After a couple of slow weeks, things pick up again this week down at the DVD emporium. A pair of newer shows, Greek and In Plain Sight, are joined by a host of classic crime-time offerings. Given the choice of The Commish, Matt Houston, Scarecrow and Mrs. King, Walker Texas Ranger, Tenspeed and Brown Shoe, and Wiseguy, there’s something for everyone. And if none of that works for you, perhaps you’d be interested in something new from the Hannah Montana section. My pick of the week though, is Dalziel and Pascoe. Partly because I haven’t seen it, but also because it sounds so good.

Charlie and Lola: Volume 10 – I Can’t Stop Hiccuping
The Commish: Season 1
Dalziel and Pascoe: Season 1
Greek: Chapter 4
Hannah Montana: Miley Says Goodbye
In Plain Sight: Season 2
Matt Houston: The 1st Season
Scarecrow and Mrs. King: The Complete 1st Season
Tenspeed and Brown Shoe: The Complete Series
Tremors: The Complete Series
Walker, Texas Ranger: The Complete 7th Season
Wanted: Dead or Alive: Season 2
Wiseguy: The Collector’s Edition

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• Ratings Clack – How do you beat Idol? Oscar.

We love to over-think, don’t we? Over-analyze, debate, grind things down until there’s nothing left to pick over but the nubs. It’s in our nature. That’s exactly what we come here to do — get down and dirty with a topic on a platform that provides a voice to each and every one of us.

One topic in particular that’s been hot lately is NBC’s decision to book five nights of Leno at 10PM. Don’t stop reading now — I have nothing that I care to say about that. But the scheduling did initially make for a ton of discussion about how NBC was giving up the 10 o’clock hour, conceding it to CBS and ABC.

But now that a new player has bellied up to the hour, I haven’t heard a peep about it. How come? What about USA Network’s bold move into the primetime schedule?

I’ve heard the question bandied about to USA Network players: “Why did you decide to change nights?” or, “Do you feel pressure now that you’re on at 10PM on blah night?” But where’s the “Wow! Are you really that successful?” been? Why is it that no one’s seemed to notice that USA Network is suddenly playing with the big boys?

Let’s appreciate the significance of this move. Is it coincidence that most HBO original series air on Sunday night? It could be, but I doubt it. My assumption is that the scheduling is a calculated assessment of a cable series’ chance at being successful slated against shows on networks with broad distribution. The Sopranos could have been the greatest show ever made (check), but in what you could call limited release, even if 100% of the homes subscribing to HBO were tuned in to watch, would that even have been American Idol numbers?

So how about USA Network? Sure, it’s in many more homes than HBO. In fact, in cities where cable is needed just to get reception (like New York) it’s part of the basic package — HBO, of course, is not. But cable TV only has a 56% penetration in homes in the country. That’s a 44% disadvantage that these networks are starting from. So who could blame them if they play duck and cover when it comes to going toe-to-toe with the basic networks?

Which is mostly what USA Network has been doing. Psych, Monk, and White Collar on Friday, In Plain Sight on Sunday, and Royal Pains on Summer weeknights. In fact, I think only Burn Notice has ever aired against the fall-spring weekday primetime schedule.

Well, not anymore. Starting this month, USA Network has three weeknight hours of original programming on, and it might be telling that it hasn’t made much news. With 4.72 million viewers for last week’s episode two of White Collar, and 5.25 million for the Burn Notice premiere (Psych premieres this Wednesday at 10PM), the network is pulling in Leno numbers for shows available in only about half the homes in the country.

Which is probably on-par with, if not better than, the network expected. USA Network has been so unbelievably successful with original programming, they probably only get down when they think about the fact that they’re not yet ready to put on 15 hours of original television per week.

It’s also worth wondering if NBC Universal (USA Network’s parent company) didn’t step in to mix up the scheduling before the Leno-Conan snafu. The network may have inadvertently inflicted further complications on its return to the scripted 10PM hour by airing some of its own product as (stiff) direct competition.

Weeknights don’t belong to the major networks any longer.

Related posts

• USA Network characters: It’s our world … they just live in it
• Psych – In which we see another part of Jules’ past
• White Collar returns tonight. While you wait, here’s a giveaway!

Within the last week, I’ve enjoyed two episodes of Psych from last season (finally caught up!), as well as the pilot of White Collar (twice), the new and extremely exciting series that premiered last weekend. And the latter included commercials for the upcoming season of Burn Notice. All of which actually got me thinking that, if not for the atypical situation of my being behind on one series, and a new one premiering, I might be spending long stretches of time with no USA Network whatsoever.

Now I’ll grant you that that’s not so strange, considering that the major networks take summers off (well, used to … and still should, judging by their offerings), and that USA offers only a handful of original programming. But what about the fact that I want what I want?

So I figured, why not just take it? USA has crafted such three-dimensional characters, that presumably they can be plucked from location “A” and dropped into “B” with nary a hiccup. I actually had a thought along those lines while watching the pilot of White Collar, when I imagined Michael Westen trying to locate a source who’d been arrested by Peter Burke and the FBI, only to be holed up with Mary Shannon in New Mexico. Maybe he hires Shawn and Gus to help locate the guy? It actually could work quite well — they did manage those Monk farewell commercials, as well as the “welcome to the neighborhood ones” from Burn Notice to Royal Pains.

But a crossover, while an awesome idea, is on them to produce. What does that do for me while I wait? So I had a better idea, at least in the sense of its immediacy. We’re all creative, right? So here’s what I’m going to do: I’m going to mentally pluck a two-person team from each of five USA original series, and relocate them all to one (original) Melrose Place-style apartment complex in some sunny, as yet to be determined locale — and we need an awesome name for the complex, too.

Where applicable, the tandems will be gainfully employed in their chosen professions, albeit relocated. But it’ll be the nightly group gatherings, as well as the cross-collaborations, that will make for the interesting read.

Who’re the lucky sweepstakes winners? Well, we have Neal Caffrey and Peter Burke (White Collar), Michael Westen and Fiona Glenanne (Burn Notice), Hank Lawson and Divya Katdare (Royal Pains), Shawn Spencer and Burton Guster (Psych), and Mary Shannon and Marshall Mann (In Plain Sight). Sure they’ll host some visitors (preferably limited to Sam Axe, Madeline Westin, Evan R. Lawson, Juliet O’Hara, Carlton Lassiter, Henry Spencer, and Bobby D.), but the main focus is on the above ten.

So, it’s up to you, mad scientists. I can certainly craft one or two “adventures of,” but what would you like to see if these ten people ever came together? Who do you think would click, and who would be at one another’s throats (and it counts even if they already are on their own show). Any potential romances? Cross-collaborative cases?

Go nuts … their characters are now in your hands.

Related posts

• Did anyone else notice the new major primetime player?
• White Collar has its best episode yet!
• White Collar continues to impress

Full disclosure: I was so bored last night, I had to fight to stay awake. Wow; just not a good episode.

And for a season finale? I think the writers of In Plain Sight may have tried to dig a bit too deep with this season, what with the additional three episodes over last. I’m not saying it can’t be done (see Burn Notice, season two), but it may have been too much for this group.

Here’s the issue I take with plots like this one: where’s the drama in the main character’s life “being in danger?” Is Mary McCormack not signed on through next season? Of course she is! Could they, theoretically, pull a Sopranos and have her in a coma for much of next year? Sure, but that doesn’t mean her life will ever be in danger. Unless, of course, USA Networks doesn’t show McCormack the money. In that case….

