"Wanna" Watch THE GOOD WIFE

Article originally written for Seat42F.

The title of THE GOOD WIFE’s season finale, “Wanna Partner?,” seems to refer to Alicia (Julianna Margulies) asking Finn (Matthew Goode) to start a law firm with her. But in the delightfully twisty hour, that doesn’t end up being what the quote is lifted from at all, and as much as this installment doesn’t feel like a season ender, it does indeed push a number of things forward.

First of all, as most people have known since last fall, “Wanna Partner?” serves as Kalinda’s (Archie Panjabi) final episode on the show, at least for now, most probably forever. Charles Lester (Wallace Shawn) comes looking for her, threatening Alicia, Cary (Matt Czuchry), and Diane (Christine Baranski) in the process. Still, it’s a surprise when Kalinda shows up to confront him in the frozen pizza aisle, and even more of one when Alicia burns Kalinda’s confession right in front of Lester. Kalinda is off to who-knows-where, her friends are decently protected, and the Lemond saga is over. For now, anyway.

Before Kalinda leaves for good though, THE GOOD WIFE decides to finally give fans what they’ve been longing for: a Kalinda / Alicia drink. For three years, these former best friends have barely been on speaking terms, and have not been sharing scenes together like they constantly did in the early days. The behind-the-scenes conflict between the actresses does dampen the moment slightly, but for the characters, apologizing and declaring their feelings for one another (sort of) feels right and the perfect way to say goodbye to the badass investigator. She will be missed.

Kalinda is far from the only thing on Alicia’s mind. Peter (Chris Noth) tells her that he wants to run for President of the United States. Well, technically he’s angling for VP. At first, Alicia is happy for him. But after realizing this means she gives up any chance for happiness and fulfillment on a personal level, Grace (Makenzie Vega) reminding Alicia that she will have to continue pretending to be married to him, she turns on the idea. Eli (Alan Cumming) pushing for it and “massaging” Alicia’s memoir doesn’t help, either, the campaign manager finally going too far.

Let’s be honest: Peter has no realistic shot at the White House. He’s spent time in prison, he cheated on his wife, who is herself implicated in voter fraud, and the two live apart. No matter what Eli does, Peter could not succeed in the real world. But THE GOOD WIFE, as grounded as it usually is, does make leaps from time to time, and this may just be its biggest yet. How far will they take it?

Alicia also has work to worry about. Finn does initially accept her partnership offer, and two go on a crusade to free Jacob Rickter (Seth Gilliam, The Walking Dead) – a client last seen on the show four years ago. They attack a bad cop (Danny Mastrogiorgio, Gotham), manipulate a good one (Kevin Bigley, Sirens), and finally prevail, only to have Finn back out of the arrangement.

It makes sense for Finn to do so. The reason he wants to work with Alicia is the same reason he can’t. She threatens his tenuous relationship with his ex-wife, whom he is trying to get back together with. The electricity between the lawyers is too intense and cannot be ignored. Finn doesn’t trust himself around Alicia, and as regrettable as it is for him to step away, not doing so would definitely have led to some bedroom scenes next season that might not have been a good idea for either one of them, especially if Peter runs.

“Wanna Partner?” ends much the same way THE GOOD WIFE concluded season four, with a knock on Alicia’s door from a potential new partner. This time it’s Louis Canning (Michael J. Fox) instead of Cary, sadly, but might Alicia take him up on the offer? She doesn’t want to work alone, and she’s always had a strange kind of friendship with the slime ball. Is that enough to tempt her?

There’s a very real chance Louis is coming for Alicia because he sees her as a way to get even with Diane, Cary, and David Lee (Zach Grenier), whom he feels wronged his wife, Simone (Susan Misner), by firing her. Whether Simone was a corporate spy or not (she probably was not, but Louis may have tried to trick her into being one), her tears are genuine, and Louis wants revenge. Alicia is on good enough terms with Diane and Cary I don’t see her willingly participating in their downfall, but Louis is a master manipulator. How far can his scheme go before Alicia is clued in to the truth and ends their sure-to-be-temporary partnership?

While “Wanna Partner?” may not feel conclusive enough to close the sixth year on, it is a very good episode with a lot of interesting stories and some threads that are just getting started. The hour is yet another brilliant example of how the writers on this show juggle a lot of balls at once, letting them pass right through one another, and keeping them in the air for a very long time. CBS had better bring the show back.

THE GOOD WIFE has not yet been renewed, but a decision from CBS is expected no later than Wednesday morning. Chances currently look slightly better than even.

ONCE UPON A TIME "Operation" Successful

Article originally written for Seat42F.

