will be hard to look past Jenna's actions. But one can see why Jenna might decide to take this step, the thing with Collin not coming out of nowhere.

Unfortunately, Jenna doesn't live in a bubble, and Matty will be hurt when (not if) he finds out. This is the land of high school, were secrets cannot be kept, and once out, they spread rapidly. Someone will learn of Jenna and Collin's kiss, and at that point, it seems likely she will lose Matty, which doesn't seem to be something that Jenna wants.

It's is such a teenage indulgence to try to have it both ways. Jenna likes both Matty and Collin for different reasons, and high on her recent popularity and success in life, she likely feels powerful enough to try to keep both. Obviously, as those of us a little older, and hopefully wiser, can see, this isn't possible. She has to make a choice. No one is perfect, and she isn't likely to find everything she wants in a single man. But she has to figure out what is most important to her happiness and choose to devote herself to that.

Maybe neither Matty nor Collin (nor Jake) is the right person for Jenna. She's still in high school. Her world and the people in it are limited. She has little idea of what will happen when she leaves the safety of those walls. However, this is the time for Jenna to begin the journey towards determining who she is, and despite this kiss being a gigantic misstep, it's also a sign that she's making effort into figuring herself out.

Jake and Tamara (Jillian Rose Reed) are doing much better as a pair. They fight, sure, but they also really care about one another. In "Redefining Jenna," we see an example of an up and down in their relationship, and they come out the other side stronger. I don't know that I feel them as a permanent couple, but they are certainly doing fine at this point.

As far as Tamara realizing who she is, that has never really been a problem. Yes, she makes an error when she agrees to co-host the party with the Julies (Tru Collins and Meaghan Martin), but then she recovers from that misstep. To her credit, Tamara goes all out in throwing the shindig, and then quickly realizes what she is doing wrong and fixes it. She may fail, but not from lack of effort, and she is quick to correct mistakes.

Ming (Jessica Lu) finally gets to step up in a serious way these past few episodes, punching out Becca (Jessika Van) and being crowned the new queen of the Asian Mafia. It's great to see someone who previously mostly hangs out in the background take such a central position, and the implications of this subplot should not only push the series further into ensemble territory, usually a welcome development as a show ages, but continue to provide much comic relief.

Similarly, Lissa (Greer Grammer), usually just a sidekick to Sadie (Molly Tarlov), is briefly the focus when she admits that she thinks she killed Ricky Schwartz (Matthew Fahey). She very well could have, but is assured that she isn't responsible, and she's intellectually challenged enough to take such assurances to heart. Thankfully, though, we get to see her a bit more, and Grammer gets to play another side of the character.

This scene allows Sadie to show that she does care about someone else, no matter how poorly she usually treats Lissa. This season has been a major turning point for Sadie, her parents and money gone, and she finally realizing how few friends she has. Sadie feels alone, which will only make her nastier. At least, though, she has a chance to preserve one relationship, and maybe that can be her lifeline to turn things around, as much as Sadie ever will, anyway.

I am very curious as to where things might so with Sadie and Matty, since Matty has also not abandoned Sadie. Their friendship is an unexpected delight, and hopefully they won't spoil it by hooking up. Even if they do, though, it's great that such bonds are developing away from Jenna, and any chance Sadie has to get more complex is always welcome, since Tarlov is one of the best parts of Awkward.

It's gratifying to see Awkward. get more episodes this season than in years past, as it is a thoroughly enjoyable, well written and performed series. However, given this mid-season break, the initial third season run feels really short and I will definitely be missing it until it comes back again, which it most definitely will. You're welcome.

KING & MAXWELL Yawn

Article first published as KING & MAXWELL Review on Seat42F.

Grade: 82%

TNT’s KING & MAXWELL is the newest crime drama from the cable network. In the vein of such series as Rizzoli & Isles, Castle, Bones, Psych, and Franklin & Bash, two charismatic leads break the rules and go outside the law to put together clues that most people would overlook and solve the case of the week. Basically, it’s your typical, formulaic, procedural.