But seriously, folks, that was a total snooze-fest. We do have some cliffhangers carrying over (who really shot Mary, will Rafe become an internationally famous commercial actor, will someone kill Francesca slowly for our viewing pleasure), but that doesn’t mean I’m left wondering about Mary. It also doesn’t stand up to last year’s finale, when we were left with the huge question of what would happen to Brandi, which, of course, was just flushed down the toilet in a rush, anyway. Maybe it’s better to have lesser mysteries poorly solved than greater ones? I guess that’s a thought.

Two things I feel worth noting: I found Mary’s reaction to Rafe shooting that commercial just nasty for the sake of being nasty. Wake up, guy! Also, it was meant to be a nice moment when Rafe and Marshall had their little chat, but In Plain Sight has never built a rapport between them, as other cop shows have done between someone’s loved one and their partner. To me, it just rang hollow; the moment could have been really cool, with these two guys who (inexplicably) really love Mary trying to discuss the scary realities of her shooting.

Big picture? I was disappointed with this season. I know; surprise, surprise, right? But seriously… I wasn’t captain of its cheerleading squad in season one, but I was extremely impressed with nearly everything about the show. I think we put too much emphasis on “female driven” or “minority driven”; what matters to me is if it’s “character driven”, and In Plain Sight answered that call in spades. Mary and Marshall, together and apart, were fantastic! They were great at what they did, the guest witnesses were interesting, and the potential for budding characters (Rafe, Stan, Dershowitz) was intriguing.

And then it was almost as if the writers started again this season. The ease between Mary and Marshall had to be built again (what?); the partners were more investigators, less competent protectors; the guest stars were underutilized; witnesses were non-existent; Stan and Rafe became groveling sideshows, and Dershowitz was a non-entity. And where the hell was Marshall?

And yet there was no need to retool! The show was doing fantastically well, as most USA Network originals have, and a tweak here and there should not a new show make. But for whatever reason, the writers went under the hood and ripped much of the engine out, replacing it with foreign parts that didn’t really make the car run smoothly. I say, “for what purpose?”

Look, I could be the only person in the world who feels this way, but it doesn’t change the fact that that’s how I see it. Will I be tuning in next spring for season three? Yes, because I like the show, and because a lot of the things I mentioned above have been re-re-tooled. But that doesn’t mean that the writers have proven to me that they remember what was good about season one.

Put simply, a show doesn’t need to be unique to stand out, nor does it need to be filled with cliches. It just needs to be all good, an impossible feat that In Plain Sight achieved, grandly, when it came bursting out of the gate last year. Will it once again find its groove?

Well, now that’s a cliffhanger of a question worth coming back to have answered.

Related posts

• In Plain Sight – I lost track of all of the twists somewhere near the end
• In Plain Sight – Mary’s engagement party bonanza
• In Plain Sight – Mary of old pays a visit

The story was a bit contrived. Okay. The real loop I got thrown for was how poor Mary and Marshal suddenly are at controlling their witnesses. I’m sure I will get plenty of argument from Ryan, but the bottom line is that they had a total lack of control over NEW inductees into the WITSEC program. Mary didn’t have clue one what was flying, and I feel like our duo is becoming more detective than protector. Yes, the former is an important part of the job, but what good is entering The Program when those tasked to protect you are incapable?

TV is really digging deep with this whole new “ripped-from the headlines” story: financial ponzi scheme ruins lives. Just this week, we got it on The Philanthropist, Leverage, and now In Plain Sight (did I miss any?). As much as I think it a mistake to use an idea that requires the right amount of empathy to be thrown into the mix, In Plain Sight even did it poorer than just about anyone else.

With a financial scandal, executed by someone else, requiring Frain’s character to enter federal protection, the bad guy ends up being his brother, who’s blackmailing him for stealing some dude’s identity years ago? What a waste of a potentially enthralling story about an intrepid investor scorned, tracking him down and meting out justice through vigilante revenge. That could be an entirely new sub-genre of show (trademarked!).

And, the part about it not making any sense actually outweighs my qualms about the sensationalizing of these isolated incidents into a fearful and panicky perspective of financial advisors. The results will either be people claiming fraud at the hands of their competent, and honest, advisors, every time they lose money, or people shying away from professional investors, wading into the markets all alone, and burning their lives away faster than any long-term scam ever could.

Enough.

As much as I questioned Mary’s rationale for telling Rafe what she did for a living, it never dawned on me that she was violating Marshal’s trust, as well. He’s now been exposed, and the fact of the matter is, now I’m surprised at his restraint in dealing with what Mary’s done to him. I’d never suggest he report her, but I think he needs to re-evaluate this partnership, and maybe reconsider his plans to leave from last season. Personally, I think Mary should be the one to leave (the Marshal show!), but I’m betting that might not happen.

And, what, Mary’s upset that Rafe might be interested, and concerned, now that he knows what she does? I think she was projecting her anger at herself onto Rafe when she yelled at him, and questioned his ability to keep this secret. We didn’t see it on her inscrutable face, but I imagine the thoughts running through Mary’s head when Marshal called her out were a lot worse than, “Oh, crap!” She screwed up on that one, but she’ll never admit it. No surprise there.

And, the book at the end? I’m really not looking to pound on her every move, but I found it to be as emotionally empty a gesture as her getting into the shower with Rafe in episode two after realizing that he had saved Brandi last season, and her acceptance of Rafe’s marriage proposal just a few weeks ago. The arguments I keep hearing are, “That’s big for her.” That’s such crap, and I think we all know it.

We should all be held to the same standards, or else all it would take for a person to consistently be let to slide, is to consistently come up short. “You put your dirty clothing in the hamper today? That’s amazing! For the last thirty-five years of marriage, you’ve dropped everything that you’ve held in your hands exactly where you stood when you last needed it. You can’t help it; you’re incapable of cleaning up. But that must have taken a tremendous effort to carry your pants all the way to the laundry basket. Thanks so much honey! You’re the best.”

Or would you like me to exaggerate to make my point?

Related posts

• In Plain Sight – Another finale, another tight spot for Mary
• In Plain Sight – Mary’s engagement party bonanza
• In Plain Sight – Mary of old pays a visit

Leverage

“OK, so what do we do now?” – Parker
“Well, I just sent Eddie to the hospital … so lets go steal us a hospital.” – Nate

“If I mention Star Trek One, Three, or Five, then everything’s okay, because the odd ones sucked. But if I mention Two, Four, or Six … What do you do?” – Hardison to Eliot, explaining his “code”
[later in the episode]
[over the intercom] “Would Dr. Ralph O’Conn please report to surgery? Dr. Ralph O’Conn, report to surgery! Ralph O’Conn!” – Hardison warning Eliot of the hit man

True Blood

“I’m so happy I could cry, but I don’t wanna, because it’s really gross when I do.” – Jessica to Hoyt, proving she’s the cutest vampire on TV

“Jason Stackhouse, abstinent.” – Jason
“Sounds good, doesn’t it?” – Luke
“Not really.” – Jason

“In person, she looks like vanilla pudding.” – Sookie, accurately describing Sarah Newlin

“If you don’t go out back right now and take off all your clothes, I will fire you.” – Sam to Daphne, before she turned out an agent of Maryann’s

“But all of them put together ain’t half as bad as if you do it to a vampire. Or to a dude. Or to a vampire dude. That’s like the creme de la creme of sins. There’s no repentance for that. Straight to hell, baby.” – Luke to Jason

