These "Leftovers" Are Worth Saving

When HBO's "The Leftovers" ended its three-season run last week, I was instantly overwhelmed by a variety of silent, internal reactions. I actually needed time to process what it did or didn't mean, which hasn't happened to me in a long time. It's rare that a TV show can make you think so deeply and feel so intimately about a diverse group of characters in a world not so different from our own. "The Leftovers" gave us television at its profound best, showing that The End can be a new beginning, and sometimes the world does change with a whimper instead of a bang.

"The Leftovers" is based on the 2011 novel by Tom Perrotta, who co-created the show with "Lost" producer Damon Lindelof and also co-wrote several episodes. The series follows the experiences of a small town after a mysterious event known as the Sudden Departure (akin to the biblical Rapture) causes 2% of the world's population, roughly 140 million people, to vanish. Among those left behind, a cop, a preacher, a therapist, a cult member, and a special investigator are trying in vain to comprehend the scope of what happened, both in their lives and in the world around them.

In doing so, we are treated to one of the most nuanced, incisive portraits of human nature that mass media has offered to date. As these characters are tested physically, mentally, emotionally, and yes, spiritually, they prove what they are truly made of. Their choices are never as black-and-white as the path of least resistance or the road less traveled. We're forced to honestly reflect right along with them about what we would do in the same situations.

Thankfully, despite the subject matter, it was never all doom and gloom on "The Leftovers." Brief moments of levity, often landing on the side of dark humor, made the characters' responses to their plight that much more believable. Right up until the very last episode, which found a character writing a preemptive obituary with Mad Libs, the series knew that humanity is always drawn to even the faintest of light when faced with the darkest of times.

The show was also wise to avoid any specific religious alignment or affiliation, making it accessible to the audience and helping them relate within their respective worldviews. Instead, it chose to revel in a caliber of interfaith debate that is seldom featured in the allegedly godless realm of entertainment, presenting every side of the issues at hand but letting the characters (and viewers) find their own truths. Those answers, like the series itself, were a slow-burning miracle to behold.

In its final season, set around a milestone anniversary of the Departure, "The Leftovers" achieved a remarkable feat. Over the concluding eight episodes, each character was provided with genuine closure without watering down its meaning or beating us over the head with symbolism. A deceptively simple score evokes their struggles, alternating between melancholy strings and a few haunting notes on a single piano. These complex, multifaceted people earn their resolutions on their own terms, for better or for worse... which is exactly how life is supposed to play out in the real world, but it never seems to happen that way in the neat little bows of happily-ever-after fictional worlds.

Unlike other shows that incorporate apocalyptic plot devices, "The Leftovers" dispatches its action and suspense in the penultimate episode, dovetailing into the quiet eloquence of its brilliant, challenging finale. Rather than wasting its last installment on a more obvious character -- like Kevin, the heroic (potentially messianic) police officer, played by Justin Theroux -- the closing chapter revolves around key ensemble player Nora, the special investigator who lost her husband and her two children in the Departure.

As expertly portrayed by series MVP Carrie Coon (who unquestionably deserves Emmy recognition this year), Nora was arguably the most skeptical of all the characters; not just about the events surrounding the Departure, but also about people's motives in its wake. Seeing her journey come full-circle, in an electrifying monologue that gave me chills and moved me to tears, was one of the most satisfying dramatic moments in recent broadcast history, cable or otherwise. It's a bravura performance in a beautifully crafted hour of television that does everything you need it to while being nothing that you expected.

As the gospel according to Perrotta and friends, "The Leftovers" reminds us that it doesn't really matter what happens to us or why, but rather who chooses to persevere and how. There is powerful poetry in the show's final shot, reinforcing a message that the series sometimes subtly and sometimes overtly adhered to from day one: hope. It's a redemptive statement that our world -- whether we're living at the beginning, the middle, or the end -- is in dire need of believing right now.

Oh, The "Horror"!

I can sum up my thoughts about Fox's televised remake of "The Rocky Horror Picture Show" in just one word: Why?!

But all of you know that I can rarely stop after one word, so allow me to elaborate. Watching this debacle unfold on the small screen, I felt like Donald Trump during the recent presidential debates: every few minutes, I was compelled to audibly interject with "nope" and/or "wrong." The 1975 movie musical, adapted from the 1973 stage production, is a giddy slice of subversive, counterculture fun. It's by no means high art or perfect filmmaking, but it's so tied to a time and place -- even an entire generation -- that just thinking about a remake is borderline blasphemous, let alone actually carrying it out. I want to find the person responsible for saying this would be a good idea and force them to watch it on an endless loop for all of eternity, giving them plenty of time to think about what they've done.

The biggest problem with the new "Rocky Horror" is its sanitized, candy-coated tone, which fills every frame with entirely too much color and light for the subject matter. The original version had a more stark and muted palate, reinforcing the dark, seedy side of its dubious characters and their pointed social commentary. What made the film seem so scandalous in the '70s, mainly its crossdressing, bisexual aliens, is basically mainstream 40 years later. Even the farcical seduction scenes, which played out in the movie as identically risqué silhouettes, are now awkwardly dragged into well-lit bedrooms and lose all sense of their whimsy -- which just goes to show that television wasn't the right medium for such an undertaking. So where are all the shocking moments that will define this version for the ages? Probably in the inevitable re-remake that will emerge after a few more decades have passed.

At least the creative team had enough sense to realize that the iconic close-up of lips singing during the original's opening credits could never be bested (here, they're relegated to a reprise that plays over the end credits). As a compromise, we get an admittedly clever sequence that acknowledges both the B-movie legacy that "Rocky Horror" gently lampoons and the cult following of the film itself. A pinup-worthy usherette uses the song "Science Fiction Double Feature," with all of its references to the films of that era, to welcome and escort an excited audience into a midnight screening at a vintage theater. Tragically, it's all downhill from there. For starters, that same eager crowd is featured throughout the show, performing the traditional callbacks that are part of the live, audience participation experience. These scenes are disruptive instead of organic, especially since they only act out some of them and skip others. To be fair, the *only* time the callback worked was during "Sweet Transvestite," when the extra time that elapses for the melodramatic pause in the word "antici... pation" allowed the camera to capture the anxious reactions of each character before finally cutting to the audience for their signature exclamation of "Say it!" Otherwise, shoehorning these scenes felt like a desperate appeal to the midnight-moviegoers who made "Rocky Horror" the institution that it is today.

One of my biggest peeves is the way Rocky was dressed, both from an aesthetic and thematic standpoint. He's supposed to be this Herculean specimen of perfect physique and manhood... so they put him in baggy, knee-length gym shorts? I mean, at least they were gold and shiny, but come on! The original movie can run virtually unedited when it airs on TV, but the puritans at Fox have a problem with briefs? Celebrating the human form is central to the story, and though they finally put Rocky in a skimpy wrestling singlet for the climactic floor show song "Rose Tint My World," it's too little too late. Just one of many examples where they strive for a candid, carefree spirit that's never coherently achieved.

Even people who aren't familiar with the show have likely heard of "The Time Warp," a novelty song with accompanying dance moves. In the original film, a variety of misfits of all shapes and sizes perform the scene, and part of its charm is that their movements are close enough but still not perfectly synchronized. This time around, the polished ensemble -- which resembles a too-attractive, too-confident contingent of faux-goth Hot Topic employees -- is ridiculously precise in their choreography. It's like an Old Navy commercial on acid, and not in a fun way. In fact, the entire production seems to be on something, as revised orchestrations and vocal arrangements threaten the familiarity of these beloved songs. You would expect to see a band and possibly backup singers during a live presentation of a musical, but certainly not during a filmed version that's intended to play out as a movie. It's an odd choice to keep them visible if for no other reason than it destroys the illusion and pulls focus from the characters' big moments.