ABC’s ONCE UPON A TIME two-hour season finale is titled “Operation Mongoose,” but it could have shared Game of Thrones’ title this week, “Kill the Boy.” That’s because, with everyone else trapped in an upside-down version of the Enchanted Forest, Henry (Jared Gilmore) alone remains to save the day. The man in his way, Isaac (Patrick Fischler), doesn’t seem willing to commit murder directly, but wastes no time sending others after Henry when they both enter the fictional world.

“Operation Mongoose” is the best episode of ONCE UPON A TIME in quite some time, with rich, emotional pay-off and a lot of fun chances to see actors approach characters differently. Ginnifer Goodwin plays such a terrific villain and the story possibilities in this world are so ripe I find myself wishing this had played out over five or six hours, not two. It’s great, but kind of a squandered opportunity. Though, it’s nice the show doesn’t use yet another True Love’s Kiss to fix everything.

Henry gets to step up as never before, though! This kid not only drives a car and functions without parental units, but goes to a land he isn’t familiar with and battles evil, including wielding a sword against Rumple himself. Henry has been annoying at times in the past, and most fans of ONCE UPON A TIME don’t want to see a kid save the day. What Henry becomes here, though, is a full-fledged member of the cast, pulling his weight, and it’s awesome.

By the end of the hour, Henry proves himself again when he breaks the pen. He is the next Author, but rather than allow himself to be tempted to misuse the power, as Isaac does, Henry ensures he can only do what he’s supposed to do. It’s an impressive decision for the young man to make, but one would expect no less of him.

“Operation Mongoose” finally gives some explanation as to why Rumple’s (Robert Carlyle) heroic sacrifice mid-way through season three did not stick. The Dark One consumes any light taking root and eliminates it. The fact that Rumple manages to be good at all proves there is a very strong lightness within him, which I guess makes sense, being the opposite of the strong darkness we see. If only ONCE UPON A TIME had committed to this explanation earlier and showed Rumple fighting and losing the struggle to be good, the story would have been satisfying. Instead, the revelation comes too little, too late, even if there’s the opportunity to see Rumple have his happy ending next season, Belle (Emilie de Ravin) still being in love with him.

Speaking of happy endings, it turns out the whole rule that villains can’t get them is bull. At first, that seems a cop out, but upon further examination, it makes sense. Some characters are operating under false assumptions or incomplete information. Isaac sure isn’t reliable, so what he says can’t be trusted. Rumple looks for an outside source to blame for losing Belle, not realizing it is the Dark One that is costing him his love. The episode ends with Robin (Sean Maguire) and Regina (Lana Parrilla) right where they should be, so that proves the falsehood.

But is Emma a hero or a villain? Growing up in the real world, she has defied either to a certain extent. “Operation Mongoose” tests that by making Emma the new Dark One. Now, this woman who has untold power she’s only beginning to tap into is the most evil person in Storybrooke. It’s a great set up, since it will probably take everyone banding together to stop someone as dangerous as Emma, especially without hurting her. It will be interesting to see how Merlin plays into this, too.

ONCE UPON A TIME is far from a perfect show. It has good runs and bad ones. Ending a bad run with a good finale, though, is better than ending a good one with a bad, as the show does last year, and it makes me a little more optimistic for season five. The plot it teases is certainly tantalizing enough, and I’m excited about the series in a way I haven’t been in awhile. There are still glaring mistakes in “Operation Mongoose,” from Emma and Henry just standing there watching Hook die, to Robin’s hesitance at the altar ending in wedding bells and then immediately rushing to Regina’s side. But overall, I’m satisfied with this ending.

Oh, and based on Isaac’s flashback, it looks like Walt Disney was the Author just previous to him, which is kind of fun. Combined with a Wookie-like prison escape and a Jack Sparrow mention, “Operation Mongoose” has plenty of delightful references.

ONCE UPON A TIME will return next fall on ABC.

Book Fans May Want to "Kill" GAME OF THRONES

Article originally written for Seat42F.

This week’s GAME OF THRONES on HBO is called “Kill the Boy.” The title does not refer to a person that should be murdered, though fans could be forgiven for thinking that, given the high death count in this series. Instead, it’s a phrase meaning to step up and be a man, readying yourself for whatever is coming at you next. While only directed at one character on screen, as with many episode titles, it can be applied to many.

“Kill the Boy” is the advice Maester Aemon (Peter Vaughan) gives to Jon Snow (Kit Harington) when Jon seeks advice about making a tough decision. Aemon doesn’t need to hear the details of the choice; he voted for Jon Snow and he trusts Snow’s leadership. What Aemon is telling Jon is that he just needs to embrace that mantle, no longer second-guessing his decisions. It’s a tough lesson for anyone to face, but especially for Jon, a very young man now leading a ragtag group who may be their realm’s only chance at survival.