Rebecca  Romijn (X-Men, NTSF:SD:SUV) plays Michelle Maxwell, a messy, pushy woman. Her partner, Sean King (Jon Tenney, The Closer), is much neater and more logical, but also has an ornery streak, as he likes to push her buttons. They have that familiar chemistry where viewers expect them to fall into bed eventually, but the writers will put off such a pairing as long as possible to keep the dynamic going. Of course they bicker and annoy each other, but it’s merely cover for their true feelings.

Both KING & MAXWELL are former Secret Service agents. They did not serve together, and left the force for different reasons. But this gives them the needed skills and intelligence for their current careers as a pair of private investigators. King is also a lawyer, which comes in handy when the series needs the law quoted or a closer relationship with a client or suspect.

Of course, there must be more for the titular couple to overcome than a few perps, so KING & MAXWELL tosses in Frank Rigby (Michael O’Keefe, Michael Clayton) and Darius Carter (Chris Butler, The Good Wife). Rigby and Carter are by-the-book FBI agents who are none too happy when the PIs intrude on their work. Predictably, Carter and Rigby fail to catch the bad guy on their own, and so KING & MAXWELL prove their worth, much to the FBI’s displeasure.

If all of what you’re read so far sounds rote and boring, you’ll get an idea of what it’s like watching the show. It’s not bad, per se, as the leads handle themselves capably enough, and the supporting players serve their purpose. It’s just an unoriginal, uninspired premise that has been done to death on television. Between CBS, NBC, FOX, ABC, TNT, earlier-this-decade USA, we don’t need any more cop or lawyer shows. They all feel the same. Even the banter between the leads, as fun as it is, doesn’t break any new ground.

This means that KING & MAXWELL will be a fine light-weight series, with installments viewers can drop in on at their leisure, not necessarily necessary to see each and every episode to understand what’s going on. This type of program seems to be quite popular with viewers these days, even if it’s a total turn-off for critics, the junk food version of TV that too much of can cause a tummy ache. So it may do decently well if fans can connect with the leads. I don’t see why that would be a problem, given their good performances.

The extra element that KING & MAXWELL tosses in as an attempt to set itself apart is the fifth series regular, Edgar Roy (Ryan Hurst, Sons of Anarchy). Introduced as a brilliant convicted serial killer with no social skills, and with enough hints to let us assume he may very well be innocent, Roy isn’t the focus of the show, so doesn’t copy Dexter or Hannibal.

Unfortunately, Roy is barely in the “Pilot,” at least before the “twist” ending, so it’s hard to know exactly what his role in the show will be. Is he just a sympathetic friend KING & MAXWELL take in because they feel sorry for him, or will he be a valuable part of their crime-fighting team? The latter more than the former, surely, but we’ll have to wait and see. Or some viewers will have to wait and see, because after watching the “Pilot,” I don’t care enough to find out.

KING & MAXWELL premieres Monday, June 10^th at 10 p.m. ET on TNT.

FALLING SKIES Premiere Does "Damage"

Article first posted as FALLING SKIES Review on Seat42F.

Grade: 90%

TNT’s FALLING SKIES returns this Sunday with two new hours, “On Thin Ice” and “Collateral Damage.” The story picks up seven months after season two’s finale, with the 2^nd Mass now firmly ensconced in Charleston, their population ballooned, making a real dent against the alien invaders with some major help from extra terrestrial allies. Yet, not all is peachy keen under the leadership of President “Just Call Me Tom” Mason (Noah Wyle), as suspicions rise.

My biggest complaints about the first two years of FALLING SKIES are the problems with pacing and story complexity. Some arcs are breezed through, while others plod along forever. Minor characters are barely introduced, then killed or tossed aside.