Thankfully, those moments are capably delivered by a cast with above-average singing prowess. As larger-than-life mad scientist Dr. Frank N. Furter, Laverne Cox has the right attitude and energy to step into the shoes (well, heels) of the role, but her wildly inconsistent accent is a huge distraction. No one will ever be as synonymous with Frank as the one and only Tim Curry (whose scant minutes of screen time in the small role of the narrator are still a welcome respite). In her dialogue's woefully misguided homages, Cox sounds like she's trying to mimic Curry, but for reasons unknown, she adds the lascivious affectations of Samantha Jones from "Sex And The City" and even shades of Derek Zoolander's exaggerated emphases. She already makes so much of the role her own that we could have accepted her normal speech patterns. This unfortunate dissonance spoils the rest of the sheer joy and magnetism that Cox exudes; Frank is a juicy part, and her cup runneth over.

The rest of the cast is a far cry from household-name status, but they give their all to the doomed proceedings. As straight-laced couple Brad and Janet, Ryan McCartan and Victoria Justice bring a solid amount of exasperated insecurity and breathy determination respectively. Reeve Carney appeared in another recent stage fiasco (remember all the trouble surrounding "Spider-Man: Turn Off The Dark"?), but at least he has the chops to nail the sinister monotones and falsettos of handyman Riff Raff. Meanwhile, cameos from rocker Adam Lambert as Eddie and Broadway legend Ben Vereen as Dr. Scott do make a brief splash, but it's a noticeable step down from their demonstrated talents.

By the end of this broadcast (two hours has rarely felt so long), I knew there was little if any chance of redemption. Even the commercial breaks were poorly timed and often happened before scenes were finished. While I was pleasantly surprised by the inclusion of "Superheroes," a short epilogue song that was removed from the theatrical cut of the original film but later restored on special edition releases, this TV version overall came down to a disappointing reality: for everything I tried to applaud, there was something else that undermined it. For example, a brilliant aside, "I hope it's not meatloaf again," was added to the script during the dinner table scene -- a great wink at the previous Eddie, played by singer Meat Loaf. On the other hand, one of the indelible images in modern pop culture -- Frank throwing off his cloak to reveal his full corset-and-fishnet regalia -- is sullied here with an anticlimactic, assisted removal of a mask and cape that never comes close to the grand entrance that Frank deserves.

Based on the law of averages, no matter how much lipstick I put on this pig, the resulting effect statistically cancels out the entire production. I went into it with low expectations, and even those weren't met! With a little concentration and a lot of luck, maybe we can time warp ourselves to a place where the original "Rocky Horror" is the only version that exists, reigning supreme for future generations of fans to discover and embrace.

Still "Looking" For A Proper Ending

Fans of the two-season run of HBO's acclaimed gay dramedy "Looking" were understandably crushed when it was cancelled in March 2015. The series was an all-too-rare, slice-of-life project that was never as melodramatic as "Queer As Folk" but also never snarky and self-aware enough to be labeled a male variation of network companion "Girls." Instead, the show blazed its own refreshingly honest trail through the frustrations of normalcy -- now that it's "okay" to be gay, what does that look like in everyday life? This unprecedented malaise may have hit too close to home for viewers who came of age (and/or came out) with groundbreaking yet campy fantasias like "Will & Grace."

Naturally, when it was announced that a follow-up movie would address some of the lingering questions that were left unresolved in the show's last episode, no one was sure what direction this next chapter would take. Until history was made just a few months later, when the Supreme Court declared gay marriage legal in all 50 states. A series like "Looking" that had resigned itself and its characters to embattled contentment with the status quo would surely have something to say. On that front, the new installment delivers. Aesthetically speaking, the movie follows in the thematic footsteps of Richard Linklater's superlative "Before" trilogy as well as "Looking" director/co-writer Andrew Haigh's own captivating film "Weekend." Over the course of a few days -- a scant but engrossing 84 minutes of screen time -- we are given intimate access to a series of hilarious, heartfelt, and sometimes harrowing conversations about what love, sex, commitment, and the future really mean in modern culture, in a way that men (gay or straight) are rarely shown discussing with such plausible candor and eloquence.

It's hard to weigh this "Looking" finale as a stand-alone film; admittedly, uninitiated viewers can easily pick up on the dynamics and relationships of all the characters. However, so much happened both offscreen and in the original episodes that the movie -- an extension of those events and their aftermath one year later -- may as well be considered a condensed third season. The movie offers a simple plot with minimal obstacles: main character Patrick (Jonathan Groff) returns to San Francisco for the wedding of his friend Agustin (Frankie Alvarez). Along the way, Patrick is also reunited with friends Dom (Murray Bartlett, finally replacing his oddly attractive mustache with a handsome full beard) and Doris (the endearingly acerbic and criminally overlooked Lauren Weedman).

All of the actors carry over the same level of natural charm and appeal, but with the exception of Groff, they're given surprisingly little to do. Instead, the film functions as a character study revolving around Patrick's search for closure about why he really left and what it would take to bring him back. This disproportionate focus neglects the strengths of the ensemble as well as the individual performers, barely advancing their stories from where we left them at the end of the series. Even the people who represent the loose ends of Patrick's past -- his former boss Kevin (Russell Tovey) and his ex Richie (Raul Castillo) -- simply exist to serve his arc of self-discovery. To call this a more fitting finale than what was previously aired is difficult at best, since the movie concludes just as ambiguously as the show did... and with each character at more or less the same crossroads. As enjoyable as it was to return to these personalities, did I miss something? Besides a few provocative talking points about current events, was it really necessary to revisit the series? Or was this just a well-meaning attempt for HBO to reconcile their guilt over the untimely cancellation?

Intriguingly, the opening and closing shots of the film are of San Francisco itself, reinforcing a notion of setting as character. By bookending "Looking" with these complementary images, perhaps Haigh is acknowledging in his own way that the more things change, the more they stay the same. This final episode/closing chapter/last hurrah may not have contributed as much as expected to its own characters or story, but its broader stance on gay life and love -- in the media and in society at large -- is something worth remembering.

Hit The Road With Crowe And Friends

When the director of your all-time favorite movie -- who also won an Academy Award for its screenplay -- announces his first television project, you sit up and pay attention. For me, that director is Cameron Crowe, that movie is "Almost Famous," and that series is "Roadies." Showtime made the first episode available online two weeks early, presumably to build up some buzz before it formally premiered on the network Sunday night. I typically wait until a few episodes have aired before I chime in with my thoughts on a new show, but after watching the pilot several times already, I feel comfortable extolling its virtues to possible fans a little prematurely... and also issuing constructive criticism both to Showtime and to Crowe himself.

"Roadies" follows the backstage crew of a fictional rock band, and each episode will reportedly take place in a new city on their tour. By shining a light on the people whose efforts usually go unsung, the series is setting itself up to be a crash course in music appreciation from the other side of the stage. The passion of these dedicated workers makes the live connection between artist and audience possible, and the use of original music as well as featured "song of the day" tracks during the crew's sound check create a tangible atmosphere of excitement and discovery. I mentally squealed with delight when a scene used only a few instrumental notes of Landon Pigg's magnificently swoon-worthy 2007 ballad "Falling In Love At A Coffee Shop," so I genuinely hope that the series can become a vessel for viewers to find their own kindred songs.

Crowe, undoubtedly influenced by his own travels as a young music reporter, created the show, and he serves as executive producer alongside fellow TV impresarios J.J. Abrams ("Felicity" and "Alias") and Winnie Holzman ("My So-Called Life"). He also wrote and directed the premiere, which is evident in the easy-going appeal and charm of its characters and their dialogue. The cast is at the top of their game; leads Luke Wilson (tour manager Bill), Carla Gugino (production manager Shelli), and Imogen Poots (stagehand Kelly Ann) are pure Crowe naturals. Even guest star Ron White, known for his country-fried snark as a stand-up comedian, gives a memorably heartfelt turn thanks to the quality of the material. They all tackle Crowe's broader moments as well as his nuance with grace and investment, and I'm fully confident that they'll serve as effective ringleaders of this behind-the-scenes circus. Just in its first outing, they've already seen fireworks both figurative and very literal -- not to mention the lead singer's badly-behaved son, fake accents, gunshots, a skateboard chase, a vaguely clairvoyant security guard, and a stalker who gets up close and VERY personal with the lead singer's microphone. All allegedly inspired by actual events... and all before the band even starts to perform!