Jon’s declaration is not a popular one. He tells the Night’s Watch they will be letting the Wildlings through The Wall. Wilding leader Tormund Giantsbane (Kristofer Hivju) isn’t happy either, refusing to serve any king or crow. But Jon’s orders are fair and just, basically instituting a diplomatic treaty that no one negotiated, not asking for fealty. It is painful for both sides, but if they don’t adopt it, they will all probably die. Tormund is wise enough to see that. The men of the Night’s Watch seem less so. Will they stage a coup, signing their own death warrant, or truly trust the man they elected?

Speaking of leadership, Daenerys (Emilia Clarke) is having a rough go of it herself. After the Sons of the Harpy kill Barristan Selmy (Ian McEhinney) – a change from the books I am very upset about, but that might open up a spot for Jorah (Iain Glen) to serve her again – she reacts in anger. She gathers the house leaders together and lets her dragons eat one. But after reflection, she realizes this will not solve the problem, only making the rebels more determined to fight against her. So she reopens the fighting pits, as requested, and decides to marry Hizdahr (Joel Fry), one of the leaders. 

Is this a sign of weakness from Daenerys? “Kill the Boy” has her giving in to the demands of terrorists and uniting with one of the rulers she hates. However, Hizdahr has been much more cooperative than most, and based on his actions in this episode, probably will willingly play second fiddle to the dragon queen, advising her on the best interests of his people, but scared enough of her to not try to overrule her. The question is how the rest of the people of Mereen will see her and if the thugs will be satisfied with their victory or keep pushing.

Jorah will surely find quite a different Daenerys when he gets back to her, if he gets back to her. Trying to take a short cut away from pirates, Jorah and Tyrion (Peter Dinklage) are beset upon by stone men in one of the coolest settings GAME OF THRONES has shown us in awhile. The fight itself is grounded, nothing super spectacular, but by letting it happen in mist-filled ruins with a dragon flying overhead, it really adds something cool to the proceedings.

Sadly Jorah is infected by the stone men, which is again quite a bit different from the books, since he isn’t even with Tyrion on the page when Tyrion goes through that waterway. Does this mean he isn’t destined to make it back to Mereen, or even if he does, his usefulness will be short-lived?

GAME OF THRONES is now swiftly chewing through the source material, ditching the majority of it, unfortunately, and simplifying the rest. Any time a book series is translated for the screen, changes happen, and I think most fans accept that. What is frustrating in this situation is that the show used to
be very true to the books, making some changes, but mostly minor ones. This gave viewers the expectation that this trend would continue.

Season five, however, has made for some extremely different situations, with about half the main cast (or possibly more) now on different paths than they were on the page, and many, many chapters being tossed out to get to the next thing quicker. Some arcs have already moved beyond what has happened in the five published volumes, even though they could be taking their time. HBO would be willing to make ten seasons or possible even more, but those in charge of GAME OF THRONES are determined to finish in seven years, a very unwise choice if you ask me, given the story could easily fill many more without dragging.

This makes for a conundrum. I try very hard to take the show on its own, and when doing so, I think GAME OF THRONES is still a very strong, very enjoyable show. There hasn’t been any episode I didn’t enjoy, and none of the stories have stopped making sense. The problem is, there is a lot I want to see but now realize I won’t. By starting out with respect for the books and then, halfway through, hugely abandoning them, the show writers and runners are demonstrating a major lack of respect for the author and the fans and a betrayal of trust.

Sansa’s (Sophie Turner) story is one of the few places I agree with the decision to change things. Sansa does not go to Winterfell in the book, it’s an imposter the Boltons are trying to pass off, and so the stakes have been raised greatly in “Kill the Boy.” But her case is the exception, not the rule.

I think, when the series is over and done with, GAME OF THRONES will still be a show I can rewatch and enjoy. However, there will be a big sense of wasted opportunity that the series did not go anywhere near far enough in its efforts to make a good adaptation, and I’ll be longing for another attempt as soon as possible.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

No "Search" for Goodness in OUTLANDER

Article originally written for Seat42F.

This week’s episode of OUTLANDER on Starz is all about “The Search” for Jamie (Sam Heughan). Learning he has been captured by the British, Claire (Caitriona Balfe) and Jenny (Laura Donnelly) set out to rescue their husband and brother, respectively. But rushing off without a plan could get Jamie into more dire straits than he’s presently in.

I like the arc of “The Search.” The episode begins with Jamie captured, and ends with the same. In the middle, though we do not see him, he is free for a time. However, Claire’s efforts to find him lead to him being nabbed again, or so we hear, which has to make her feel even worse than she already does, her actions resulting in the exact opposite outcome than what she wants.