In Plain Sight

“I won’t be baited into this conversation.” – Marshall
“I’m not baiting, I’m amusing. The verb, not the adjective.” – Mary
“Thanks for clearing that up. Either way, I’m not giving you the name of the first girl I had sex with.” – Marshall
“Why…? Is it because you’re a virgin?” – Mary
“No, its because you’ll track her down, call her up, and make her tell you all about it.” – Marshall
“So? I told you mine!” – Mary
“Neil Armstrong was not your first.” – Marshall
“Technically no, but who can ever remember that other guy’s name?” – Mary

Hung

“How do you keep from shooting yourself?” – Jessica to Ray, upon seeing his burned shell of a home

“If you ever want to pick out an outfit to match that stick up your ass, give me a call.” – Lenore, handing Jessica her business card in the beauty parlor

“I’ve been a jock, student leader, professional ballplayer, educator … is this really the material from which male prostitutes are made?” – Ray

Selections from the Virgin Diaries

Veronica Mars

“Did you watch House of Wax again? You know that Hilton girl gives you nightmares.” – Keith to Veronica

“Remind me: why did we break up?” – Veronica
“Well, you thought the other guy had greener grass. Or was it something about me being too much man? No, wait. It was you — you were too much man.” – Logan

“You here to confess? Is that your tail I see between your legs?” – Veronica
“No. But I can see how you might get confused.” – Weevil

House

“You met me at a strip club.” – House
“You were the worst two dollars I ever spent.” – Stacy

“You know how they say, ‘you can’t live without love?’ Well, oxygen is even more important.” – House

“I took an oath to do no harm.” – Cameron
“Yeah, well, it’s not like they made you sign it, or anything.” – House

“Are you being intentionally dense?” – Cuddy
[sarcastically] “Huh?” – House

Buffy the Vampire Slayer

“Well, we try not to get killed. That’s part of our whole mission statement: ‘Don’t get killed.’” – Willow

“So, its 118 degrees, and I’m sleeping without a stitch on, when I hear a screaming outside. So I go out stark nude, and a church bus and these three Vamps are feeding on half the Baptists in South Boston. I took out the three Vamps, and this preacher comes up and starts hugging me like there’s no tomorrow. Then the cops pull up and arrest us both.” – Faith
“Wow. They should film that story and show it every Christmas.” – Xander

“Angel was cured.” – Buffy
“I’m sorry?” – Giles
“When I killed him, Angel was cured. [to Willow] Your spell worked at the last minute, Will. I was about to take him out, and, um, something went through him, and he was Angel again. He-he didn’t remember anything that he’d done. He just held me. Um, but i-it was, it was too late, and I, I had to. So I-I told him that I loved him, I kissed him, and I killed him.” – Buffy

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• Quotation Marks – Butt cheeks, Buffy’s Graduation, and a yunkie
• Quotation Marks – Exorcisms, Ann Margret, and … a Gilmore Girl?
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Alright, so it was kind of sad, on its face … but, as predictable as it was, I still found the office engagement party to be pretty damn funny. Eleanor (Holly Maples) and Stan (Paul Ben-Victor) awaiting Mary and Marshals’ return with some hats and drinks? Good stuff.

Of all the shows that I watch on TV, In Plain Sight was possibly the last I imagined going PC. That is, a lesbian witness, whose sexual orientation was taken in stride. For whatever reason, I didn’t expect it to happen, but I appreciated how it was handled: nothing different happening here. Sure, there were the occasional comments by Marshal, but his inappropriateness level would have been the same had the witness been a tree, or a rock…. Give it a minute.

Mary and Marshal are deep into rebuilding the relationship and banter that they enjoyed … in season one. The reconstruction of their relationship this season has meant the loss of a lot of weeks of fun and funny, but at least it’s back; hey, I’m no complainer!

Anyone seem to catch how upset Marshal AND Mary were during that congratulatory hug in the diner, after Mary admits to being engaged to Rafe? I never liked the puppy-dog-love storyline, but there’s an authenticity in both of their feelings of opportunity lost. The subtle, unspoken, sexual attraction, and mutual love, is part of what made them work so well together in the past. Seeing Stan a bit upset just brought back memories of how creepy he was in season one.

For an athlete, and a Latin-American, Rafe seriously needs to man-up. Accepting the ridiculous crap that Mary’s MIA for his moving in? I realize I’m ignoring the fact that they have yet to discuss if he’d move in, and it’s absurd that he’s just barreling ahead with it (NO I’M NOT), but the fact that Rafe’s back to accepting Brandi as “surrogate Mary”? Maybe it’s a good thing he retired from baseball…. Give that a minute too.

The incident not only reflected poorly on Rafe; it also gave Brandi the opportunity to try and have a “talk” about their past, and their new future. Wake up lady! You had no past, other than your own attraction to your sister’s boyfriend, and your inappropriate behavior.

Yes, and Rafe’s inappropriate behavior, and his absurd acceptance of Brandi as Mary’s stand-in. Whatever relationship they built primarily stems from mutual anger at Mary for a variety of different things; it’s a revenge thing, as opposed to something built on any sort of concrete foundation. I’m guessing we’re supposed to be preparing ourselves for drama to come … how about not?

There were three moments last night that I really dug:

• In the morning, at the beginning of the episode, Rafe tells Mary that he appreciates how hard she’s trying to deal with change…. “How hard she’s trying to deal with change.” … The what? I had to pause until I controlled my laughter.
• For all those West Wingers out there: Mary McCormack wasn’t yet on the show, but remember the Gilbert and Sullivan scene with Sam, Ainsley, and the gang? There’s no connection other than Mary, but I loved the song being played while she and Marshal were on hold.
• An exchange between Marshal and Dershowitz (Todd Williams), that totally reveals my New York snobbery, for which I’m unapologetic: Marshal – “Hey, does ABQ PB have an Officer David Palmer?” Dershowitz – “How the hell should I know? Do you know how big our department is?” … I was waiting for someone to say, “Five guys, and a toaster over?” Sorry, but that left me with the giggles.

Question for all you loyalists: Eleanor’s the office admin. Does it not offend you when she’s sent running to do research, or pull information, that really isn’t in her job description? I just really dislike people abusing their subordinates … is that really and truly a part of her job? It’ll make me feel better to hear that that’s the case. Thanks!

Related posts

• In Plain Sight – I lost track of all of the twists somewhere near the end
• In Plain Sight – Mary of old pays a visit
• In Plain Sight – Another finale, another tight spot for Mary

Sorry for the delay; I spent all of yesterday on the phone with the postal service. It seems that no one can find the royalty check that the writers on In Plain Sight must have sent me. It’s like no one even knew what I was talking about. I figured, “the episode aired Sunday night, so they probably meant to get it to me beforehand, in which case, it should have arrived by Saturday, latest.” Thus my response to everyone that, “no, it wasn’t most likely in Monday’s mail.” It wasn’t, anyway, so that blew their theory to hell.

Anyway, while I await what most assuredly must be arriving in today’s mail, I figure I might as well revisit said episode with you. I’ll fill you all in when the check finally gets here.

I thought the training video storyline was hilarious. In its application, I was a bit disappointed by the end, because I imagined Marshal and Mary starring in it, but I like how old-school the original was, and how brain-dead even the new, finished product, was. That it was meant to mirror Mary’s life was a bit too obvious, and I’m kind of surprised that it was news to her; it was like saying to her, “Mary, you wear jeans,” and having her be stunned at the revelation. But, okay.