These antics, while certainly amusing enough to have long-term repercussions, are where "Roadies" could start to hit a few roadblocks if it's not careful. Having a series on cable does allow for a certain amount of creative freedom, but there are a few forced moments that don't really ring true to the rest of Crowe's output. Not one but two awkward sex scenes mark the pilot, and while they're supposed to be awkward in terms of the story and the people involved, they shouldn't be so uncomfortable in the way that they're shown. At the same time, there's a cynical edge that many of the characters are fighting off thanks to corporate intrusion from the record label in their artistic way of life. While this antiheroic tone is common on other, darker shows, it's a weary trend that threatens Crowe's hard-earned optimism. It's almost as if Showtime gave him a quota of subversive benchmarks just to be eligible for their network!

Most troubling is the centralized tension between Shelli and Bill. They're a former couple who now work together respectfully and have a winning professional dynamic, but we can already see the faintest of personal sparks reigniting. Which is problematic, of course, now that Shelli is married. (Is it rude to yawn?) Yes, people are flawed, but wouldn't it be almost radical in its own right to have characters who are good people who are good at their jobs and don't fall into those cliched traps, letting external curveballs do all the work instead? Crowe can successfully resist the urge to be "just another Showtime show" by standing up for his work through his creations. Let them do the walking and talking in a way that feels more authentic to his style, rather than bowing to network pressure. People will keep showing up to watch if they hear Crowe's voice in the words and actions instead of his voice filtered and distilled by "the man."

Overall, the show is a very promising baby that shouldn't be thrown out with the jeopardized bathwater. "Roadies" is smart enough not to shamelessly recycle elements from "Famous," but it carries over much of the same spirit, humanity, and vitality that made its forerunner such a relatable and picturesque love letter to the industry. Holzman, a gifted writer herself, is slated to pen the second episode, with Crowe once again directing. In fact, I would wager that the more episodes he and his inner circle write and/or direct themselves, the more the network will trust his vision beyond just one season. Kelly Ann's arc in this first episode -- and I would imagine the same of each character's journey over time -- reflects the message as well as the potential growth and impact of the series. How do people handle it when their dreams don't match their reality, and what are we supposed to do with those individual goals when they're linked so intrinsically to our career path and the experiences of others? In other words, what does it really take to succeed at something we love, beyond just blind ambition and the best of intentions, when fear and doubt start to creep in?

In true Crowe fashion, a clever, meta-level flourish in the episode's closing minutes finds Kelly Ann making an educated guess and ironically doing the very thing of which she's always questioned the honesty and legitimacy. How well Crowe and company avoid glib answers and explore these interwoven possibilities will determine the longevity and ultimate resonance of the show. If Kelly Ann can be deeply moved enough to take a chance on something that she holds so dear, then Crowe and the rest of his "Roadies" are definitely worth the risk.

"The Catch" Gets Caught Off-Guard

In the increasingly crowded television landscape, few things are more frustrating than a promising series that doesn't quite live up to its potential. Take "The Catch," the latest offering from ABC uber-producer Shonda Rhimes, who is also responsible for such breakout hits as "Scandal" and "How To Get Away With Murder." Coming from that pedigree alone, expectations for the show were already high. Add the verified star power of leads Mireille Enos ("The Killing") and Peter Krause ("Six Feet Under"), and the show coulda/shoulda/woulda knocked it right out of the park. So where did it go wrong? True, "The Catch" beat the odds and got renewed for a second season, but the series needs to patch up a few weak spots if they plan to stay on the air.

Don't get me wrong -- I enjoy the show enough as it is, but the thought that it could be better is always replaying in the back of my mind, even during its stronger aspects. "The Catch" began with a tantalizing premise: private investigator Alice finds out that her fiancée Christopher (a.k.a. Ben) has been conning her before he disappears with her life savings. Between her firm's regular cases, Alice reluctantly works with the FBI to track him down. Looks good on paper, right? Interestingly enough, the show underwent some redevelopment between the pilot being picked up and the series being produced, notably in some plot mechanics and character functions as well as casting. After creative differences with the network, presumably over the tone and direction of future episodes, creator Jennifer Schuur was replaced with showrunner Allan Heinberg. The current version of "The Catch" seems to represent a concept that wasn't originally planned, which is important to keep in mind for my later critiques.

But first, how about some good news? The highly capable cast is easy to watch and a welcome addition to the already diverse ShondaLand family. The dialogue is breezy and never takes itself too seriously given the subject matter, which could have easily tanked a lesser show that didn't know how to strike that balance. Enos and Krause have a dynamic onscreen chemistry as their relationship is revealed through flashbacks, and they smolder with a passion reminiscent of robber George Clooney and federal marshal Jennifer Lopez in the underrated 1998 chase film "Out Of Sight." The series also plays up its caper heritage with a spry score and split-screen cinematography that geometrically refracts the transitions between scenes -- perhaps a clever acknowledgment of the characters' (and the show's) dual natures.

This duality is where "The Catch" starts to struggle. It's common knowledge and a practical dramatic device that some good guys are bad and some bad guys are good. For a show about chasing criminals, "The Catch" is too black-and-white for its own good. As appealing as all of the supporting actors are, their characters need some serious help. Alice runs the PI firm with her best friend and business partner Val, and their colleagues Sophie and Danny help with cases. Though it's nice to see the women in charge, we barely know anything about the latter three's personalities or their lives outside of work. As a result, we end up getting more background about the villains than the heroes. Ben's partners-in-crime have more to do in the plot and their interactions are more multifaceted, making them worthier foils than the bland, reactionary contagonists deserve.

I keep wondering if these shortcomings are byproducts of altering the show's original incarnation? I wouldn't be surprised if "The Catch" was first envisioned with an edgier, antiheroic focus, but the network brass likely insisted on fleshing out the Alice-Ben romance to center stage in order to match the soapy inclinations of Rhimes' Thursday night lineup. In doing so, the show has alienated genuine opportunities to set itself apart. It doesn't need to overstuff its characters and subplots the way that "Grey's Anatomy" does, but it could use just a touch more of the wicked satire from "Scandal" and the moral ambiguity found in "Murder." Either way, it's clearly problematic when you find yourself rooting for the con artists simply because they're more believable and better equipped to carry the series.

Meanwhile, the biggest issue facing "The Catch" is whether or not it has the legs to keep the story moving and the viewers tuning in. Several key conflicts and questions were resolved too quickly in the first few episodes, let alone over the rest of the season. It took all the fun out of figuring out who's really up to what when we knew almost from the get-go that Ben was forced to con Alice and his feelings for her are real. The show could have scored a much bigger and more satisfying payoff by keeping the characters (and the audience) guessing about the relationship and how it plays into their present situations. It also came as no big shock that taking down the syndicate Ben works for would be the endgame of one of his cohorts all along in order for that person to take over. I was almost desperate for a ridiculous plot twist -- like Alice is really working for Ben's team, or the FBI agent is the mysterious benefactor that the syndicate keeps alluding to -- just to prove that the writers weren't settling for safe and ordinary. Viewers will only make a true, long-term commitment to this kind of show if they can't see all of the turns in the road ahead.

Unless the series plans to do shorter, cable-length seasons for the rest of its run, "The Catch" has written itself into its very own catch-22. On its current trajectory, it can't possibly continue for much longer. Knowing broadcast network politics, the show won't start adopting a grittier tone now for fear of losing the viewers it has, but it'll also have a hard time attracting new viewers with such lazy, transparent storytelling. Shows involving heists and capers require a certain level of cat-and-mouse intrigue to maintain their mystery and suspense. As it stands, "The Catch" is too mousy, and it needs to start roaring.

"The Good Wife" Says Goodbye

After seven seasons of invigorating legal and political drama, "The Good Wife" aired its series finale on Sunday night. I have mixed feelings about the show ending -- not just because it was an extraordinary series, but also because the final episode suggested that there could have been at least one more season's worth of stories to tell. Then again, "The Good Wife" never played by the same rules to which many CBS dramas past their prime so desperately cling, making its seemingly unfinished finale that much more realistic and satisfying.