It’s not all Claire’s fault. Jenny doesn’t have a plan, either, and having just given birth, she shouldn’t be out anywhere. She ends up heading home relatively early on, after a disturbing torture session, needing to return to nurse her child. Then, Claire’s second companion, Murtagh (Duncan Lacroix), comes up with the idea to make a reputation for themselves so that Jamie can find them. But Claire doesn’t just stick to his theory, introducing jazz music (highly amusing!) and trying to pay off a gypsy that is copying their shtick. That the gypsy ends up being helpful probably makes the whole thing a wash, at best.

Even with these setbacks, “The Search” is an entertaining episode of OUTLANDER. Jenny and Claire are still fairly new in their relationship, so it’s nice to see them bonding, even when it involves unwanted, painful branding. Murtagh is often around, but so little is known about him. Claire and Murtagh share one powerful scene this week that really helps flesh out his character.

In the end, though, it’s Clan MacKenzie that must help Claire rescue Jamie. First Willie (Finn Den Hertog) volunteers, then Angus (Stephen Walters), then the rest. Dougal (Graham McTavish) isn’t enthusiastic about the scheme to free Jamie from captivity, believing his nephew doomed, but he does allow his men to participate, so even if he’s not an asset, he’s not a strong detractor, either. Now we’ll just have to wait ‘til next week to see if they succeed, since “The Search” runs out of time before we actually get to the rescue.

A strange thing happens when Claire encounters Dougal in that he proposes she marry him. Dougal is obviously attracted to Claire, given that time he tried to rape her, but he never seems to like her very much. Why would he want her to be his bride? On the other hand, Dougal was in love with Geillis, who has much in common with Claire including being a time traveler, so perhaps he has a type that is not obvious to the observer. Or he just thinks he’s doing her a favor.

Claire is offended because, to her eyes, Dougal is leaving his nephew to die while trying to steal his bride, but I don’t think Dougal sees it that way. He is a practical man, and as much as he likes to fight for what he believes in, he’s not anxious to embark upon a suicide mission. I think if Dougal thought there were a decent chance to save Jamie, he would do so, and his dismissing the idea is purely because he doesn’t see a good way to make that happen.

Similarly, he seems to think he’s being noble by offering Claire protection, not trying to be an opportunist. Dougal is a man of his time, and I believe he is acting in what he thinks is a kind-hearted manner to a relation. Or, at least as kind-hearted as Dougal MacKenzie can get.

Not a lot happens in “The Search,” but it is chock full of compelling scenes, funny moments, and has great character development, especially for Murtagh and Dougal. That makes it a great episode in my book.

OUTLANDER airs Saturdays at 9 p.m. ET on Starz.

GRACE AND FRANKIE a Frank and Graceful Tale

Article originally written for Seat42F.

I cannot remember the last time my opinion of a show changed so drastically from the start to the finish of a pilot as it did for Netflix’s GRACE AND FRANKIE. The show, which launched all thirteen episodes of its freshman run yesterday, is the story of two women whose husbands come out as gay after forty years of marriage. The women hate one another, but they each may just be the only other person in the world who understands what the other is going through.

The first episode of GRACE AND FRANKIE, funnily enough entitled “The End,” begins with a corny theme song and a big, splashy announcement of the breakup at a double dinner date. While watching this scene, the situation seems incredibly cheesy and almost cliché, though the circumstances aren’t yet cliché at this point, and the characters feel flat and unrealistic. I was very tempted to turn it off.

As soon as you get past the opening of “The End,” though, the series immediately begins to deepen and improve. By the end of the half hour, viewers will not just understand how all of this happened the way it did, but feel like they’ve seen very raw performances from four actors at the very top of their craft. It’s not that the opening is bad, it is just not easy to understand until you get more from the characters. I cannot wait to go watch the other twelve installments.

GRACE AND FRANKIE stars Lily Tomlin (9 to 5, The West Wing) as Frankie, who is married to Sol (Sam Waterston, Law & Order, The Newsroom) at the start. They are a couple of spiritual hippies who are one another’s best friends. They have raised two sensitive sons (Brotherhood’s Ethan Embry and Fairly Legal’s Baron Vaughn), at least one of whom is adopted, and even after hearing the news, Frankie is the type who can’t bring herself to sleep in a different bed than Sol, at least not the first night.

GRACE AND FRANKIE also stars Jane Fonda (9 to 5, The Newsroom) as Grace, who is married to Robert (Martin Sheen, The Departed, The West Wing) at the start. They are an uptight, well-off couple who can’t stand one another very much. The poison in their relationship has led to a pair of judgmental daughters (Burning Love’s June Diane Raphael and Friends With Better Lives’ Brooklyn Decker) who are there for their mother, but also share her coldness a bit. She let herself be blinded to Robert’s tendencies because, even though their marriage wasn’t good, she thought this was normal.