Martin Landau (Bob, on Entourage) guested as an old Philly mobster who was part of the original twenty witnesses that WITSEC was built around in the 1970s. Landau only disappointed in that he wasn’t believable as a Philadelphia native. He’s got too much Boca, by way of New York, in him. Beyond that, he was further proof that the recent string of guest stars, and the renewed focus on the witnesses themselves, is really working for the show.

Marshal and Detective Dershowitz (Todd Williams) continue making fast friends, and I like the buddy-buddy of the two. I was a little turned off by Dershowitz’s digging into the witness’ identity … he does realize that these people are in witness protection for a reason, right? What if the Philly PD had a sleeper mole working for the Philly mob, just waiting for someone to start looking for one of the Philly 20? Those people would be dead in a second.

I’ve also always been a bit suspicious of Dershowitz’s intentions cozying up to Marshal. Much less so now, but it’s always seemed as if he wanted the inside lane to Mary, either because he sees her as competition, a challenge, or a potential love-interest. Unclear, but bordering on user-y.

Joshua Malina (as Peter) was back (how are we to believe that he and Brandi have this budding romance when he’s never around? Not to mention how absurd the idea of the pair is….), and I liked his being the vessel that the writers utilized to knock some sense into Mary. But, did she really not realize how mean she is to her family (including Rafe) quite often?

And, this episode was a particularly nasty version of Mary, season one all the way. Exactly who I’ve been looking for! Yes, this will be a blip on the radar, as the writers turned up her nasty past where it’s been this season so that she could be more influenced by Peter and the training video, resulting in her blurting out what she did for a living to Rafe.

No way in the world do I believe that Mary would have ever felt the impulse to do that, but I understand that the writers were attempting to represent that part of what she struggles with is her job’s need for secrecy. To speak for myself, I’ve never seen her struggle so much as felt the show telling us that she was, but maybe that’s just me (See, Ryan, more open positions on the issues.)

So, yeah, season one Mary was my clarion call. And I was predicting the inevitable jolt that Rafe suggesting he move in with Mary (because, yes Mary, that is what married couples generally do: live together) would cause her. I’ve been writing about a lot of these plot points and ideas for weeks now; thus the royalty check that surely must be coming.

But I wonder where this will leave us; so now Rafe knows what Mary does, but that won’t enable her to discuss her day. He’ll still feel that same frustration at her being a closed book. And she’ll still treat him like crap.

Actually, I saw something interesting between Mary and Peter in those fleeting moments that they were together … I think he’s equipped to deal with the obvious pain she’s carrying around in a strong manner, and she would provide him with something that I think he needs in a mate: a strong, intelligent person. It won’t happen (although I will expect royalty check number two when it does), but it would definitely be better use of Malina’s talent, as I’ve said before.

Overall, not a bad little spin in the parking lot, but one that won’t last beyond this week; old Mary was unnaturally resurrected to make a broader point, and, unfortunately, she will be returned to her grave before we get to next week. In the meantime, I need to clear the rest of my day in order to wait for the mail … so excited!

Related posts

• In Plain Sight – Mary’s engagement party bonanza
• In Plain Sight tries and fails
• In Plain Sight has located the path, but got in the wrong vehicle

Rafe’s (Cristián de la Fuente) mom is in town for his and Mary’s engagement party. Already a little strange, but, fine. Time for a game of pretend this is happening, so as not to disturb the mother steeped in traditions, and what not. Check. Mary can’t go through with it, tells the truth, and she and Rafe have a showdown. Got it.

Now, here’s where the episode doubled down on things: Rafe and Mary finally (finally!) realize that they’re not on the same page. That something’s wrong with their line of communication. In fact, Rafe’s spent the last nine months seriously contemplating retirement from professional baseball, a move he made real the day before. Clearly, there’s a disconnect in your relationship if you could physically make that kind of HUGE, life-altering decision without your partner in life. So, what does Mary do?

She accepts his marriage proposal. Picture the CliqueClack logo, with its tongue lolled out the side of its mouth, jaw wipe open. What the hell was she thinking?

There are two categories to these type of things: one, is the big surprise that keeps you guessing until the end, because it’s unexpected, but it works. The other keeps you guessing, because it actually makes no sense with anything else that’s come before it. It’s like if I started counting, “1, 2, 3, 5, 8.” It would take you a second, but you’d get the sequence.

However, if I instead counted, “1, 2, 3, 4, helium-balloon”, you might feel as discombobulated as I did when Mary dug the engagement ring out of Rafe’s pocket. It didn’t surprise me because it’s the road less traveled; it surprised me because there’s no road in existence, or even the potential for one to be built. It’s just dumb, and a continuation of the train-wreck that is the show’s utilization of Mary’s personal life to round-out her character. Leave it alone already!

The episode itself didn’t impress too much, particularly since it was all meant to be a life-lesson for Mary, but at least they’ve stuck with the larger witness focus, something I think was detrimentally lacking in the beginning of the season. Like I said last week, not all of them are going to be interesting, but the witnesses should at least play a role on the show.

What I do feel the need to mention is how much leeway the federal government seems to give witnesses, at least as far as In Plain Sight goes. I’d have thought that any number of things that were going on with the Moreno/Morales family should have gotten them bounced from the program, or at least moved. Mary and Marshall were talking to Olivia’s (Francia Raisa) friend as if he knew exactly who they, and she, were. Olivia’s contact with someone from her old life should have gotten her cut out immediately. Jesus’ (Carlos Gomez, also Nancy’s Mexican gynecologist on Weeds) chasing Olivia to Los Angeles should have gotten him thrown in jail: he’s a criminal!

I realize that the system’s designed to catch the big fish, but the little fish are just as guilty. There’s only so much rope they should be provided with. Plus, how many opportunities does the US Attorney’s office give federal witnesses to testify truthfully before throwing them in prison for perjury, crimes committed, or whatever else they can think of?

And I’m talking in terms of motivation, like sending someone to jail for contempt when they won’t name their source, or whatever. I realize the US Attorney’s office is worried about the big picture, but again; how much leeway do you give a criminal? And, one who’s getting a pass by your office, at that? This might be all for TV’s sake, but I wonder.

Anyway, the engagement mess will certainly be dealt with in the coming weeks. My guess is Mary keeps the facade going long enough to really break Rafe’s heart, and then she has cry-fest number two with momma and little sis, before getting back on the “find poppa” train.

Mary’s great … her family? Spare me.

Related posts

• In Plain Sight – Another finale, another tight spot for Mary
• In Plain Sight – I lost track of all of the twists somewhere near the end
• In Plain Sight – Mary’s engagement party bonanza

What was not so impressive was the show that surrounded the guest star. But, to begin with the positive: I love how this week got back to focusing on the witness. For all of you who’ve read my complaints on the subject, this is what I meant by getting back to the guests. We still got plenty of Mary and Marshall, but the witness was no longer merely a tool for the stars. Instead, he was central to a story in which the stars played a lead role. Big different, and wildly different results. I liked the back to basics.

What didn’t work for me was the actual story, but that stuff’s hit or miss on shows like this. You can’t love them all. However, you can expect a little bit of clarity, something I feel that this episode did not provide.