"Wife" followed Alicia Florrick (played by Julianna Margulies), who chooses to stand by her husband, a disgraced public official, after his various scandals come to light. At the same time, Alicia is re-entering the workforce; after law school, she decided to start a family, but now it's up to her to support them. She starts at the bottom of the ladder as a junior associate in a prestigious firm, and over time, the series perfectly interweaves her senses of personal and professional upheaval in a fast-paced world that's content to dwell in so many shades of gray.

Margulies, already an Emmy winner for her role on "ER," collected two additional Emmys as well as a Golden Globe and Screen Actors Guild awards for her multifaceted portrayal of Alicia. (If you ask me, THIS scene alone from earlier in the year could easily net her another award or two.) Margulies walked her years-long tightrope of conflicting emotions with impeccable precision, knowing that one slip would spell disaster for Alicia's level head and even keel. She performed her job, as an actress and as a character, above and beyond the existing merits of the show. It's Alicia's humanity that forms the core of the series, as she grows over the years with dignity and grace and rises through the ranks to become a stronger and more capable person despite her circumstances.

Aided by a reliably solid ensemble cast and an A-list cadre of guest stars, Margulies and "The Good Wife" tackled their weekly cases, long-term plot and character arcs, and commentary on current events with both deft humor and delicate drama. The heroes don't always win, but they're not always perfect either. "Wife" was at its best when it argued cases we've seen countless times in other media, or even those drawn from real life, but used them to explore the characters' shifting senses of duty versus morality. This was never a show that relied on soapy melodrama, ridiculous plot twists, or structural gimmicks like a non-linear narrative. Instead, week in and week out, it was simply and straightforwardly one of the best-written and acted shows on television. Given the dimming quality and originality of most broadcast network series, that in itself was quite a stunt.

All of this background sets the stage for where we found Alicia going into the final episode: at a crossroads. The series had come full circle, with her once again facing the choice to stand by her guilty husband or follow her career and her heart to a fresh start on her own. The choice seemed simple, given her independent trajectory in more recent episodes, but the consequences were what genuinely surprised me. Alicia's last interaction with a colleague from day one, who started as her mentor before treating her as a peer, was so terse in its final moments that my jaw literally dropped when they parted.

On any other show, the main character's ending -- happy or otherwise -- is met with some amount of positive reinforcement. Here, it's less of a definitive ending and more of an uncertain new beginning. Alicia finally has what she wants, or at least she's in the position to get it, but we don't get to savor that moment of victory. Instead, we only see her resolve, fully aware that while this chapter of her life is over, her work is hardly done to keep what she's earned. To me, that conclusion works far better for such a character-driven story than the often-misleading platitudes of "happily ever after."

In one of television's most spot-on music selections in recent memory, Alicia's deliberation near the beginning of the episode and her decision right at the end are set to Regina Spektor's bittersweet ballad "Better," which implores its subject to feel something, anything, other than sadness. It's almost like the show's creators (who wrote and directed the finale) are using the song to simultaneously apologize to and thank the audience. They can't make you feel better about the series coming to a close, but they can still make you feel proud to have been part of Alicia's journey.

The Handler Way Or The Highway

Chelsea Handler is a "bad girl" with a heart of gold. Underneath all of her snark about headline news and celebrities is an honest search for knowledge about the intricacies of our needlessly complicated culture. In short, when is it OK to laugh at things that are taken so seriously? "Chelsea Does," her new documentary series on Netflix, is the perfect vehicle to showcase that quest. Over the span of four, one-hour segments, Handler tackles the hot-button issues of marriage, technology, racism, and drugs with the same passionate insights she brings to her other projects.

Rather than just riffing on the talking points through stand-up comedy, Handler digs deep to gather and share multiple perspectives via roundtable discussions with public figures, interviews with experts, and her own personal interactions with the subject matter. (Highlights there include her officiating a Vegas wedding as well as developing and pitching a clever smartphone app.) "Chelsea Does" succeeds by letting Chelsea do what she does best: using her sharp mind and wit to unlock the truth (and the humanity) behind these otherwise unfunny topics.

"Please Like" This Fantastic Show

"Please Like Me" is the best show that you've never heard of, so you probably haven't been watching it. Please change that! This charming Australian import (which airs on Pivot in the U.S.) just finished its third season, and it perfectly captures what few American series are able to: an honest, nuanced, and -- most importantly -- realistic coming-of-adulthood portrait.

Don't let the sitcom length detract you; the show is funny and frank without exaggerated antics but also serious and heartfelt without maudlin self-importance. There are no "very special episodes" that betray the natural growth of its flawed but well-meaning characters. The way they think, talk, and act, even when they're clearly making a mistake, is unapologetically human and relatable. Every episode is finely crafted to make you feel like part of this personal journey, even if it's only for 25 minutes at a time.

With a fourth season still in its earliest planning stages, you have plenty of time to catch up... or at least oblige the polite request of the title.

And To All, A Good Night

"A Very Murray Christmas" is the best of both worlds, reinventing as well as paying homage to the bygone era of holiday variety specials. Bill Murray (playing himself) is disappointed when a blizzard shuts down New York, canceling his live Christmas show from the famous Carlyle Hotel. To battle his holiday blues, Murray decides that the show must go on, enlisting friends and strangers alike at the hotel to help celebrate the spirit of the season.

A flurry of celebrity cameos follows, including a surprisingly restrained and soulful performance from erstwhile troublemaker Miley Cyrus. The music is a refreshing blend of yuletide standards as well as unique covers that don't scream Christmas but still fit the wintry mood. Is this salvaged production all in Bill's mind? Does it matter? Just let his trademark quirky charm work its magic and wish you a heartfelt "Murray Christmas."

New TV Shows Try To Make The Grade

Have you met the freshman class of the 2015-16 TV season? As we approach the halfway point of their first year on the air, think of the following reviews as these shows' mid-term report cards. Who's going to the head of the class and who's going to need extra credit? Keep reading for the verdict so far! There may or may not be a quiz later... ;)

"Scream Queens" (Fox)
Subject: Sociology
Premise: The friends and foes of a popular sorority are targeted by a masked serial killer who is connected to a secret from the school's past.
Episodes: 9 [out of 13 scheduled]
Evaluation: The latest offering from "Glee" and "American Horror Story" creator Ryan Murphy splits the difference between those two disparate genres. Never entirely funny or scary, this biting send-up of college horror tropes works better when it brazenly defies expectations than when it rehashes the same cliches it tries so earnestly to subvert. There's some truly inspired slang and dialogue that miraculously slips past the network censors, while a brilliantly-cast Jamie Lee Curtis (as the ambitious dean) steals the show from its talented ensemble. The opening credits alone are worth a watch. However, it remains to be seen whether this anthology-in-the-making has enough guts to survive until its next installment.
Grade: B-

"Quantico" (ABC)
Subject: Current Events
Premise: A dedicated FBI recruit pieces together the events that transpired between her training at the academy and a New York City bombing for which she is being framed.
Episodes: 8 [out of 22 scheduled]
Evaluation: A diverse and well-rounded cast -- combined with fast-paced storytelling and an unflinching look at the roots and effects of terrorism -- rank this series among the better fall debuts. Don't be fooled by the pretty young recruits; they've done an outstanding job of portraying the complexities of suspicious human nature. What sets "Quantico" above its soapy counterparts is its willingness to make the characters (and the audience) question the people and the world around them. Sure, there's enough relationship drama and inner turmoil to fuel a lesser show, but every interaction from a glance to a tryst makes you second-guess who's manipulating who. At the rate it's going, the show is a puzzle that will demand repeat viewings to see how its intricate pieces fall into place.
Grade: A-

"The Muppets" (ABC)
Subject: Arts & Crafts
Premise: All the puppets you know and love are back in a workplace mockumentary set in and around Miss Piggy's late-night talk show.
Episodes: 8 [out of 16 scheduled]
Evaluation: The trademark humor and heart of the characters are in full effect... even if the voice acting doesn't quite match the high standards of its original run. It's also a blast to see how their personalities fit (or don't) at work and in relationships -- a more developed concept than their variety show origins and movie adventures. The first season was always intended to have a shorter run (likely due to the technical demands of all the puppetry), but worrisome reports have surfaced that the show will be retooled mid-season amid creative differences between its producers. If it's not broke, don't fix it -- especially at the risk of ruining a bright spot in an otherwise dull sitcom line-up.
Grade: B