Some of that is still present in “On Thin Ice” and “Collateral Damage,” especially in regards to losing characters too early, but I do feel like the writing has gotten better. There is a lot going on in these first two hours, to be sure, but the plots are well-balanced and develop at an engaging pace, revealing bits at a time, but not necessarily concluding many threads at the end of this week.

It’s pretty hard to talk about what is going on without dropping spoilers, especially because so much time has passed, and anything I say about what the characters are doing will take away some surprise. So, be warned, while I will avoid ruining anything too big, there are key elements discussed within.

The war section of FALLING SKIES is very exciting. There are definitely plenty of explosions and gun battles, and even a bit of hand-to-hand combat in this episode. The humans, bolstered by new friends and advanced weaponry, have really learned to hold their own. Those tuning in for these elements should be quite satisfied.

But it’s not all just shoot ‘em up. In fact, what I find most fascinating about this premiere, especially in “Collateral Damage,” is the human cost. Tom is forced to use some of his own men and closest friends as bait so that he can deal a blow against the bad guys. Not only that, but even though the humans now have a reliable way to remove the harnesses from enslaved teens, there isn’t always time to rescue them, and sometimes they just have to shoot the innocents.

These are clearly things weighing heavily on Tom. He seems to be weathering them OK, taking his responsibility of protecting everyone seriously, but also understanding that sacrifice must be made to win the war. Whereas before, Tom argues only for the sake of the morality, once he’s the leader of them, he doesn’t have the luxury of being quite so judgmental of military decisions, even if he isn’t flip about the value of life.

If anything, this seasoned attitude has strengthened the bond between Tom and Dan Weaver (Will Patton). They bond over a drink, and there is definitely friendship between them, even more so than before. They have met each other in the middle, and their close relationship makes leading the people easier for everyone.

Pope (Colin Cunningham) may be on the outside of the official government, but his role in keeping the peace is just as important as that of the other two. While his hooligans are among the most specist against the aliens, including their allies, Pope walks the thin line between letting them blow off steam, keeping their respect, and getting them to do what he wants. It’s a precarious position for him to be in, and he seems to be doing very well in it at the present. I do wonder how long that will last.

The biggest problem the humans have right now is that there is a mole in their midst who is feeding the enemy information. There are two strong possibilities as two who that mole might be, but unfortunately, the only character that knows for sure dies before he can tell anyone, and it has not yet been revealed to the viewer.

Option one is Cochise (Doug Jones, Hellboy),  the representative for the race supplying mankind with the weapons. Many are suspicious of his race’s intentions after helping the 2^nd Mass overthrow the planet’s current rulers. Part of this could just be prejudice, but maybe there’s something real behind such accusations? If it is Conchise, the 2^nd Mass’s prospects are dire, indeed.

Option two is Hal Mason (Drew Roy). The eldest Mason child would never intentionally betray his people, but he is being controlled by an implant put there by Karen (Jessy Schram), now the alien leader. It’s not only got Hal believing he can’t walk, but he meets her in his sleep and has sex with her (complete with a Battlestar Galactica-glowing spine rip-off). Can Maggie (Sarah Carter), who he has been pushing away, save him, now that she knows at least part of what is going on?

Hal may not be the only one affected by Karen’s manipulation. Anne (Moon Bloodgood) gives birth to her baby, Alexis, whom promptly shows great intelligence, crawls away, and calls her mama. Is this the result of something Karen did while Anne was held prisoner? It seems the only logical explanation.

Anne keeping the baby’s actions a secret from everyone, including Tom, is the part of this premiere that makes absolutely no sense. Perhaps she thinks she is imagining it because of exhaustion, but if so, she should do something to fix herself, not just sweep it under the rug. Major weak spot in two otherwise excellent episodes.

We also have Matt Mason (Maxim Knight). Not seeing the point of school, and accepted as a full soldier now, young Matt gets into trouble while his parents are otherwise distracted. There are so many directions FALLING SKIES can go with this, debating the importance of education in a post-apocalyptic society, examining how neglected children can be developmentally affected, exploring the rapid maturation of kids in a war environment. Hopefully, the series will take the time to do this, rather than flipping quickly past it.