I was left scratching my head enough, that I have no problem articulating my question, potentially only to have it all knocked down by some simple plot point that I missed. Here goes: did this episode take place in Albuquerque, or in Chicago? I ask, because it sure seemed like a coincidence that the bodies of the two people from the shipyard, or wherever, back in Illinois, were in the New Mexico desert when Mary and co. went searching for “Miles.” Am I the only one who got confused there?

Also, what was a therapist (that was Ali Marsh, right?) brought in to work with PTSD-related psych stuff in law-enforcement personnel doing consulting on a witness who possibly made up a wife and son? Her prior relationship with Mary doesn’t make her more informed about WIITSEC, so really she was just as much an “outsider” as an outsider, trained in the specialty, would have been. Talk about a really poor way of bringing back a guest star.

And, for what? So she and Marshall could not get together? You know, when we’re happy with the flow of a series, we never question the ridiculous nature of many of its moves. But, come on! It’s okay to be disappointed, people, because it says that you care, that you long for your show to return to the greatness, or in this case potential, that it once displayed. There’s only so long that good will, and what you did for me yesterday, will carry you through.

But, you know, I would gladly take all the rest of this episode, if I could get rid of Brandi’s story in the trade. What??? The drug-running narcissist is now a humanitarian, who helps some guy on the street, gets him to a hospital, waits for word on his condition, and then weeps at what I imagine was some connection she drew from the experience to her own life, which I totally missed?

I hear all of you getting set to tell me this is growth, that all characters have natural progressions. And there’s the rub. Natural obviously can’t mean as long on TV as it does in real life, but it does mean that there’s a progression. The sin of In Plain Sight this season is that it has decided to be impatient when it comes to letting things evolve.

We’ve experienced so many things that have simply been tossed at us, just to get it out there, to get it done with, that the quality of the story-telling has started to deteriorate. Disagree with me all you want, tell me how television has to do things on its own timetable. But in a few weeks, or next season, or whenever, we will reach a point on the show where none of us have any idea how we’ve arrived at where we are, and none of the characters will seem to have taken the necessary steps to be there either. To go to an extreme, it will be the equivalent of Jinx receiving her ten-years sober medallion after week four of being clean.

Then you’ll see. Plainly. You know, because of the title. The show’s title. Yeah.

Related posts

• In Plain Sight – Another finale, another tight spot for Mary
• In Plain Sight – I lost track of all of the twists somewhere near the end
• In Plain Sight – Mary’s engagement party bonanza

Well, In Plain Sight was, and is, firmly in that category. What’s happening in Albuquerque?

If you caught the last episode, and have been reading my reviews of season two of the show, you know that a lot of the questions that I’ve previously posed have finally been addressed. In one episode. Where everything is put on fast forward, and ties up in a neat little bow by the end credits. Huh?

We’re talking about major plot-points here! Series-long arcs that need time, thought, and lots of story to conclude. Instead, we get forty or so minutes? Why so lazy?

First of all, the parade of characters on and off the show continue. Last week, Rafe (Cristian de la Fuente) popped up, after going MIA for weeks, with Mary’s laundry. And this week, he’s sleeping over, going with the family down to the federal courthouse, and generally acting like a member of the family. Since when? Since episode two when Mary got in the shower with him, because she realized that Rafe was the one who swapped out the drugs for Brandi? Oh yeah, real natural progression there.

Of course, with Rafe around, Peter (Joshua Malina) needed to be away. Because, he’s been around these past few weeks? Even with a short story-line, a guest character needs to be present to be a part of the episode. Otherwise, his work should be done, and we should be provided with the tidy means for his removal. But, no, of course not. Why bother with something as crucial as that?

So, the big story this week was Brandi, finally getting what was coming to her via the FBI. But wait, could it really make that much sense? Could Brandi’s role in a drug deal that ended in multiple deaths, and Mary’s kidnapping, really result in her being punished? Of course not!

It had to be that O’Conner (Will McCormack, Mary’s brother), the FBI agent with a beef to settle with Mary, was really hiding the fact that he switched shifts with his partner so that he could sleep with said partner’s wife, which resulted in said partner’s murder, which resulted in O’Conner’s coming after Mary and Brandi with a vengeance. And, of course, that means that whatever evidence the FBI was using in their case against Brandi was really fabricated by O’Conner, and therefore Brandi is innocent, and free to go.

Um, hello! We know Brandi is guilty as sin. Maybe not for murder or kidnapping, but certainly as a co-conspirator in the entire operation. Where the hell is her prison sentence, or suspended sentence, or fine? Nope, that would make too much sense. It’s dangerous to tread in sensical waters.

Also completely without progression was Mary’s hostile problem with Eleanor (Holly Maples). Yes, Mary was never her biggest fan, but frustration and stress over Brandi’s legal troubles doesn’t explain how she treated the office manager. I don’t care what anyone says about how reasonable it was; it wasn’t.

The entire situation was too over-dramatized, and likely is setting us up for some great big story of Eleanor’s, but that still doesn’t excuse the complete lack of effort on the part of the writers. It’s not enough to have a clear picture of your destination … you must give us a very easily-navigated road on which to get there. There’s no excuse for skipping steps “B” through “Y”.

I’ve said it before, and I’ll say it again: Mary’s family does a lot more harm than good on In Plain Sight. Jinx has turned into some sniveling, annoying puppy, who dreams in rainbows and butterflies. Brandi’s nothing more than a whining infant (“Where’s Mary? Oh, she’s trying to get me released from prison? But she should be here to hand me a tissue while I cry! Because, that’s more important in the long run!”)

And, Daddy? Worst idea ever. Not only do I not care about what happened to Mary’s father, I also think it does nothing for her character to find out. In fact, I wholly disagree with everyone who says that Mary’s family makes her a better character. There’s nothing organic about her tears, her fears, or her on-again, more often off-again, tenderness with her sister. It’s completely fabricated, and detracts a little bit of Mary’s realism each and every time its employed. If the show’s heading into the search for Mary’s father, (and my money’s on the really dumb idea of his being in WITSEC, because the Marshall’s background check on Mary would have NEVER put that together!) it’s going to get much worse, really fast.

By the way: terrible use of guest stars in week’s past: Clarke Peters as Norman Baker was a total waste of an extreme talent. And, as much as I think that Laura Prepon belongs in fast food a whole lot more than she does in Hollywood, her turn last week, and then no-show this week, was just about one of the worst uses of a “star” that I’ve ever seen.

Shape up, In Plain Sight, or you’ll quickly go from third of three on USA for me (I don’t watch Monk, so it doesn’t count), to fourth of four (loving Royal Pains!).

Related posts

• In Plain Sight has located the path, but got in the wrong vehicle
• In Plain Sight – Mary of old pays a visit
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Well, no more. I’ve solved the dilemma; we need more witness focus, and less Mary’s private life focus!

That’s right, all you Brandi and Jinx lovers: the time has come for the special guest-stars to get a little of the limelight. Sure, not all of the actors have strong resumes, but that’s not the point. The point is, the central theme of each episode has been found lacking, at least by me.

This week’s episode, entitled, “One Night Stan”, gave us a serious dose of guest David Walton, as a stand-up comedian who witnesses a brutal mob murder. As the tale unfolds, and the body of said witness is found buried in the desert, we get a taste of Stan (Paul Ben-Victor), as a young Marshall, taking on his first federal witness, and one hell of a messy love-triangle. Sure, Stan was the wrong way to go, but the idea was on point.