"Supergirl" (CBS)
Subject: Physics
Premise: Superman's cousin Kara uses her powers to help National City while trying to avoid comparisons to and reliance on the Man of Steel.
Episodes: 5 [out of 13 scheduled; full-season order is pending]
Evaluation: It's not a bird or a plane, and it's not living up to its potential. Good news: the show has a strong feminist spine, and starting with Kara as an adult prevents drawing parallels to the last Super-related, coming-of-age saga ("Smallville"). Bad news: the show can't decide what it wants to be. Is it a dramedy about purpose or a sci-fi procedural? It's hard to take it seriously when the tone is so uneven. The villain-of-the-week angle is already tired, and the special effects could use some help as well. At least the cast is capable and appealing -- particularly Calista Flockhart's deliciously driven Cat Grant (this show's answer to Perry White) -- but it'll take a lot more than good intentions to keep this one in the air.
Grade: C+

Returning TV Shows Flex Their Staying Power

Like any relationship, the ones that we have with our favorite (or former favorite) TV shows can be complicated. Some of them are great and have no drama whatsoever beyond what we expect on the screen. Some of them we begrudgingly continue to watch -- no matter how ridiculous they get -- because we keep thinking they'll improve and/or finally reveal the big payoff that's been promised since they started. And, of course, some of them we finally convince ourselves to stop watching cold-turkey and never look back, regardless of how many friends keep insisting, "It's getting good again, I promise!"

Many of my own preferred TV shows are several seasons into their run, so lately I've been taking an honest look at how I'm spending my viewing time. Who's still got the mojo and who's heading for a Hulu break-up? My incredibly scientific scale weighs how long each series has been on the air against their pros and cons before assigning their staying power on a scale from 1 to 5... 1 being "I won't be surprised if this is your last season" and 5 being "I won't be offended if lots of people want to see you." Trust me: it's for our own good!

"South Park" (Comedy Central)
Premise: Four young boys see the world through the lens of their quirky, misguided small town.
Seasons: 19
Pros: The show will never run out of fresh material thanks to society's unlimited supply of satirical targets.
Cons: Hardly any, though inconsistent network standards censor certain episodes but not others, dampening the brilliance of the show's message and impact.
Staying Power = 5

"The Big Bang Theory" (CBS)
Premise: Four highly intelligent, science-oriented friends have a lot to learn about life and love.
Seasons: 9
Pros: The show is still a destination for elaborately constructed, highbrow dialogue and great guest stars from the realms of classic comedy and nerd culture.
Cons: Character development has been sacrificed for the sake of preserving running jokes that stopped being funny years ago. Let these guys grow up already... even if it's just a little bit!
Staying Power = 2.5

"Modern Family" (ABC)
Premise: A fake documentary chronicles the well-meaning misadventures of an extended family.
Seasons: 7
Pros: A formidably funny ensemble cast and the rarity of its nuanced, blink-and-you'll-miss-it non-verbal humor keep the laughs coming long past their prime.
Cons: Young actors will inevitably get older, but in this case, their increased screen presence and still-developing talent slows down the whip-smart pace of this otherwise solid farce.
Staying Power = 3

"Scandal" (ABC)
Premise: A high-profile D.C. fixer (and former White House staffer) juggles the demands of her firm with the lingering secrets of the current administration.
Seasons: 5
Pros: Much like its network companion "How To Get Away With Murder," this is a show with a diverse cast that isn't afraid to tackle current events and social issues, all without being preachy. Creator Shonda Rhimes is merciless (in the best possible way) with plot twists and cliffhangers.
Cons: While it has rebounded nicely from the soapier, melodramatic antics and underused main characters that weakened previous seasons, the temptation to place too much focus on the central love triangle could cause the show to fizzle out before its time.
Staying Power = 4.5

"Once Upon A Time" (ABC)
Premise: A curse brings all of the famous storybook characters into the real world.
Seasons: 5
Pros: Increasingly few, but memorable performances can still be found in the dual roles of Regina/The Evil Queen (Lana Parrilla) and Mr. Gold/Rumpelstiltskin (Robert Carlyle).
Cons: The show used to subvert fairy-tale characters and situations to clever effect; now it seems to merely shove together as many unrelated characters as possible and force a connection among them. Not to mention that its once-promising non-linear narrative has fractured itself into too many timelines and settings for even an experienced viewer to keep track.
Staying Power = 1

"Homeland" (Showtime)
Premise: A bipolar CIA agent solves international cases while trying to hide her condition.
Seasons: 5
Pros: The show remains a phenomenal acting showcase for leads Claire Danes and Mandy Patinkin. Despite uneven storytelling, the shifts of power in their mentoring relationship are still compelling to watch.
Cons: Since the finale of its third season, which tied up the majority of its original plotlines, the show has essentially rebooted itself twice for its fourth and now its (current) fifth season -- losing touch with its initial sources of dramatic tension along the way.
Staying Power = 2

"Supernatural" (The CW)
Premise: Two brothers travel cross-country to battle the forces of darkness.
Seasons: 11
Pros: The long-running series winks at itself through self-aware, meta moments like the book-series-within-the-show about the show's events and its acknowledgement of the various segments of its own fan base and genre.
Cons: There will always be "new" monsters, but the show's core mythology of good vs. evil/angels vs. demons/heaven vs. hell has nearly exhausted itself. Only one credible story thread -- the identity and whereabouts of God, who is often referenced but never seen -- remains unexplored.
Staying Power = 1.5

"The Good Wife" (CBS)
Premise: The wife of a disgraced politician finds success and identity on her own terms.
Seasons: 7
Pros: This is one of the finest dramas on television, with fully-formed characters and truly realistic performances across the board. The juxtaposition of the title character's personal and professional life is a master-class in how to write, develop, and sustain subplots between episodes and entire seasons.
Cons: The departure of two beloved main characters in the last two years has taken its toll (both personally and dramatically), leaving fans to question how the show's endgame will eventually play out.
Staying Power = 4

Finales End The Dog Days Of Summer TV

Not all TV shows are created equal. This is especially true of their season finales, which are important benchmarks to help sustain interest until they return with new episodes. The fall TV season will be ramping up over the next few weeks, but thankfully, we've had some quality summer programming to bide our time. Some shows are better than others about knowing how and when to split or end their seasons, as well as how to finish the run of their series for good. That said, I humbly submit my take on some of the summer's biggest shows and how they wrapped things up (with as few spoilers as possible!) Note: these rankings are on a scale of one to four jaw-drops, 1 being "meh..." and 4 being "WHAT?!"

Pretty Little Liars (ABC Family): Mid-season Finale, Aired 8/11
The Show: As previously reviewed, four teenage girls try to solve the mysteries surrounding the death of a close friend while being taunted by the sinister "A," the behind-the-scenes mastermind who knows all of their secrets.
The Season: It got dark fast during this half-season (the remaining episodes will air in the spring). The aftermath of barely being rescued from A's compound took its toll on the girls -- the show tastefully explored the psychological trauma of such a prolonged ordeal -- while significant clues were discovered about A's true identity. These 10 episodes were a concise and well-paced journey toward the answers we have been craving.
The Finale: Among other revelations, we FINALLY meet the real (not the "helper") A after five seasons (only two years in story-time), and it was a genuinely surprising doozy. Of course, there are loose ends to be tied up, but the last twist in the final minutes will leave you intrigued... and impatiently awaiting the next batch of episodes!