Sol and Robert are in love and trying to spend their waning years happy. This is inherently selfish, as at least one of the wives points out, not leaving their spouses with a choice or much time to seek their own fulfillment. If the boys were going to do this, they should have done it twenty years ago, before life is almost over. Their last snatch at being who they want to be, finally something socially acceptable and their impending marriage legal, robs two other people of their own comfortable twilights.

Being able to see both sides of the guys’ decision, the one where they are finally doing what is right for themselves and the one where they are destroying a family, makes for quite a complex story. GRACE AND FRANKIE is easy to explain on the surface, but I was surprised and impressed by how deep it goes.

Where opposites attract for the men, they repel for the women, who know one another because their husbands are too close not to involve them, but have no desire to spend any time together. That the couples invested in a beach house together, the natural retreat for both females, provides a convenient way to force continued exposure. The show does manage not to fall into familiar tropes in which they
quickly become pals. As much as I want them to stay in scenes together, it must be authentic. “The End” gives me hope that it will be.

This series is also funny. Conflict breeds humor, and GRACE AND FRANKIE has conflict in spades. From a semi-inappropriate chair to the effects of a bitter tea, there is plenty of opportunity to be amused, too, even if it’s with a sad kind of laugh.

The acting in this program is excellent, as one would expect from this cast, many of whom have worked together in the past. It tickles me that both women have played major roles in shows that the other’s TV spouse starred in. These four are all people who have had a heyday some time ago, and yet prove their careers are not over by any stretch of the word. I’m glad their talents are not being wasted in their later years, as they are clearly still young and vibrant enough to put them to good use for an appreciative audience.

GRACE AND FRANKIE is on Netflix now.

"Headache" from GRIMM Subsiding

Article originally written for Seat4F.

This week’s episode of GRIMM on NBC, titled “Headache,” actually picks up right where last week leaves off, finally following a serial story! Nick (David Giuntoli), Hank (Russell Hornsby), and Wu (Reggie Lee) continue to investigate the grisly murders, and the evidence leads them to Captain Renard (Sasha Roiz). Is Jack the Ripper after their boss?

It’s pretty obvious early in “Headache” that Jack is Captain Renard, or rather, he is inside Renard. To GRIMM’s credit, though, Nick suspects as much by a quarter of the way through the hour and voices the theory, not drawing out a twist that’s already been given away. It’s nice to be able to give the show and its story credit after being so disappointed in it for so many months.

The better part to this plot is that Jack gets inside Renard when he is dead, a thread from the very beginning of the season, and has been growing in power and influence since, eventually hoping to replace Renard. This explains Renard’s arc throughout the year; his strange visions and behavior. It’s a nice pay-off for a long simmer, and while it should have been reached much sooner, I’m not disappointed by the way it plays out now.

Roiz is the star of “Headache.” The actor wonderfully embodies the maniac serial killer, differentiating him fully from the police chief. The dual role is something most actors long for, but few do it as well as this one, transforming body, voice, and mannerisms into a vastly different part. Watching him is the highlight of the episode for me.

Far less satisfying is the other story in “Headache.” Juliette (Bitsie Tulloch) takes up with Kenneth (Nico Evers-Swindell), sexually now as well as just helping him with evil schemes. Together, they kill Nick’s mother and gain custody of Adalind’s (Claire Coffee) baby.

The plot itself isn’t terrible. Juliette’s complete behavior change has been explained by the Hexenbieste inside of her, which apparently is more destructive and dominant than a normal Hexenbieste. It’s no surprise, then, that she would help Nick’s enemy or take the child. 
What’s unforgiveable is Juliette’s involvement in killing Kelly Burkhardt. This spells the end of Nick and Juliette as a couple forever, methinks. Nick’s utter grief at the close of “Headache” is very moving, and it’s far too deep for him to overlook. Even though Kenneth is the one who actually kills her, Juliette deserves punishment for her involvement. At this point, assuming Nick finds out Juliette is complicit, he might even kill his former fiancé. The homicide would be justifiable.

It’s a fascinating story to take so much away from Nick in this manner. In a way, Juliette dies the moment she becomes a Hexenbieste, and he’s just trying to save a relationship that is already over. The version of Juliette that lives now is a totally different person, and even if they can restore her, there’s no telling if she’d get her old personality back or if Nick would be able to forgive her. Certainly, that would take years, at minimum. I’m sad because I think there could have been some interesting possibilities for the couple that will remain unexplored, but this is a pretty cool direction to take GRIMM in.

