Jerome Wetzel TV

WELCOME BACK KOTTER on DVD

2024-06-17T19:41:00.001-04:00

I loved Welcome Back, Kotter as a kid. It aired before my time, admittedly, but I discovered it on Nick at Nite and devoured it. It's now finally available on DVD.

Disclosure: I was sent a review copy of this release (by my request), but the opinions expressed are my own.

The 1970s sitcom is a product of its time. It's a cheesy, schmaltzy look at a teacher working in an urban setting, returning to the place he grew up to help the other screw-ups like he was before he became an adult and found teaching.

The kids are supposedly the delinquents of the Brooklyn school, but they don't do drugs or cuss or commit any serious crimes. Their insults run along the lines of "Up your nose with a rubber hose." Not long after this, there would be gritty versions of such a premise. But this is pure family-friendly sitcom.

The cast is wonderful. Gabe Kaplan was a comedian, and it shows in the humorous stories he tells his wife (Marcia Strassman) at the beginnings and/or ends of episodes. John Sylvester White is perfect as the grumpy administrator who doesn't trust Kotter any more than White trusts his class.

The students are memorable. John Travolta shines in the role that put him on the map, Vinnie Barbarino. Lawrence-Hilton Jacobs as hip basketball player Freddie "Boom Boom" Washington, Robert Hegyes as tough guy Epstein, and of course Ron Palillo as Horshack with the distinctive laugh round out the main crew.

There are stereotypes to be found, to be sure. The story is short on realism. But the messages of the episodes are solid, with acceptance and bettering yourself the main point. Is it any wonder I wanted to follow in Mr. Kotter's footsteps and be a social studies teacher?

Surprisingly, the picture quality in this set is pretty good. I don't think it's been remastered, as it does look old. But on my large HD screen, it wasn't too grainy. The discs are no-frills with zero bonus features. You get all 95 episodes, complete and in order, which is all I really wanted.

I'll be binging the whole thing, finally seeing episodes I missed. If you share my nostalgia, consider picking up a copypicking up a copy and joining me.

Craving for SWEET TOOTH

2021-06-17T07:44:00.015-04:00

Article first published as SWEET TOOTH TV Review on Seat42F.

Note: This review only covers the first episode of the series.

Netflix recently released SWEET TOOTH, a series starring a young boy who is half deer. Based on the comic series, SWEET TOOTH follows the child as he ventures out into the world, dodging hunters and searching for his mom. He isn’t alone, thank goodness, but he does have to rely on himself a fair amount. Surely, the story have a happy ending, though probably not the one the boy hopes for.

SWEET TOOTH takes a little time to get going, providing exposition through the eyes of Dr. Aditya Singh (Adeel Akhtar, Enola Holmes). We see a plague overtake his city, and are told it’s widespread. This could be a bit traumatizing for some who just lived through a pandemic, especially if you lost someone. But it really isn’t too graphic, focusing on Singh’s emotional journey, including as his wife, Rani (Aliza Vellani, Little Mosque on the Prairie), becomes one of the infected. Listed as a lead, it’s certain we’ll come back to Dr. Singh’s tale in later episodes. This is a good way in for those who aren’t already drawn to post-apocalyptic fare. In all, especially with the accompanying narration by James Brolin (Life in Pieces), it’s a strong opening.

From there, it quickly moves to a man (Will Forte, Last Man on Earth) carrying a baby into the woods. We know from the hospital scenes that there are many animal-human hybrid infants, though we don’t know why, and this guy has one with him, a little boy with deer features. The man, known to the boy as Pubba (sounding like Papa), raises the child for nine years, and this extended sequence, making up about half the episode, is phenomenal. It is incredibly moving, if a little tame, and the love the father has for his son is palpable. Forte ditches the goofiness and really brings home the feelings.

It isn’t surprising when that happy time comes to an end; the trailer and poster spoil that it will. But like the beginning of the film Up, it could make a fitting stand-alone short that would be worth watching repeatedly.

The rest of SWEET TOOTH’s pilot sets up the premise. Pubba makes the boy, Gus (Christian Convery, Legion), promise not to leave their home, but it’s a given that he won’t listen. Gus does stay for awhile, but this story needs a journey, and you can’t get that hiding away. There is an arc, quickly gone through, developing the kid, and it’s just as moving as the stuff with his dad. Gus is a compelling protagonist who will immediately have you rooting for him.