Jaw-Drop Factor: 4

Aquarius (NBC): Season Finale, Aired 8/22

The Show: It's 1967, and Detective Sam Hodiak (the always-watchable David Duchovny) is in for a rude awakening. What starts out as the simple case of a teenage runaway plants the destructive seeds of the notorious Charles Manson "family."
The Season: Numbingly slow. It tried to be a period piece with modern parallels (especially race relations and scrutiny of law enforcement) but failed on both counts. Make no mistake: this is not the "Mad Men" of police dramas. Gethin Anthony brings young Manson to disturbing yet alluring life, but the other subplots are utterly cliched and fall short of Anthony's thrall. Historical fiction at its worst.
The Finale: If more effort had been given to the storylines or supporting characters, the stakes would have been high enough to set the show toward a more solid course next season. Instead, it's too boring to care. My only real source of surprise (all due respect to Duchovny) is that this show was even renewed.
Jaw-Drop Factor: 1

Another Period (Comedy Central): Season Finale, Aired 8/25
The show: A satirical fusion of the "Downton Abbey" era and the shameful/less behavior of spoiled celebrity vixens, filmed like a reality show. The wealthy, fame-hungry Bellacourt sisters hatch various schemes to earn themselves power, status... and, most of all, attention.
The season: Its winningly wicked sense of humor, spot-on deconstruction of the reality genre, and parade of guest stars who are game to play along kept this new series afloat. While similar to Hulu's equally effective "Hotwives" parody, this series does it one better by lacing its soapy hijinks with razor-sharp observations about how much (and how little) has changed in "civilized" society.
The finale: Like any good melodrama, there were few surprises since characters' plans were hidden from each other but not the audience. Even that doesn't stop the Bellacourt family and their hired help from contorting the plot to ridiculous, blissfully exaggerated heights. The highlight, without question, is an amusing fight in a pool that hearkens back to the glory days of "Dynasty" and "Melrose Place."
Jaw-Drop Factor: 2

Hannibal (NBC): Series Finale, Aired 8/29
The show: Set before "The Silence Of The Lambs," this procedural thriller follows the events that lead to Hannibal Lecter's capture by the FBI. Criminal profiler Will Graham consults with Lecter to solve bizarre murders, which Lecter may or may not be committing.
The season: The final 13 episodes were given a much-needed air of class by elevating recurring guest-star Gillian Anderson to series regular. Unfortunately, the errant chronology of the plot (compared to the Thomas Harris novels) and the brazen, gratuitous violence made the overall effect less than palatable.
The finale: It gets kudos for sheer boldness. Graham makes a shocking decision regarding Lecter's fate as well as his own. Scoring the final moments with a haunting new ballad by '80s icon Siouxsie and leaving us with a macabre yet fittingly ironic closing image of Anderson were just icing on the cake.
Jaw-Drop Factor: 3.5

Scream (MTV): Season Finale, Aired 9/1
The show: As previously reviewed, a group of friends in a small town deals with suspicious classmates, family secrets, and a masked killer who holds the key to unlocking the town's dark past. (Very loosely) based on the film franchise.
The season: Most of my initial opinions still hold true; the series lovingly borrows the best elements from the movies and creates its own universe and storylines. However, weaker subplots have emerged that threaten the integrity and originality of the show. Thankfully, the 10-episode count kept the main mystery on target, delivering important plot points and character development much sooner than expected.
The finale: This hour was more by-the-numbers than previous episodes, but it all came down to a big reveal. For observant viewers, the killer's identity was easy to call, but the motive was clever even if its explanatory dialogue wasn't. It becomes obvious that the killer needed help, and the implied identity of that partner will make you want to re-watch from the beginning for proof either way.
Jaw-Drop Factor: 3

"Mindy" Survives The Move To Hulu

When Fox announced earlier this year that it wasn't renewing "The Mindy Project" for a fourth season, my heart broke a little. Okay, a lot. I had been referred to the show in time to watch the third season as it aired, so I wasted no time by diving right into binge-watching all of the episodes up to that point. I became pretty invested in the show, which had quickly proven itself to be sharper and smarter than most current sitcoms. It's a labor of love for its creator/writer/star (the lovely and talented Mindy Kaling), who week after week delivered a refreshingly original series about the personal and professional observations and experiences of an Indian-American woman with an average figure. (Take that, skinny blonde Hollywood!) That alone would have been enough to hook me, but the quick wit, dynamic chemistry between the leads, and endearing supporting characters made for even more compelling viewing. The thought of not having that weekly fix was almost too much to bear.

Thankfully, Hulu (the very same medium that enabled my binge) saw fit to pick up the show. It made perfect sense, given that their platform already has the streaming rights to the first three seasons. In a move that keeps "Mindy" closer to its televised roots, Hulu will release the new episodes weekly, rather than unloading the entire season at once. At that point, I breathed a sigh of relief... until it dawned on me that not only would we have to wait for new episodes, but we would also have to contend with possible tweaks and adjustments to an already successful show on a new network. In case you were also counted among the potentially heartbroken fans, fear not. "The Mindy Project" has officially debuted on Hulu with essentially everything intact. I'm not crazy about the new logo art, though (see above). It's a little too cartoonish for my taste and for the tone of the show, but I'll have to be content with critiquing more substantial matters.

Time will tell, of course, if the show's quirky spirit will be maintained. If the season premiere is any indication, though, we have little if anything to worry about. Right away, the show looked and felt exactly as it always has. There were no telltale signs like downgrades in picture quality or set design that for other shows have indicated a shift in network and/or budget. Also present and accounted for are the trademark snappy banter, endlessly quotable dialogue, and tactful euphemisms that keep the show just edgy enough to earn its firmly TV-14 rating. (A character lamenting about "S-ing [his] own D for the rest of [his] L" is much funnier when abbreviated rather than said outright.) Even the catchy theme song, often truncated to mere seconds to help fit Fox's broadcast constraints of 20 to 22-minute episodes, was able to play in full. In fact, the premiere clocked in at 27 minutes, so if the episodes will be longer from now on, I certainly won't say no... if they spend the extra time wisely, that is.

Which brings me to my only point of contention with "Mindy" 2.0 (technically, 4.0). For a series that prides itself on clever timing, this particular episode veered dangerously close to the edge of predictability, something of which I didn't think it was capable. Naturally, a season opener has to resolve (or at least start to resolve) lingering story threads from where the show left off. However, this one tried a little too hard to do so with a wink, and the effort showed around the edges. Mindy as a character -- despite her best efforts to be a complex, independent, modern woman who can juggle the demands of her medical career and her social life -- is a pure romantic at heart with a soft-spot for old-fashioned romantic comedies. Her well-meaning but misguided notions often conflict with the chaotic world around her, and it's one of the many things that makes her so relatable.

When we last saw Mindy and her live-in boyfriend/soon-to-be babydaddy Danny (Chris Messina), they were trying to figure out where their relationship stood if he (who was previously married and subsequently hurt) didn't want to propose. Unbeknownst to Mindy, Danny travels to India to meet her parents and try to get some perspective. Meanwhile, Mindy is at home feeling alone, so she dreams about what her life would be like if she were involved with someone else. That someone is played by the first of three delightful surprise guest-stars in this episode, proving that the show (which has previously featured the likes of Stephen Colbert, Laverne Cox, James Franco, Rhea Perlman, Seth Rogen, Vanessa Williams, and even Shonda Rhimes) is still a destination for big-name talent who are eager to be used as comic relief.

Danny's meet-the-parents plot is obviously more grounded in reality, but it still rings hilariously true as we see that he is genuinely trying to do the right thing despite overwhelming circumstances. Sakina Jaffrey and Ajay Mehta, who play Mindy's mother and father respectively, have fantastic screen presence in roles that are far better left in their hands as legitimate actors rather than embracing the tendency to stunt-cast bigger "names." At the same time, it's refreshing to see a character's parents written and performed in a way that allows you to see their child as a delicate balance of both parents' traits, rather than just blandly copying or favoring one or the other.

In the end, the episode does rely a little too heavily on Mindy's dream scenario, but on the other hand, that concept plays right into her idealized, fairy-tale optimism, so it's not like the premise came out of nowhere. The culmination of both Mindy's and Danny's soul-searching does generate a really sweet moment between the two, but it seemed to resolve their issues a little too quickly and neatly for what "Mindy" as a show is used to doing. Then again, opening the door to this next chapter of their lives as individuals and as a couple is still ripe with storytelling possibilities, so I'm going to trust the path that is being followed until they give me a reason not to (which hopefully will be never!)