The worst part by far of “Headache,” though, and what dampens this part of the story is that Kelly’s death happens off-screen. I assume that is because the actress was unavailable, as we only see her from

afar and hear her fighting. Still, if GRIMM couldn’t get her, they shouldn’t do this story now, or find another way to bring the baby pack into the picture, or cast an actress with more free time in the first place, considering the vital part she plays in the series. I know availability isn’t always known in advance, but to have such an important character meet their fate like this just plain sucks. This is more unforgiveable than the rotating royals, another pet peeve of mine, and no head-in-a-box (no matter how high quality it is) makes up for it.

Still, even with that huge complaint, which is not something that can just be overlooked, “Headache” is the best episode of GRIMM in a very long time, building upon last week’s improvements. I can only assume at this point that next week’s season finale will be equally well done. The test is if the show will maintain the momentum into next year, or if, like last fall, it will fall back into rote procedural, ruining an at-times solid series.

GRIMM’s season finale airs next Friday at 8 p.m. ET on NBC.

This Is ARROW

Article originally posted as ARROW Review Season 3 Episode 22 This Is Your Sword on Seat42F.

With only an hour left in this crazy, crazy season of Arrow on the CW, Al Sah-Him (Stephen Amell) has only two tasks left before he can become Ra’s al Ghul. But Malcolm (John Barrowman) suddenly claims that Al Sah-Him is still Oliver, executing an elaborate ruse. With everything Al Sah-Him has done, from kidnapping Lyla to almost killing Nyssa (Katrina Law) and Diggle (David Ramsey), it doesn’t seem likely Malcolm is telling the truth. Plus, Malcolm is a known liar. Should Team Arrow take a chance and trust him in “This Is Your Sword?”

It turns out, Oliver is still in control of his actions. I’d say that is unrealistic, given how far Oliver has gone, and I definitely question the scene in which Oliver maybe thinks he slaughters Diggle, but Oliver is known to go to extremes. If he believes a cause is important enough, he will sacrifice far more than most, totally committing to a mission. Because of this personality trait, I can see how Oliver may have been playing a game the entire time.

It’s not a game anymore in “This Is Your Sword,” though. Malcolm leads Team Arrow in an assault to stop Ra’s (Matt Nable) from unleashing a deadly virus on Starling City. The battle is an awesome sequence, with Laurel (Katie Cassidy) getting a great dig into Malcolm, Felicity (Emily Bett Rickards) wrongly believing she has killed with an iPad, and The Atom (Brandon Routh) spectacularly saving the day. In the end, though, Tatsu (Rila Fukushima), who joins Team Arrow in the assault, executes Maseo (Karl Yune), releasing him from The League to be at peace with their daughter, and everyone else is captured.

In Nanda Parbat (which, despite the plane ride, must be one county over given how often travel to and from it happens), Oliver begs the others to believe him, but even Diggle is having none of it. Diggle is blinded by anger as to what Oliver has done, thinking he has gone too far in keeping his cover, and thus has crossed the line into unforgiveable territory. It’s a real shame to see the best friends at such odds. I wish Oliver had been able to let Diggle into the plan earlier, rather than team with Malcolm. But Oliver knows Diggle would try to stop some of the things he’s doing, while Malcolm does not. So even if Oliver succeeds, will he have a home to go back to?

To Oliver, it probably doesn’t matter if he loses everyone or not by “This Is Your Sword.” That’s not to say he doesn’t care, and I don’t for a single second believe that Oliver let Ra’s kill all his friends with the virus. But Oliver clearly has made peace with the necessities of what he is doing. If losing his cherished relationships is the price he must pay in order to save tens or hundreds of thousands of lives, he’s prepared to do so. He truly is the hero of ARROW.

Does that mean Diggle and the others are not heroes, since they aren’t willing to go as far as Oliver? That’s a tough question to answer. On one hand, how far can a hero go to pretend to be on the dark side without losing the essence of good? Do the ends justify the means? On the other, Oliver is still saving lives that he may not be able to, playing by Team Arrow’s rules. I think this chasm can be bridged next season, but there’s a long way to go until Oliver can be back in anyone’s good graces.

Malcolm is definitely not a hero. He agrees to help Oliver because Thea (Willa Holland) is in Starling and could be one of the dead. But captured by Ra’s, Malcolm wastes no time in selling Oliver out. Ra’s may or may not believe Malcolm, but the last step of Oliver’s plan will certainly be that much harder to carry out after this betrayal.

Ray is a hero, giving of himself for a woman who doesn’t love him. He even gifts Felicity the company, though she doesn’t realize it yet. I’m glad Ray is continuing in the spin-off, since his time on ARROW seems nearly over.

Thankfully, Thea is far away from all of this. She tracks down Roy (Colton Haynes), now living as “Jason,” and reconnects with him, emotionally and sexually. When she wakes in the morning, though, Roy is gone and his suit is still there, giving Thea is blessing to take on the Arsenal mantle. He doesn’t want to hold Thea back and doesn’t see a way to return. I don’t agree with Roy’s decision, but it makes sense for his arc for his departure to be real in “This Is Your Sword,” as regrettable as that may be for the show, and at least Thea gets to see him one last time.