I loved getting the opportunity to learn a lot more about a witness whose life and safety rests in the hands of our Marshalls. It’s about time we learned more about them than the crime they witnessed, their new identities, and the latest scrape they’ve managed to get themselves into. Why not see the anguish they experienced upon entering the program? Or the difficulty they have in giving up all that they know in exchange for security? Granted, we’ve gotten a smattering of that here and there, but for the most part, the action between Mary and Marshall scenes are confined to the whining annoyance of Mary’s love life and family. Enough!

Give us more character development, more unique people. Take a page out of the Law & Order franchise; there’s a lot more back-story on each one of those episodes than In Plain Sight gave us all of last season. Why is that? Is Mary supposedly so interesting? Maybe she is, but her life is her work. Why can’t we get more insight into that? Remember in the pilot, when she drops by a witness’ apartment to give her a bag of porno magazines, research for her breast augmentation? It was a quick joke, but we still learned more in that moment about the woman than we ever did about the family who got poisoned by the cursed gold coins. “One Night Stan” was a great start to a new trend on the show. As long as they drop Stan as the central character in those stories, I’m sold. Now that’s great TV.

Nevertheless, I do have to harp on an issue that already came up last week, due to the fact that Joshua Malina is still around. Namely, what in the world does he see in Mary’s sister, Brandi? I have no interest in maligning the actress, just the character, who I must say needs to seriously consider taking the next bus the hell out of town. Malina is being totally wasted on that shallow airhead; like I’ve said before, either give him another go with McCormack, or let him go on his merry way. Saddling a solid actor with such a crappy arc is just embarrassing for all involved.

The same can be said, albeit to a lesser extent, about Todd Williams‘ Detective Robert Dershowitz. Just get him and Mary together already, or end the will-they-or-won’t-they crap!

Anyway, realizing that this plea is coming too late to matter: there are a ton of guests still to come this season (Clarke Peters next week!), so please, In Plain Sight writers, I beg of you: use them! Otherwise, what’s the point?

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• In Plain Sight tries and fails
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• In Plain Sight – Another finale, another tight spot for Mary

Rich’s piece last week about how USA Network’s Sunday was

Unfortunately, USA’s In Plain Sight is testing that theory. No, I’m not here to comment on Mary McCormack; I’ve done enough of that before, and the long and short of it is that I like her Mary Shannon leaps and bounds more than I did her Kate Harper. Instead, I wanted to look at another West Wing star the show has been using and bruising.

I do, however, have to mention Richard Schiff, who did a one-time turn (please!) as a spot-on replica of a younger version of his father from The West Wing. From the acting to the accent, the entire thing was a flop, and it’s a shame that In Plain Sight got me hyped for that. I’d have rather had someone without Schiff’s talent sink like that stone. I sincerely hope that his character’s allusion at the end of the episode to being able to find Mary’s father will not return him to the show, because Richard does not deserve that.

But, really, we’re here to talk about the guy who has a bit longer of an arc to play, Joshua Malina. Malina played Will Bailey brilliantly on The West Wing, and even spent a little time dating McCormack’s Harper. Now he pops up on her new vehicle, as AA group leader Peter Alpert, millionaire suitor of Mary’s sister, Brandi. Oh My God. It’s not that Malina’s bad in the role; rather, the role is terrible for him.

First of all, it’s a little bit of TV incest for him to be dating his ex’s sister. Fine. But, Brandi? Come on! Do we really want to watch the show develop her into this “I’m so deep but I didn’t know it, so at first we couldn’t relate but now we’re totally soul mates” cliche? And why waste Malina’s talent on her? I could see him with Mary, and in truth, I think it might be awesome to see them back together again, both for their chemistry, and for how it would spare us her disastrous relationship with Rafe.

But it’s just so upsetting when a great actor is so under-utilized on a show. Take for example a fellow Winger, Allison Janney. She did the tiniest spot on Studio 60 (“The Disaster Show”), as herself, and it was so perfectly crafted for the actress (a comedian), that you couldn’t imagine anyone else pulling it off. Or Richard Schiff on Entourage (“The Abyss”); Toby as action hero? Yes, they were both playing themselves, but you get the point; some shows know how to use actors properly.

Malina’s Peter on In Plain Sight might as well be played by anyone. He has a tiny role, virtually no lines, is chasing some crazy, lying chick who stood in for her mother at an AA meeting, and he’s also rich. Why not just throw heir to a kingdom in there too? It’s just such an arbitrary character for him to be playing, and when he attempts to infuse the role with his patented Malina-isms, it just doesn’t mesh. I’m not saying he’s doing a bad job, but it feels as if the role wasn’t even written for him.

Instead, USA threw some big name stars at us to up their ratings. It’s a little insulting when a show does this without giving any thought to how they’re casting the guests. Save us all some emotion, and let Malina either settle into a permanent role on the show, as Rafe’s replacement in Mary’s life, or let him fly away, crushing Brandi and leading her to run off and never return….

Sorry, what? Right, off-topic. Just use him or lose him; don’t dangle Malina in front of our faces and then abuse him.

Related posts

• In Plain Sight – Mary of old pays a visit
• In Plain Sight tries and fails
• In Plain Sight has located the path, but got in the wrong vehicle

With the upfronts behind us, we now know what the face of Fall TV is going to look like. Am I the only one who’s reaction was a big, “meh?” That’s not to say that there’s not a lot of new shows to be excited about.  Glee in particular looks outstanding, and I’m also looking forward to Flash Forward and, yes Aryeh, even NCIS: LA. All in all though, I’m not left with that feeling of excitement that I have in years past. I think, I know the reason:

When did the summer schedule get so good? Its not even the networks, either. Cable has come to play in the last couple of years, and it seems that they want to own the summer. Its a mix of new shows and returning favorites, but I think its funny that I’m looking more forward to the summer than the fall. Lets just take a look at some of the shows returning:

In Plain Sight (USA, Sundays 10/9c, airing now): If you’re not watching Mary McCormick, start now. Her US Marshall Mary Shannon is a strong, but deeply flawed, woman. Oddly, though, she knows her flaws, and owns them. The show also manages a great guest cast, and is fun to watch each week.

Burn Notice (USA, Thursdays 9/8c, June 4th): I came late to the Burn Notice train, but I’m very happy to say that I’m on board now. Jeffrey Donovan’s Michael Westen continues his quest to clear his name, and take up odd jobs in the mean time. His idea of an odd job, though, is more likely to be taking down a local drug ring than, you know, mowing lawns. Oh, and Gabrielle Anwar’s Fiona and Bruce Campbell’s Sam round out one of the best teams on TV.

The Closer (TNT, Mondays 9/8c, June 8th): The Kyra Sedgwick drama enters its fifth season, where we will finally get to see how married life affects Deputy Chief Brenda Lee Johnson. This show really hit its stride in its second season, and hasn’t let up since. The team dynamic that works so well might just finally be truly tested in the built up animosity between Sgt. Gabriel and Det. Daniels.

True Blood (HBO, Sundays 9/8c, June 14th): Based on the OTHER popular vampire book series, this is definitely not one that you should let your teenage daughters watch. Exploring the more seedy (read: sexy and dark) of vampire lore, the show will be going in some different directions now that the first season’s serial killer story line has been wrapped up. I’m curious to see how long Anna Paquin’s Sookie can stay true to Stephen Moyer’s Bill, with Alexander Skarsgård’s Eric around.