And speaking of reasons, surely a few of the show's newfound extra minutes could have been spared for the rest of the show's terrific ensemble. Despite brief scenes with the always-good-for-a-laugh nurse Morgan (Ike Barinholtz), the other main players were MIA. Now that Mindy and Danny are back on track, I hope that this isn't a sign of things to come and that we'll see everyone else again as soon as episode two. More than anything, I'm just glad to see "The Mindy Project" is back. They've got their work cut out to guarantee an audience and a future on their new TV home, but it's still a pivotal reminder to the industry. Quality shows sometimes need a second chance, regardless of what form they take on the small screen.

This "Summer" Is Worth Savoring

The summer may be winding down, but on Netflix, it's just getting started. That's right, fellow campers: "Wet Hot American Summer" has returned. The beloved 2001 indie film, which featured a sprawling comedic cast playing some of the most irresponsible and self-absorbed counselors in history, was set on the last day of camp in 1981. Rather than producing a traditional sequel, creators Michael Showalter and David Wain have opted to bring us an eight-episode prequel series. Given that so much time has passed since the original, "First Day Of Camp" is a bold experiment, but it more than pays off for fans of the movie and for newcomers to the story and its wacky assortment of characters.

Despite never finding critical or commercial success upon its initial release, "Summer" as a movie managed to succeed in other vital ways, attracting a loyal cult following over the years. The obvious, surface-level enjoyment comes from its thoroughly detailed parody of the '80s all-star sex comedy, right down to the wardrobe, hairstyles, and music cues. Much of the humor, both verbal and situational, is derived from the fact that most of these actors are entirely too old to play teenage counselors. By adding the awkward, almost cringe-worthy moments that would make attending (or working at) a summer camp so uncomfortably real, you have a recipe for something that's brutally honest and painfully funny.

Those ingredients were flavored by a well-formed cast that was assembled at the perfect time, making exemplary use of established stars as well as actors that were on the rise and poised for future success. Janeane Garofalo, mainly known for her acerbic supporting roles, led the cast as the camp director. Christopher Meloni, who starred in the gritty TV dramas "Oz" and "Law & Order: SVU," showed his silly side as the unstable cook. David Hyde Pierce, most recognizable as uptight Niles on the sitcom "Frasier," brought his fussy charm to the role of a depressed neighbor. Last but certainly not least, "Saturday Night Live" scene-stealer Molly Shannon offered an unusually reserved performance as the seriously unlucky-in-love arts and crafts counselor. Among the other counselors were soon-to-be-famous names like Elizabeth Banks, Bradley Cooper, Amy Poehler, and Paul Rudd, all of whom had amassed smaller credits but would go on to higher-profile projects in the years that followed.

As a series, "Summer" has more time to spend with these characters as well as more ways to fill that time. Every single main character from the movie is back (some for only an episode or two, but it still counts). There's also a whole slew of new characters played by current comedy go-to's -- yes, Kristen Wiig should just be in everything -- plus celebrity cameos that are too funny to spoil how they factor into the plot. These additions practically double the size of the cast without ever feeling overcrowded. That in itself is a special achievement, considering that many current series with large ensembles (I'm looking at you, "Grey's Anatomy") feel bloated and scattered with disproportionate focus. The succinct episode count (eight half-hour installments) also keeps the story sharper and moving forward, especially when compared to a standard network comedy season of anywhere from 12 to 24 episodes.

This time around (roughly two months prior to when we last saw them in the story's chronology), the counselors at Camp Firewood have their hands pretty full. Even on the first day with every resource at their disposal, they're certainly no better equipped to handle things. On top of new hires, blossoming and fading relationships, a staff musical, an inter-camp rivalry, at least one wedding ceremony, and something suspicious happening in the woods, the fact that campers are settling in means they're just getting in the way. "Summer" amusingly inverts the camp/coming-of-age trope to say that it's the (alleged) authority figures who need to think and/or grow up. Though the inclusion of the kids is minimal, they are ultimately the surprisingly well-adjusted voices of reason for their temporary guardians.

This sentiment was carried over perfectly intact from the movie, and thankfully, so were its strengths and its sense of humor. Though "Summer" is patently a spoof, the actors deadpan the material with a straight face -- rather than go wildly over-the-top -- to keep the dry, quirky spirit afloat. Overall, the show's attention to detail is what impressed me; they are eager to revisit (rather than ignore) even the smallest of things to explain how they ended up the way they did by the end of that summer. Two words: vegetable can... fans of the movie will get it! There's also a spectacularly clever introduction (I won't say who, but you'll definitely know when it happens) to a character with very little to do in the original that ends up becoming one of the series' most spot-on and hilarious scenes. Further merit, without giving anything away, can be found in the development of Banks' character, Lindsay. Right from the start, we see her as a motivated, three-dimensional person instead of the bimbo that the movie tried to make her. The show not only completes her individual arc but also proves that it's never too late to fix something (in this case, stereotypical character traits) that would have weakened the finished product.

Meanwhile, the film's setting was relatively confined to the camp, save for a brief, mid-day jaunt into town for "supplies," but the series thinks bigger. The idea of broadening the scope so that some of the main action takes place away from the camp threatened to pull focus, but the actors and their impeccable timing knowingly poke fun at the absurdity of the single-day concept while managing to keep even the most ludicrous plot developments grounded. Well, mostly. President Reagan, is that you? Even an actor as talented as Showalter couldn't quite pull off that imitation. But don't let that stop you from embracing the show, especially if you're already a fan! I would humbly advise you to watch (or re-watch) the movie first... just to respect the order and to keep certain moments fresh for later (technically, earlier) exploration.

If the movie and the series just aren't wet or hot enough, Showalter and Wain have given us even more reason to spend time with the Camp Firewood gang. To coincide with the release of the show, a behind-the-scenes documentary about the original film is also available on Netflix. "Hurricane Of Fun" is about an hour long (whittled down from the 25 hours that were shot), and it unveils never-before-seen footage of the cast and crew as they made the movie. Sure, we get the standard on-camera interviews and candid, off-camera antics, but we also get sweet moments like the cast reflecting on the experience with no idea what fame has in store for them. To think that there was a time when Poehler was still on the verge of her big "SNL" break and Cooper was fresh out of acting school! Not to mention that we see the entire cast and crew eat, sleep, and breathe nothing but camp (a real-life retreat was used as the filming location).

At the time of this posting, there are no immediate plans to continue the "Wet Hot" franchise. True, future seasons could fill in the gaps between the end of the first day and the beginning of the last, but is that really necessary? (One delightful throwaway line jokes that by the end of the summer, everyone will look 15 years younger). Sometimes, even with all the dots seemingly connected, not knowing how every little detail transpired makes the wild scenarios that we imagine even funnier than what could ever be committed to film. At the same time, another movie (likely direct-to-Netflix) could show us these dysfunctional counselors' lives and careers in the future, which is suggested in the original by a memorable chunk of dialogue and a brief post-credits scene.

Either option runs the risk of taking away what makes this property so special: a spontaneous, under-the-radar sense of discovery and joy. Besides -- much like the revival of "Arrested Development" that took seven years between seasons -- when will a cast that's this busy and in-demand be able to assemble again in its entirety? When it comes to this kind of "Summer," it has to be all or nothing. Thankfully, the creators and the cast know how (and when) to give that all.

Give Us This Day Our "Daily" Stewart

Well, folks: it's the end of an era. Jon Stewart has left the building after 16 years as the host of Comedy Central's "The Daily Show." On paper, the basic concept and execution of the program is pretty straightforward, but who knew how influential and groundbreaking it would be over the years? Stewart and "Daily" have become practically synonymous; the success of the show and (I dare say) the legitimization of Comedy Central as a prestigious network owe an incredible debt to Stewart and his incisive blend of smarts and snarks.

When "The Daily Show" first premiered in 1996 with Craig Kilborn at the helm, it offered a more pop culture-based skewering of entertainment-related news. Kilborn's departure in 1998 opened the door not only for a new host but also for a new format centered around the circus of politics. By the time Stewart took over the desk in 1999, he was hardly a household name. Sure, he had an easy-going, charming delivery style and he was quite easy on the eyes (he still succeeds at both), yet his potential for greater things was increasingly apparent. The comedian only had a few Comedy Central and MTV hosting gigs as well as smaller film and television roles to his credit, so "Daily" was arguably the first platform where Stewart and his knack for artfully exasperated observations were truly front-and-center.