There are flashbacks again, even more unnecessary than ever. Viewers can glean from the present events that Maseo and Tatsu lose their son to the virus. We don’t need to see Oliver and Maseo fail to find a cure. These become more and more unnecessary with every passing year. I hope they are ditched entirely in the very near future.

ARROW’s season finale, airing next Wednesday at 8 p.m. ET on the CW, is sure to be tense and satisfying. Don’t miss it.

"Grifting" COMMUNITY

Article originally published as TV Review: 'Community' - 'Grifting 101' on Blogcritics.

On this week’s episode of Community on Yahoo! Screen, a grifter (Matt Berry, The IT Crowd) comes to Greendale and decides to swindle the students by teaching “Grifting 101.” If that sounds a little meta, well, this isn’t the first time the series has gone in that direction, and couching the whole thing in the community college’s version of The Sting, complete with simple piano music (including for the theme song) and sketched images, gives a stylistic, enjoyable experience. Though he leaves sans tar and feathers, let’s hope the grifter doesn’t darken the halls of the institution again.

Much of the plot of “Grifting 101″ is pretty easy to see coming. Jeff (Joel McHale) declares the class a hoax the moment that the Save Greendale committee brings it up. Despite this, five of the seven members fall for the scheme, Jeff and Frankie (Paget Brewster) being smart enough to abstain. But of course the gang comes back to Jeff for help when they realize he is right. And Jeff makes it seem like he’s losing to the huckster over and over again, even though intelligent viewers know that has to be a part of his plan.

The only time Community has me doubting the certainty of the outcome is when Jeff is forced to admit in the storage closet that he doesn’t have a plan yet, which probably ends up being part of the plan (I think; or maybe the plan is solidified after this?). The Save Greendale Committee and the school at large are not the most clever bunch, even given the way Jeff cheats at being a lawyer for years. (Community did it before Suits, for the record, though I love Suits, too.) A real grifter could come easily in and take full advantage of them. For a second, it looks like that might happen.

It all comes together in the end, though, as it must. Community sometimes gets dark, especially this season, but a loss in “Grifting 101″ would be worse somehow. Perhaps because the failures of the characters are almost always internal, found when a person tries to overcome something within themselves. To have a villain from the outside get one over on the cast is intolerable. Greendale exists in a protective, delusional bubble, and that’s the way it must stay. At least until the end of the #sixseasonsandamovie

The finale of “Grifting 101″ is pretty awesome, keeping with the tone of the show and serving the premise. Leonard (Richard Erdman) wheels a hotel cart full of briefcases in the professor’s way, and a briefcase parade taunts him. It’s goofy stuff, to be sure, but I like that this is Greendale’s version of an elaborate set and a host of extras. The flashbacks to the briefcase switch, with Abed (Danny Pudi) loudly banging the cases and the professor not noticing as he makes out with Britta (Gillian Jacobs) is icing on the cake, even if it stretches the believability that the group gets away with the scheme a little bit.

“Grifting 101″ doesn’t do much for the overall continuity or character development of the show, but I find myself OK with that. Most of Community‘s episodes this season have served the whole, and it’s acceptable to have a stand-alone adventure once in awhile that is merely fun for fun’s sake.

My only disappointment with the half hour involves the tag, in which we learn that Jeff has been basically using a gym buddy as a slave all these years, possibly inadvertently. It’s a humorous concept, and it’s even OK that it’s introduced this late in the game. My issue is that it probably won’t be followed up on, and that’s a shame.

Also, Jeff gets a new office mate and no mention of Hickey? C’mon!

Community posts new episodes every Tuesday on Yahoo! Screen.

MARVEL'S AGENTS OF S.H.I.E.L.D. Bear the "Scars" of Ultron

Article originally written for Seat42F.

NOTE: This review is as much about the Marvel franchise as a whole as it is about this week’s television episode.

I hope you made it to the theater to see Avengers: Age of Ultron before watching this week’s episode of MARVEL’S AGENTS OF S.H.I.E.L.D. on ABC. The installment, titled “Scars,” doesn’t serve the movie a lot, but the events are pivotal in how the S.H.I.E.L.D. characters relate to one another now, and there are enough mentions to spoil some of the key things in the movie. Still, MARVEL’S AGENTS OF S.H.I.E.L.D. is its own part of the franchise, so the majority of the hour focuses on arcs from this season of the show, not the movie.