The second lead, Tommy Jepperd (Nonso Anozie, Game of Thrones), is barely introduced in episode one, but already demonstrates plenty of complexity to attract interest.

SWEET TOOTH isn’t for little kids, even if it looks like it might be. But older children can watch it with their parents, as the deaths aren’t gruesome and the terror isn’t intense. It has a magical and hopeful spirit about it that is sure to intrigue many viewers, feeling like a heart-warming story that is sanitized, but not so much that it distracts. The acting seen so far is solid, and the story is interesting. Set in the woods, it also looks beautiful. There’s lots to praise SWEET TOOTH on.

I would be surprised if this series doesn’t have legs. Reviews have been good so far, deservedly so, and I was easily sucked into the story. I’m sure I’ll watch further installments before the end of the day. With a first season of only eight episodes, it should be an easy, enjoyable binge.

SWEET TOOTH’s first season is available now on Netflix.

LOKI Resurrected

2021-06-15T15:50:00.014-04:00

Article first published as LOKI TV Review on Seat42F.

The latest MCU series is LOKI, which premiered on Disney+ this past week. Tom Hiddleston reprises his role as the titular villain circa the first The Avengers film, having just killed Coulson and attacked New York. As glimpsed during the time travel portion of Avengers: End Game, Loki briefly escapes this time with the Tesseract. But as LOKI the series begins, he’s caught by the Time Variance Authority, since he’s a variant out of the accepted timeline. In their custody, he faces punishment and possible death. Until a TVA officer with sway takes an interest in him, hoping Loki can help the organization.

Loki himself doesn’t really understand (or at first believe) what’s happening to him, and that’s beneficial to the audience. He’s a fish out of water, and our way into this new world, a corner of the MCU we were previously unaware of. Loki has always straddled the line between hero and bad guy, and while this Loki comes from the darker period of the character, it’s easy enough to make us care about him, knowing he is capable of more. Which Loki is shown before the end of the first hour, an important step in getting a redeemed Loki, as he was before he died in the films.

The co-lead alongside Loki is Mobius (Owen Wilson, The Royal Tenenbaums), the agent who wants Loki to help him. He seems about as opposite a personality as one might get from Loki, easygoing and confident, secure in who he is. He’s a good way to get us into the world and introduce the rules, as there is never any doubt that he knows what he’s doing in his job. Wilson is playing the role as he always does, but if anything, with even more depth, an excellent scene partner for Hiddleston.

Rounding out the cast are a slew of smaller parts that aren’t really developed yet. Gugu Mbatha-Raw (The Morning Show) is a great presence as Judge Ravonna Renslayer. Wunmi Mosaku, who shone last year in Lovecraft Country, is hilarious as Hunter B-15. And Eugene Cordero (The Good Place, Star Trek: Lower Decks) is great doing what he does best as the hapless Casey. I look forward to more from each of them, easily seeing their parallels to Monica, Woo, and Darcy from earlier MCU series WandaVision.

The plot is a little slow to get started, but that’s OK because of the sheer amount of new information that had to be covered in the initial installment. So much is added to expand the universe (or omniverse). Yet, at the same time, LOKI finds time to give us some extremely moving character moments and showcase its leads’ talents. It’s a great balance of exposition, action, and development, well executed and immediately enticing.

Some fans have already dissected Avengers: End Game for what they perceive as inconsistencies in the time travel portrayal, and that is sure to continue with LOKI. But here’s the thing: Time travel isn’t real. So as long as a franchise is consistent within itself and the rules it sets out, then I recommend suspending disbelief and accepting the way it is. Having a character in the first episode of LOKI declare what the Avengers did, mucking with time, was always meant to happen is an easy out. It’s also a way not to get bogged down in the details and keep the story moving, which seems necessary.

LOKI is not quite the mystery box WandaVision was. There is plenty still unknown, but that doesn’t seem to be the point of the series. It is a lot more complex than The Falcon and the Winter Soldier, and certainly more ambitious. I would say by finding a place between those two, LOKI has staked its own ground and already earned its keep, just as compelling (if not more so) than the first two efforts. I look forward to see how it progresses.

New episodes of LOKI drop Wednesday on Disney+.

SHADOW AND BONE A Bit Hazy

2021-04-29T07:24:00.001-04:00

Article first published as SHADOW AND BONE Review on Seat42F.