At this point, Comedy Central was busy grabbing headlines and critical acclaim thanks to "South Park," the irreverent cultural satire disguised as a cartoon, so it was only a matter of time before something else would come along to help distinguish the network among its peers and competitors. To many fans and critics, the turning point that began to define the impact and eventual legacy of "The Daily Show" was "Indecision 2000," a recurring segment that pointedly satirized the myriad of problems surrounding that year's presidential election. This coverage earned "Daily" its first Peabody Award (its second was for the next round of "Indecision" in 2004), and the show was on its way to 18 Emmy wins over the next decade. Not too shabby for a show that, on several occasions, featured a segment (however hilarious) with the word "clusterf*ck" in its name!

In addition to Stewart's no-holds-barred critiques of current events and public figures, "The Daily Show" made exemplary use of its correspondents when stories called for travel and/or interviews. Many of these relative newcomers were able to parlay their early promise into future stardom. "Daily" was a launching pad for the current career booms of Steve Carell, Stephen Colbert, and John Oliver, while other key players such as Rob Corddry and Rob Riggle have found steady work in other comedic avenues. When all is said and done, though, it's Stewart's name that appears below the title. The passion and energy with which he dove into every topic -- no matter how big or small -- kept the show timely and relevant, even when the news cycle ran low on political material.

Even more impressive is the growing reputation that "Daily," still in its prime with no signs of stopping, carries within the TV news industry. Viewers may tune in for laughs, but they're also being challenged to really think about the issues at stake. Traditional news outlets tend to go for either a just-the-facts approach or an extreme, party-line slant. "Daily" is one of the few news sources that, despite its liberal leanings, manages to juggle the spectrum and paints a complete picture of the political landscape, even when the results are less than flattering on either side. Furthermore, the show encourages people to make informed, thoughtful decisions about how they absorb information from elected officials and the media. It also helps that many of the show's easier targets essentially set themselves up for lampooning; the "Daily" writers barely have to stretch the truth to drive home the majority of their jokes.

Considering its network, "The Daily Show" always was and always will be considered first and foremost a comedy series. However, its honest and intelligent commentary on not only the political arena but also the agendas of various media outlets makes "Daily" a rare breed: the human side of the news with full use of its brain, heart, and smile. True, the show will live on under the guidance of new host Trevor Noah, but it wouldn't have gotten nearly this far without Stewart and his team of writers and correspondents being willing to "go there" and absolutely nail what no one else was saying.

One of Stewart's many hallmarks was ending each broadcast with a "moment of Zen," a clip, quote, or otherwise memorable moment that was meant to be a parting thought as well as a reminder of life's little quirks, for better or for worse. While I wasn't a daily viewer of every single episode of "The Daily Show," the countless times when I did watch were always reliably entertaining and thought-provoking experiences. And of course, I'll continue to watch. But as strong as it is on its own merits, hopefully Noah and the producers won't try to artificially force the wholly irreplaceable dynamic that Stewart brought to the screen and to the stories. My personal moment of Zen will be unabashedly supporting whatever he decides to tackle next.

"Scream" Scares Its Way To TV

Sometimes, the best way to keep a good thing going is just to start over. "Scream" has arrived on MTV -- this time as a television series -- more than 18 years after the first film hit theaters and four years after the franchise's last movie. Fans of the original entries should take note: the show version introduces a completely new story and characters as well as a different masked killer. Three episodes have aired so far, which is my typical window for evaluating whether or not a series will continue to hold my interest. My early impressions have been generally favorable... with a few minor critiques, of course.

In its televised incarnation, "Scream" opens on a familiar horror scenario: a young woman, home alone, being stalked by a mysterious stranger who may or may not be inside the house. Unlike the stunning, jaw-dropping sequence with Drew Barrymore that opened the first movie, this scene is heavy on exposition but light on suspense because let's face it: we have a pretty good idea of what's going to happen. As it turns out, Nina (the opening victim) was no angel, and the secrets brought to light by her death begin to affect her circle of high school friends, acquaintances, and enemies.

Enter our heroine, Emma, played with backbone and genuine, girl-next-door charm by Willa Fitzgerald. Her absent father is the sole survivor of a now-legendary murderous rampage in their small town years before, and her mother may or may not hold vital information about what really happened that night. All of this suggests that the current killer has something to say, since his/her/their threats and crimes seem to revolve around the town's dark past -- and its even darker future should that information be revealed. By completely rewriting the saga in a different time and place, this version of "Scream" is able to weave more complex threads into its backstory than the more straightforward narrative of its filmed predecessors.

As a huge fan of the "Scream" movies, I'm thankful that the network didn't shamelessly reboot and rehash the same plot and characters, or worse, attempt some kind of half-baked prequel and/or sequel when "Scream 4" was a more-than-fitting conclusion to that previous world and those beloved characters. Instead, the producers clearly respect the audience's sensibilities, and we're treated to something that carries the same name and spirit without lazily copying its source material. The films featured a mix of established and rising stars, but the series wisely chooses to fill its cast with relative unknowns, giving them a chance to prove their mettle amid the hype and expectations of this adaptation. The core characters are also skewed younger, presumably to lend authenticity to their roles as well as add longevity to the show if it continues to do well.

The traditional high school archetypes are all present and accounted for, but the writers keep them fresh by adding layers and traits that give depth to and possibly cast suspicion on those individuals. In fictional Lakewood -- so generic that it could take place anywhere, which ratchets up the fear -- we discover that the "good girl" may not be so virginal; the "bimbo" is more intelligent than others realize; the "smart guy" has a mean streak; and the "new kid" may actually be the most well-adjusted of the bunch. Also notable is how the show taps into the prominence of digital technology, smartphones, and social media; in the time between "Scream 3" in 2000 and "Scream 4" in 2011, these items became firmly established in the mainstream. In our frightening real world of cyber-bullying, hacking, and data breaches, the series offers a subtle but timely commentary on how the things that are intended to bring us together can be used to drive us apart when in the wrong hands.

On the other hand, this kind of show is smart not to take itself too seriously, at the risk of alienating viewers who want a respectable ratio of laughs to plot to scares. The self-aware, meta-level humor that largely characterized the movies can be found on the small screen. However, some of it feels a bit forced, rather than the sly verbal or situational homages that the films relished. Yes, we get it: you're all tech-savvy and pop culture-literate youngsters, but go easy on the post-modern references! There was actually a mention of "Terminator: Genisys" in the second episode, when it would have just opened literally the week before that episode aired. Too soon? In addition, a few of the jumpy moments are a little too telegraphed ahead of time to be effective when they finally happen. "Scream" and its three sequels delivered their shocks and surprises so successfully by toying with the horror formula and subverting those elements. Series writers, pay attention: don't try as hard to be so current and obvious. Instead, try dabbling in more of the classy banter and twists of dramatic irony that helped the movies be acclaimed by critics and adored by fans.

An advantage to the serialized format is that the story plays out over a longer period of time, allowing you to really invest in these characters and root for them... as well as worry if and/or when they will be the next to drop. A potential disadvantage, which won't be clear until the finale airs in September, is which direction the future of the series will take. If the creative team is opting for a centralized, ongoing mystery -- which could grow tiresome if not resolved or revitalized in later episodes -- they will have to make an extra effort to craft a strong narrative that supports the weight of its sustained plot and character development. Otherwise, an anthologized approach (like "American Horror Story") that wraps up everything by the end of the season, before introducing a whole other story and cast in each subsequent installment, could be a way to keep the show alive against the growing onslaught of summertime cable-TV competitors.

Either way, "Scream" gets a passing grade on my three-episode test, so count me in! There are seven remaining episodes scheduled, and it has done well enough that it's already been renewed for another season. Overall, there's a lot of potential here. Maybe not for the next golden age of television, but certainly for an intriguing murder-mystery that keeps viewers guessing and continues the legacy of a great modern franchise.