Saving Grace (TNT, Tuesdays 10/9c, June 16): One of the more interesting premises on TV today, Holly Hunter plays Det. Grace Hanadarko, a hard working, hard partying homicide cop. Leon Rippy plays her ‘last chance angel,’ Earl. Last season, Earl also helped Muslim Leon Cooley. Its a subtle exploration of religion you won’t see anywhere else.

Leverage (TNT, Wednesdays 9/8c , July 15): It was a smash hit this winter, and probably one of the most popular shows around the halls at CliqueClack central (And I promise I’m not making that up. Well, maybe a little). If Burn Notice has ONE of the best teams, here is THE best. It is one part Ocean’s 11, one part A-Team, and one part Awesome. Watch. This. Now.

Other great shows returning this summer include Rescue Me (FX, Tuesdays, 10/9c, airing now), Raising the Bar (TNT, Mondays 10/9c, June 8th), Entourage (HBO, Sundays, July 12th), Pysch (USA, unannounced) and Monk (USA, unannounced). What have I missed, and what are you looking forward to?

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Guest starring on CI was Janel Moloney, who played Donna Moss on West Wing. Moloney portrayed the wife of a religious official part of the murder investigation conducted by detectives Goren and Eames. I nodded off during the last few minutes of the episode so I’m not sure if she was the killer. And, please don’t reveal if she was part of the murder or not. Unless, of course, you want the anti-spoiler fans to come to your house with torches.

On In Plain Sight you had the show’s star, Mary McCormack (Kate Harper on West Wing) mixing it up with Richard Schiff — Communications Director Toby Ziegler on Wing and a P.I.R (Private Investigating Rabbi) on Sight. McCormack’s character also had brief contact with Joshua Malina (Wing’s Will Bailey), who has appeared on the show previously as a potential romantic interest for Brandi. Sadly, Schiff and Malina didn’t meet in this episode. It would have been awkward if they did because their story lines didn’t intersect at all.

I enjoyed the characters both Schiff and Malina portrayed on Sight. Save for possibly Sports Night, Malina has always played likable characters that viewers seem to connect to, and, as a recovering alcoholic on Sight, he seems to be playing into that role. Though, with Brandi’s luck, he could be hiding a sleazy underside. Schiff’s character, who had both a calming and angering influence on Mary, was fully formed to the point that he could be spun-off into his own series. Granted, a show about a rabbi who’s hired to find people probably wouldn’t make it on network television. Luckily, cable is willing to try almost anything once.

On a totally different thought track… portraying Moloney’s husband on Criminal Intent was Leland Orser, formerly Lucien Dubenko of ER. The only reason I bring this up is that Orser portrayed another guest of the New York Police Department in a 2003 episode of Law & Order: SVU. Why the producers of  the Law & Order franchise think we won’t remember people like Orser being cast on other members of their family is beyond me. Especially since reruns of both SVU and CI air on USA Network several times a week.

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Like with In Plain Sight: Rafe (Cristián de la Fuente) has got to rid himself of Mary (Mary McCormack). It’s clear as day, and I just don’t understand how the show has yet to see that. Even the actor himself has yet to realize the disaster that is this relationship. As I’ve mentioned before, I had the opportunity to read an interview transcript with de la Fuente, where he spent a considerable amount of time raving about his plot with Mary. I just don’t get it: why do some people crave pain?

There’s nothing about the Rafe/Mary love that spells healthy, and nothing about it that doesn’t point directly to one of two things: 1) The relationship will crash and burn, leaving Rafe shattered and Mary mainly intact (she’s not completely heartless). Or, 2) The relationship is successful, an outcome only possible if Mary becomes someone the character’s not meant to be. And then the show crashes and burns, and we’re all left shattered.

Okay, maybe that’s a bit extreme, but we will be left minus a show that we’ve all come to really enjoy. I’ve already gotten considerable blowback from people who believe that I’m advocating minimizing Mary’s human side. On the contrary! I think she needs to be as well-rounded as any other character on (good) television … that doesn’t mean she should come equipped with the standard arsenal (guy trouble, mom trouble, sibling trouble, daddy trouble). It means she needs to be rounded properly, as the person that she is. And she doesn’t work in a committed, loving, moving towards long-term relationship. She’s too focused on career right now, too stunted by her familial issues to forge solid relationships that don’t revolve around work, her one salvation. That’s not cutting her off at the knees; that’s being realistic. And having her in a relationship that doesn’t work right now doesn’t help her grow, it just makes me look away.

As for Rafe: he’s a great guy. Loving, caring, a stable person who has the ability to make someone very happy. Why in the world is he doing this to himself? Take an example from the end of this past episode. Mary goes to get him a towel so that he can get out of the shower. She can’t find one, and realizes that he swapped his towels for the drugs at the end of last season. “My hero!” So she hops in the shower with him. Why, because she loves him? Or, because he did something for her, and that’s all that gets through to her? The scene really turned me off, as it spelled out for me exactly what’s wrong with their relationship: she’s a user, who only has time for others when there’s something in it for her. Just think back to the series premiere: she sent a protesting Rafe to pick up her sister, Brandi (Nichole Hiltz). How sweet!

You know, maybe Rafe is right for Mary; I don’t know. But what I do know is that he’s wrong for who she is right now. The creators of In Plain Sight have crafted a wonderfully powerful female character, who they then tried to saddle with all of the typical storylines that a female lead usually gets bogged down with. Why? Let Mary breath! Let her be who she is. If that’s a woman who eventually evolves into a loving wife and mom in addition to being a Marshal, awesome. If not? What’s the problem? Why is it not right to imagine that some women have other priorities? Why’s a single life of dedication to one’s work solely a man’s prerogative?

And why do these shows take the best guys they can find and crush them under the heel of a mismatched woman? Rafe’s great for the show, and I definitely want him to stick around. But he could add so much more if he were given the opportunity to stand on his own two feet, away from the danger that Mary’s love puts him in (and, far away from Brandi, who brings a whole different kind of crazy.)

Put this relationship to bed (figuratively) once and for all. Believe me; In Plain Sight will soar without the baggage.

Related posts

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For some reason, the absent parent is a popular theme these days. From Miles on Lost to Shawn on Psych, Chuck on Chuck to Michael on Burn Notice (is this a requirement on USA?), and many in-between, too many shows throw the hurdle in as both a growth impediment for the child as well as an ongoing crusade for the character. For some it works, for others, not so much. Worst of all? When it’s shoved down our throats on a show where it’s completely out of place. Enter In Plain Sight.

What happened to Mary’s father? I’m sure this isn’t the answer that they’ve devised, but I’m guessing that he simply ran hard and fast from his train wreck of a wife, Jinx (Lesley Ann Warren). And his disastrous second daughter, Brandi (Nichole Hiltz). Not surprising that he stayed in touch with Mary, although I’m not sure I understand her being comfortable with communicating with the father who abandoned her.

Anyway, the plot made for some great acting in the finale, with all three women having the chance to play to a very impressive dramatic range. But that was enough. I’m just not interested in Mary’s familial emotional side, or for that matter, her love life or other non-work relationships, period. For some reason, I just don’t want to get to know her as a complete person, just as a Marshal. Her relationships with her fellow agents, and her witnesses, sufficiently feeds both my need for knowing who she is, as well as her need as a character to display a full range of emotions. Just spare me the other drama.