Netflix released the much-anticipated SHADOW AND BONE this past Friday, based on the best-selling Grishverse books by Leigh Bardugo. The eight-episode first season combines elements of multiple books set in the universe, primarily Shadow and Bone, following a young woman with hidden magical abilities, and characters from Six of Crows, about a gang of thieves. I have not read any of the books in the series, so my review comes from a perspective of just evaluating the show on its own, rather than how it does or does not follow the novels.

SHADOW AND BONE is a young adult fantasy series, a popular genre. Its darkness is more Game of Thrones than Harry Potter. Its world is harsh and deadly, and its villains are everywhere, holding lots of power and influence. In this society where wealth talks, it makes sense that the hero, Alina Starkov (Jessie Mei Li, All About Eve), is an orphan foreigner, outside the spheres that control things. Thus, it’s a classic tale of an outsider rising up and threatening the balance, a state that would be cheered by many a commoner, but the elite will stop at nothing to prevent.

Alina thinks she’s an ordinary cartographer, and her only concern in life is to stay near her best friend, Malyen “Mal” Oretsev (Archie Renaux, Voyagers). Thus, when Mal is assigned to go through The Fold, a dark, deadly, magical realm that divides their country in two, Alina is determined to go with them. Though her machinations mean her whole unit must endure the danger. Good thing she doesn’t seem to care about them much, because they are soon torn asunder, which is when Alina’s superpowers reveal themselves, saving much of the group in unexpected fashion.

The events described above trouble me for several reasons. Alina is supposed to be the hero of SHADOW AND BONE, yet she shows non consideration for the lives of almost anyone else. Yes, a hero’s journey often finds them overcoming their failings, but to have a hero who is so self-involved to the point where many of her comrades are just canon fodder is pretty bad upon any examination. Also, the problems in The Fold start when a young man lights a lantern, drawing attack. Which begs the question, given the obviousness of the mistake and its big implications for the crew, why even carry a lantern? And if there’s a good reason to do so, why was it not drilled firmly into the heads of the travelers not to light it? It was mentioned once, and given the disaster that follows, that wasn’t nearly enough.

Alina’s display of light, outing her as a mythological Sun Summoner, draws the attention of General Kirigan (Ben Barnes,Westworld), who wants to use her for his own purposes. It also propels a gang of thieves, Kaz Brekker (Freddy Carter, Free Rein), Inej Ghafa (Amita Suman, The Outpost), and Jesper Fahey (Kit Young, National Theatre Live: Julius Caesar). Initially these three are on their own plot thread, but soon enough seem destined to be drawn into the central one. This rounds out the central cast.

The world portrayed in SHADOW AND BONE seems both relatively small and not explained enough in the first couple of episodes. We know the country is divided in half by a magical realm which hasn’t always been there, and they can’t go around it because of enemies in the north and mountains in the south. Other than that, it’s not completely clear what other nations play a part and how, though there are definitely others. The series could have benefitted with a prologue better explaining the locations in which this story is set.

Other than that, I found it a bit bland. It looks fantastic, to be sure, but I wasn’t excited or drawn in. Some of the characters are charming, but not enough of them to make the series compelling. They lack the complexity of GoT or other similar offerings. I find myself struggling to care what happens, or even understand the implications of everything going on. It’s confusing and doesn’t have the magnetism required to motivate figuring it out. I have a feeling readers of the series, who already know the universe, will enjoy this a lot more, but for the newbie who isn’t already familiar, it’s confusing and a bit boring. I don’t think I’ll be finishing the season.

SHADOW AND BONE is streaming now on Netflix.

Meet MARE OF EASTTOWN

2021-04-24T07:16:00.004-04:00

Article first published as MARE OF EASTTOWN Review on Seat42F.

HBO premiered the new seven-part miniseries MARE OF EASTTOWN this week. Set in a fictional small Pennsylvanian town, the show follows a young grandmother who is the local detective. Unfortunately, she’s made no progress on a missing girl’s case for a year, and the residents are losing faith in her abilities to keep them safe. When a body is found, the protagonist faces angry neighbors, an unappreciative family, and a thankless job with her usual cynicism and rugged determination.