Two other things I’d like to see happen are a long-harnessed mutant teenager being rescued, as their attitude would likely be quite a bit different from the short-term prisoners, and more development for the new scientist character played by House’s Robert Sean Leonard. While only appearing in “Collateral” thus far, Leonard, almost unrecognizable, quickly catches my interest, and I definitely want more from him. If he’s written off as quickly as other major guest stars, I will be quite upset.

Taken all together, these are very strong installments of FALLING SKIES, and definitely show the series is getting itself on the right track. With more ambitious plots and an appropriately expanding cast, I expect more good things to come this summer.

FALLING SKIES premieres Sunday, June 9^th at 9 p.m. ET on TNT.

GAME OF THRONES "Mhysa" of All Fantasy Series

Article first published as GAME OF THRONES "Mhysa" of All Fantasy Series on TheTVKing.

HBO's Game of Thrones' season three finale, "Myhsa," which means Mother, is a very busy installment, with way too many characters to fully and comprehensively cover in one review. Unless that review is several thousand words long, and who has time to read or write that? It's also hard to pinpoint what sets one episode apart from another, since events happen in sweeping arcs that unfold over years, not weeks. So, instead, here are some of the highlights of the most recent fantastic episode, which realigns some loyalties and sets the show up for another stellar run next year.

The scene where the Small Council meets at King's Landing is my favorite scene in the hour, hands down. It starts with King Joffrey Lannister (Jack Gleeson) jumping for joy with the news that Robb and Catelyn Stark have been killed, a plot twist that inexplicably has fans of the series unjustifiably turning against Game of Thrones, but I digress. Joffrey plans on doing something unspeakably cruel to celebrate, and Tyrion (Peter Dinklage), disgusted, puts Joffrey in his place.

It seems very dangerous for Tyrion to stand up to Joffrey, but because he only does it in this intimate setting, not publicly, Tyrion may be OK. Joffrey is a spoiled brat who is vengeful, and may seek to make Tyrion pay for his words. However, Joffrey doesn't dare challenge his grandfather, Tywin (Charles Dance) for authority, not yet anyway, and when Tywin seems to share Tyrion's views, Joffrey is figuratively spanked and sent to bed early.

Tywin remarks that those who must declare "I am king" are not really king, and that the crown does not necessarily equal power. He is completely correct, watching the way Joffrey is subdued. Joffrey whines and acts like a child, but he does obey Tywin in the end. Tywin is definitely the one with the real power in the realm, and until Joffrey decides not to put up with it any more and makes a real play for control, it will remain that way.

This interaction between these three would be fine enough, but "Mhysa" goes a step further and stays in the room with Tyrion and Tywin after the rest of the council has dispersed. Here, we see Tyrion talk back to his father, only to be stunned into silence when Tywin admits something that is sort of a secret about the personal "sacrifice" he made by allowing Tyrion to live and raising him. It's a painful, raw moment, and as bad as one feels for Tyrion, one also sees that Tywin is completely serious in his own right. Amazing performances by both deliver this as an exchange not soon forgotten.

Also worth mentioning is the sequence of Tyrion and Sansa (Sophie Turner) strolling through the garden, plotting pranks on those who deserve it. They still don't feel like a natural, loving couple, but this does show the girl softening towards Tyrion, who will treat her right and try to make her happy. One day, it might even make sense for the two to be together, and if it does, the seeds are planted here. If any two characters in Game of Thrones deserve happiness, it is this pair.

Unfortunately, that tranquility is threatened by Shae (Sibel Kekilli), who dismisses Varys' (Conleth Hill) attempt to send her away a wealthy woman, declaring that Tyrion himself must ask her to leave. It doesn't seem like Shae will physically harm Sansa, pledging her love for the girl, but Shae's continued presence is detrimental enough. Her dark wishes for revenge, while understandable, could cause some serious conflict within the royal family.