In Plain Sight needs to take a page from fellow USA shows Psych and Burn Notice: while I hate the storyline with Shawn’s mother, the majority of his outside persona (besides with Gus) that we see plays out with his father, Henry. While they may have their moments, for the most part the pair play out a typical struggle between teenager and parent (forget that Shawn is all grown up!), which is just good fun to watch. And on Burn Notice, while I can do without Michael and Fiona’s sexual relationship, and Michael’s brother Nate (and at times his mother, Madeline, too), his colleagues are also his friends, so we see a nice mix of Michael the agent and Michael the man.

The same can work on In Plain Sight. As long as Jinx and Brandi were an afterthought, they were annoying but digestible. Mary is a federal agent, and the show succeeded when that colored everything else that we witnessed about her. By making her sob story anything more than part of her back-story, the show runs the risk of turning this darling little actenture (action/ adventure) show into more of an actama (action/ drama). That’s not what I signed up for. How about you?

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Once an afterthought cable network without a clear identity, in just a few short years this little network that could has become a destination for hit series. With syndication licenses for shows like Law & Orders: SVU and Criminal Intent, NCIS, House and JAG, the network has quickly become a regular part of my television watching experience. And then their original series broke through. As Larry David’s George Steinbrenner would say: “I am blown. Bloooown away. Blown George. Bloooooooooooown!”

From Monk to Psych to Burn Notice, USA has had nary a miss (although The Starter Wife….) The conceits are original and daring: a compulsive detective with OCD, a fake-psychic detective (and see how many poor imitations this has spawned), and a spy cut out by his own agency, aren’t your average characters, yet on USA, they’re all welcome.

So it was a no brainer that, when In Plain Sight was announced, I was intrigued. I’ll admit that I was not a fan of Mary McCormack’s Kate Harper on The West Wing, which did give me pause, but the concept of the show, and the success of USA originals, led me to record the pilot. I’m glad I made that decision.

McCormack stars as independent Mary Shannon, a US Marshal stationed in New Mexico, who works for the Witness Protection Program. The arrival of her mother (Lesley Ann Warren) and sister (Nichole Hiltz) in season one greatly complicates her world, coming to a head when she discovers that her sister is embroiled in a drug ring that collapses right there in little Albuquerque. That’s a lot to handle for a woman in her line of work, who’s gone through a kidnapping, is on the outs with her boyfriend (Cristian de la Fuente), and whose partner (Fred Weller) has alternated between wanting to leave the Marshals and being shot.

Each week, the main plotline centers around one witness or another. There are, of course, arcs that run throughout the series, but the main story is one and done. I like shows like that, where we can immerse ourselves in someone’s world, and then be rid of them after an hour. And, I’ve learned, not all WITSEC witnesses are as black and white as being either criminals looking for a deal or innocent bystanders; there’s a lot involved in entering witness protection, and the characters who do are often colorful. Kudos to the writers for so skillfully writing for a revolving door of actors.

The first season ended with Mary in quite a pickle. She returned safely from her kidnapping, only to discover how deeply her sister Brandi was really involved with Mary’s drug-dealing kidnappers. Mary’s job, and possibly her freedom, are on the line, and her only way out is to let Brandi fry. Could she do it, or would she come to her sister’s rescue one more time? It was an interesting question to pose for a dedicated agent whose family had long been an afterthought, but the answer came with so little fanfare that I was still under the impression that it hadn’t fully been answered. The jury’s still out on that one.

Anyway, I had the chance to see what’s next for Mary a bit early, pre-screening the first two episodes of the second season. And if they represent what we can expect this year, it may be a rather long short season. To be fair, I enjoyed the episodes to the same extent that I enjoyed the majority of last season’s. But there were a number of disappointments, things that could grow extremely grating over the long haul.

First of all was the letdown. As I was watching the end of season one, I felt that the show was reaching its potential, finally arriving at a plateau of “great show.” But, it turns out that the season finale was more of a crescendo, a level that, once reached, was quickly receded from. Not only did the quality fall short; I also feel as if the drug case involving Mary’s sister was left up in the air. To be sure, there are threads being picked up from last year (Mary’s house is still a mess, there are still personal reverberations from Mary’s kidnapping), but the case of the enormous drug trafficking wasn’t addressed again until the last five minutes of the second episode. And it was over in the blink of an eye. How is this not still hanging over everyone’s heads?

I also couldn’t get comfortable with new Mary. It’s a cliche that going through a traumatic experience leaves a person changed. However, federal agents are trained extensively in any number of life-threatening situations. I don’t know if US Marshals go through kidnap prep like CIA agents do, but I have to imagine that Mary would be more prepared to be snatched than I would. And, I would assume that her reaction, as out of character as would be expected, would still be more in-line with her personality. It’s extremely difficult to determine what feels authentic, but, for me, Mary did not.

Also, typical for a headstrong cop, Mary resists both her mandated administrative leave and her psych evaluation. We’ve all seen this before, but never to such a high level of incredulity. Mary is not only resistant: she simply ignores everyone and goes about her business. And she gets away with it! I know that I’m only sounding negative, and remember that I did enjoy the episodes. I just think the show can do, and has done, better.

I sincerely enjoy the relationship that Mary has with her partner Marshall. He’s both submissive and a counterbalance to Mary’s abrasive nature. Thus far in season two he’s a court jester. Instead, Mary’s new sparring partners are Eleanor (Holly Maples) the new office administrator, and Shelley (Ali Marsh), department psychologist. While the latter needs to be more assertive in her job, the former is just a puzzle. The show has never spent time in the Marshal’s office; suddenly Mary’s “nemesis” will be another neurotic control freak, who rearranges desks? The show would have made a better move bringing in a third Marshal to carry the load and get in Mary’s face. That’s the kind of friction that would add to the plot.

We got a brief look at Mary’s boyfriend Raphael (de la Fuente), and I also happened to read the transcript of a recent interview that de la Fuente did. He’s a great guy, and a great actor, but I’ve always felt that Mary can only end up hurting him. Let them be friends, confidants, whatever. But as lovers they’re just a sad couple. Yes, plenty of great guys marry strong-willed women who regularly hurt them, either by mistrusting them, shutting them out, or whatever. But in this case, as believable as the scenario is, I just don’t want to see it. There’s nothing that the relationship adds to the show other than de la Fuente, and we can have him in other ways. Unfortunately, the interview led me to believe that he and Mary aren’t ending things any time soon. I just hope that one day, before it’s too late, Raphael wakes up.

Contrary to the general tone of my review, I really did enjoy the beginning of season two. I think the show, in general, has the potential for great things. I also get annoyed at plenty of plot-points on Psych and Burn Notice, but I’m a huge fan of both, and feel the same appreciation coming for In Plain Sight. I just feel that the season is taking its time warming up, a luxury that cable series don’t really have with their truncated seasons. It is possible, however, that when it gets there, it will explode (in a good way). In addition to Holly Maples, Joshua Malina (I liked his Will and McCormack’s Kate together on The West Wing) and Laura Prepon (That 70’s Show) join an already impressive cast. And guest stars for season two include Richard Schiff (The West Wing), Cynthia Watros (Lost), David Zayas (Dexter), David Denman (The Office), Clarke Peters (The Wire), Kevin Rankin (Friday Night Lights), Liza Weil (Gilmore Girls), and more (according to de la Fuente, at least ten big names will appear).

Season one of In Plain Sight took some time to get going; if the worst case scenario is that season two needs a few weeks as well, I’m willing to wait. This is a show that has yet to waste it’s promise; it just needs to do some light tinkering.

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