Kate Winslet (Mildred Pierce, Revolutionary Road) stars in MARE OF EASTTOWN as Mare Sheehan, the aforementioned detective. Mare is no-nonsense and no-fluff, barely taking time to eat something, forget healthy, and with questionable hygiene. She has a difficult life, housing four generations under her roof, including her mother, Helen (Jean Smart, Watchmen, Legion), who seems to prefer Mare’s ex-husband, Frank (David Denman, The Office), to her daughter. Mare’s teen offspring, Siobhan (Angourie Rice, Spider-Man: Far From Home), is typically moody, and Mare also has her dead son’s baby. So even without the failed investigation hanging over her head, Mare has plenty on her plate.

Winslet is excellent in MARE OF EASTTOWN, of course, and one would expect no less. She also makes strong acting choices, so it isn’t a surprise that the series is very well-made and specific. It’s extremely grounded, one of the more realistic cop shows I’ve seen, and the cast is all-around great. Even Winslet’s strange “Delco” accent works in context, only coming out here and there.

One wonders why Mare has such a challenging life. In high school, she was “Miss Lady Hawk Herself,” the title of episode one, a popular athlete. But she seems to have peaked then, and having stayed local, she wears the old title around her as heavily as any of her other burdens. Being reminded of the event in episode one doesn’t help her mood, which appears to be sour at the best of times, even though her chosen profession and full house indicates she cares more than she lets on.

Besides the amazing Smart, there are some other supporting players to note. It’s bittersweet to see Phyllis Somerville (The Big C, Stoker) pop up among the neighbors after her passing last year. She plays a bit different of a role than most I’m familiar with from her, and her presence is certainly a draw. Guy Pearce, Winslet’s love interest in Mildred Pierce, is also present as Mare’s sexual hookup in MARE OF EASTTOWN. Theirs is an odd chemistry, but it works. Evan Peters (WandaVision) doesn’t make an appearance in the premiere, but is set to star in the series, as well, playing a detective brought in from the outside to help Mare, which I’m sure she won’t appreciate at all.

The girl whose body is found is a focus of a lot of the first hour. We see her situation before she ends up dead, painting a picture of who she is and shining light on a few suspects. This is a good way to round out the crime, making Mare’s investigation mean something to the viewers, who already care about the deceased.

MARE OF EASTTOWN is super grounded, gritty, and slow. It is the definition of prestige drama with none of the prestige in the setting or characters’ lives, as the town and people are pretty run-down. It’s definitely awards bait, so if you want to be ready for the Emmys and Golden Globes, you’ll want to make sure you tune in. But it’s also pretty entertaining, too, if for no other reason than to watch some actors at the height of their game doing what they do best.

MARE OF EASTTOWN airs Sundays on HBO.

Such a CRUEL SUMMER

2021-04-23T15:25:00.001-04:00

Article first published as CRUEL SUMMER Review on Seat42F.

Tonight, Freeform presents the first two episodes of a psychological thriller series called CRUEL SUMMER. Written by Bert V. Royal Jr. (Easy A), each episode focuses on the events of a single date in three consecutive years beginning June 21, 1993, 1994, and 1995. The same characters played by the same performers are in all three timelines, which makes sense, given the brief spans between them. But the world is drastically different for almost everyone involved in each of the three. The mystery is exactly what happened to propel the changes seen in each subsequent year. And while the broad strokes are outlined pretty early on in the run, the full truth remains to be revealed.

At the start of the first episode of CRUEL SUMMER we meet nerdy Jeanette Turner (Chiara Aurelia, Tell Me Your Secrets), who is celebrating her fifteenth birthday. All she seems to want to do is hang out with her best friends, Vince (Allius Barnes, Thumper) and Mallory (Harley Quinn Smith, Jay and Silent Bob Reboot). She is jealous of the popular girl, Kate Wallis (Olivia Holt, Cloak & Dagger), and covets Kate’s boyfriend, Jamie Henson (Froy Gutierrez, Teen Wolf.)

A year later, as Jeanette turns sixteen, she’s basically taken over Kate’s life, including her boyfriend and friends, having grown apart from Vince and Mallory. That’s strange enough, but Kate is nowhere in sight, and we’re not sure how Jeanette got here. Another year later, as Jeanette is seventeen, things have changed again, with a dark, depressed Jeanette ostracized by everyone and speaking to lawyers. What happened?

CRUEL SUMMER is in no hurry to tell us everything, as that would defeat the purpose of the show. But it is quick to start giving details. By the end of hour one, you may have a pretty good idea of the how and why of Jeanette’s trajectory. At the end of the second hour, which will air back-to-back tonight, you may question the idea you had. This is going to be a convoluted story with many twists, and what seems to be a certainty will likely be proven to be wrong repeatedly.