If anything, I’m disappointed that the movie doesn’t tie in more to the series. There is a flashback to Coulson (Clark Gregg) and an agent Koenig (Patton Oswalt) viewing the helicarrier that Fury uses in the movie, but it really doesn’t go further than that, save some news clips shown on television screens. Shouldn’t Coulson have come to Fury’s aid? Do the Avengers know Coulson is alive? If we’d at least gotten a glimpse of some of our small screen heroes on the helicarrier on the big screen, I’d have been pretty happy. Though, I must say, Avengers: Age of Ultron was awesome!

But while Ultron himself and the crisis he causes does not impact the cast of MARVEL’S AGENTS OF S.H.I.E.L.D. much directly, seeing the global near-disaster does bring S.H.I.E.L.D. and the “real” S.H.I.E.L.D. together, Gonzales (Edward James Olmos) willing to abandon his coup. For his part, Coulson realizes the value Gonzales and his council bring to the table and that he himself has made some mistakes, and so offers to make them his advisors, even while retaining the director title. Since Fury is involved, Gonzales agrees, albeit a bit reluctantly it seems. Civil war averted.

Or is it? Next spring, we’ll get Captain America: Civil War in theaters, and I can’t help but think some of the seeds of that are being planted in “Scars.” Gonzales compares Coulson to Tony Stark, a man acting on his own, ignorantly putting others in harm’s way. It’s a sentiment echoed in debates between Captain America and Iron Man, and I have to think MARVEL’S AGENTS OF S.H.I.E.L.D. will play into that, assuming it is renewed. I just hope it plays a larger role than with this year’s film.

Gonzales himself won’t be the one butting heads with Coulson, though, as Jiaying (Dichen Lachman) murders him in “Scars.” Yes, S.H.I.E.L.D. may have come together, but S.H.I.E.L.D. still has an exterior foe in the Inhumans, who won’t make their film debut for a few years, likely when different Inhumans we haven’t seen yet are in charge. The Inhumans are the main antagonist now, with Hydra lying low, and take center stage this week.

Mack (Henry Simmons) would be an excellent replacement for Gonzales in opposing Coulson. He quits S.H.I.E.L.D. this week, unable to work for a man he doesn’t trust. But might Bobbi lure him back to sit on the advisor’s board, no longer being under Coulson? Mack is a great character and it would be a shame to lose him altogether. I hope “Scars” doesn’t mark his last appearance.

One cannot blame Jiaying for protecting her people. She has lived through a lot at the hands of very bad men, and while Gonzales’ offer of peace might be genuine, she would have to make big sacrifices to accept it. He wants to catalogue her people, keeping a database on them. That would make them easier to find and hunt, and she can’t have that. She doesn’t want to be under S.H.I.E.L.D.’s control.

In the past, S.H.I.E.L.D. mainly deals with humans. When superpowers are involved, they have their own heroes, The Avengers, to send in. “Scars” finds the humans of S.H.I.E.L.D. going head-to-head with powered peoples, and that puts S.H.I.E.L.D. at a huge disadvantage. While the Inhumans are generally not warlike and S.H.I.E.L.D. agents are much better trained for battle, I can’t help but think that some of the big screen heroes may need to be brought in to resolve this without S.H.I.E.L.D. being left decimated.

All of this puts Skye (Chloe Bennet) squarely in the middle of the conflict. Jiaying is lying about Gonzales attacking her, and one assumes Cal (Kyle MacLachlan) has juiced up to fight, too, so the Inhumans are the instigators. But they are Skye’s family, and she does feel accepted by these people. On the other hand, Coulson is like a father to her and she is close with several other agents. I can’t see her truly fighting for either side, but she may have to. Which side will she pick, or can she broker peace in a situation that is already falling apart?

And how would things have turned out differently had Jiaying murdered Coulson instead of Gonzales? Jiaying likely wishes she had, removing Skye’s main connection to the other side.

The wild card here is not Raina (Ruth Negga), who Jiaying wisely locks up, but Ward (Brett Dalton) and 33 (Maya Stojan), who kidnap Bobbi (Adrianne Palicki). What do they want with her? What is their plan?

They are involved in my one big complaint about “Scars.” How does no one notice two agent Mays (Ming-Na Wen) in the strike force, and why does Gonzales’ jet not concern itself when Bobbi’s doesn’t check in? Does no one notice 33 has escaped? This part of the episode just doesn’t make sense to me.

Still, that kind of hole is unusual for this program, and MARVEL’S AGENTS OF S.H.I.E.L.D. has done a great job building up something huge for next week’s two-hour season finale. Not to mention, I mostly like the way the show fits into the Marvel universe, even if I wish it had a slightly bigger role.

MARVEL’S AGENTS OF S.H.I.E.L.D.’s sophomore run concludes next Tuesday at 9 p.m. ET on ABC.