With the Starks dispatched, the Lannisters have an undisputed hold on the Seven Kingdoms. Or do they? Daenerys (Emilia Clarke) is taking her time assembling her forces, but watching the city of people worship and fall at her feet shows just how effective she is at gaining the loyalty of her followers. Joffrey's throne is safe for now, with his other competitors dead or severely weakened, but when Daenerys comes for him, it will be an epic battle, indeed.

Stannis (Stephen Dillane) still thinks he is a threat against Joffrey, but after Davos (Liam Cunningham) sets Gendry (Joe Dempsie) free, Stannis' plans for a conquering by magic are scrapped. Yet, Davos is spared when he brings to light the danger coming from the north, and Melisandre (Carice van Houten) actually agrees that Davos is needed.

This is a very interesting turn of events. Stannis has barely kept Melisandre and Davos at bay with each other for two seasons, both wishing the other would go away, even if it means killing. Yet, here it's Melisandre and Davos who unite, which takes Stannis aback as much as the audience surely is. Yes, we know the White Walkers from beyond the wall are deadly, but seeing how seriously this contingent takes the invasion, alliance made between deadly enemies, really strikes home how much the people fear them. Scary!

Stannis and company are in no position to really mount a defense, though, so it's a good thing Bran (Isaac Hempstead-Wright) has a plan. We don't know what it is, but Bran and his group are now heading past the wall. Because of the mystique surrounding Bran's abilities and talents, there's a feeling that the crippled boy may actually be the only hope of the realm, and that he might succeed.

I really enjoy seeing Bran encounter Samwell (John Bradley). There are so many different threads running through Game of Thrones, with so many characters that major ones have to sit out for weeks at a time. For a chance encounter like this, especially between two friendlies that we like, and because there never seems to be a time the two might meet otherwise, is thrilling. Hopefully, as the show goes on, there will be more time for this type of meeting.

Of course, not every convergence is welcome. Yara Greyjoy (Gemma Whelan) is on her way to rescue her brother, Theon (Alfie Allen), from the hands of the perverted Ramsay Snow (Iwan Rheon). It seems odd to hope for Theon's safe delivery from anyone, given how detestable Theon's actions are in season two. However, no one deserves what Ramsay has put Theon through, and it is definitely time for Ramsay to go down.

The problem with this is that Ramsay is the bastard son of Roose Bolton (Michael McElhatton), the new Warden of the North. That means Yara's slaying of Ramsay could start a civil war between the Iron Islands and the North. Were a more competent, focused king than Joffrey ruling the realm, perhaps serious conflict could be identified and prevented. As it stands, Yara's mission is a recipe for disaster at a time when, given the grave threats from outside the borders, the Seven Kingdoms need to stand united.

Other noteworthy bits from "Myhsa": Jon Snow (Kit Harrington) learns how much love hurts when a scorned Ygritte (Rose Leslie) ignores reason and shoots three arrows into his back. At least Jon lives to make it back to Castle Black, where he can heal. Arya (Maisie Williams) viciously stabs those who contributed to her brother's downfall, proving how deadly she can be. And Jaime (Nikolaj Coster-Waldau) makes it to King's Landing, though it has not yet been revealed if Cersei (Lena Headey) can see past his new deformity, or how Jaime's relationship with Brienne (Gwendoline Christie) will be affected by having Jaime's sister / lover back in the picture.

As you can see, there is a lot going on. However, Game of Thrones has deftly balanced each of the various stories so far, creating characters that can be kept track of because of how developed they all are, and the threads come together enough to make it seem cohesive. Obviously, a lot more will happen before the end, and eventually the cast will slim. But for now, "Myhsa" is yet another excellent chapter in a very long, very complex tale.

Game of Thrones will return for a fourth season in 2014 on HBO.