For instance, I’m not sure if the main character is Jeanette. The pilot is all about her, but on the poster, she shares focus with Kate. And the second half turns its attentions on the popular girl, whose life is far from the perfect Jeanette assumes it to be. It’s easy to hate Kate, until you don’t. But what ultimately ends up having happened will decide if she’s a hero or villain. Jeanette, too, for that matter. The girls are inexorably intertwined, two seemingly similar people with different circumstances starting out.

There is a lot about CRUEL SUMMER that’s enticing. The multiple timelines format has become a bit of a gimmick lately, following the success of This Is Us, but the short jumps between theme her make this one seem at least somewhat fresh.. A good thriller mystery is also a draw, especially one like this that is surely a limited series. Not meaning they won’t do subsequent seasons, but if there are, they’ll need a new narrative. It’s also very squarely a young adult show, which is a popular genre. Beyond that, there are also some very interesting things to think about as the point of view shifts.

The main drawback is that it doesn’t feel compelling. With few recognizable performers, it probably won’t attract beyond those already watching the network. The acting isn’t bad, but it’s not prestige drama level, either. Many of the cast are young and they’ll likely get better in time, but I don’t think any will be awards bait for this series. So it’s hard to imagine it’ll build steam beyond the target demo. Not necessarily a bad thing, as long as competing with the streaming services isn’t the goal. It’s a decent show that will serve the network’s existing audience, and seems to be airing right where it should be.

CRUEL SUMMER premieres tonight on Freeform at 9PM.

KUNG FU Kicks Butt

2021-04-09T13:18:00.005-04:00

Article first published as KUNG FU TV Review on Seat42F.

The CW’s newest action drama is KUNG FU. A remake of the 70s show of the same name (and 90s continuation), this series is set in the present day. A young woman bristles against the path her mother has set for her life, and instead spends three years in China learning Kung Fu. But you can’t run away from your family or your problems, so eventually the young woman goes home and finds even more trouble. Has fate set her up to save everyone? Or is she just in the right place at the right time with the right skills?

My first thought, even before I looked up the producers, which include Greg Berlanti, is that KUNG FU could easily be a spin-off of former CW series Arrow. Arrow had lots of Asian symbology to it, and of course so does KUNG FU. The formula is very similar, as well, with a hero estranged from her family for years, only to return and try to play savior in the place she grew up, as well as getting drawn into larger battles. The plot is divided between a superhero (which the protagonist definitely is) going through family and romance drama, and fights against those who would hurt people, often on a large scale.

This Arrow comparison isn’t a complaint; I liked that show quite a bit, and now that it has come to an end, there is definitely room for another show of its type on the network. KUNG FU also feels timely and important to have such an Asian-heavy cast and team in a show like this right now, especially given the racism and violence that has been exacerbated recently against Asian Americans. Familiarity breeds acceptance and diversity, so it’s vital to have representation. The fact that this is a good series relatable to anyone who grew up with or has a family may help it temper some resentments. But that aside, it’s just a good, entertaining series.

Kung Fu “Pilot” Pictured (L-R): Olivia Liang as Nicky Shen and Jon Prasida as Ryan Photo: Kailey Schwerman The CW

Olivia Liang (Legacies) stars in KUNG FU as Nikky Shen, the hero referenced above. Unlike in Arrow, Nikky’s team is made up of her biological family, with her techy sister, Althea (Shannon Dang, Sorry for Your Loss), and pre-med brother, Ryan (Jon Prasida, Tomorrow, When the War Began), assisting her almost right off the bat. She is also joined by new love interest who can handle himself in a combat situation, Henry (Eddie Liu, Silicon Valley), and former boyfriend, Assistant District Attorney Evan (Gavin Stenhouse, Allegiance), as needed.

But the best parts of the pilot, in my opinion, involve Nikky’s interactions with her parents, Mei-Li (Kheng Hau Tan, Crazy Rich Asians) and Jin (Tzi Ma, 24, Mulan). Their relationship is complicated, to be sure. But true to TV tropes, love conquers any issues. Mei-Li may be hurt by Nikky disappearing for a while, but there’s no doubt they can heal their relationship and move forward. It may be a cliché at this point to inform a parent-child relationship by the parent’s bond with their own progenitors, but it works well as a motivation explainer, and it’s effective.

I enjoyed the KUNG FU pilot quite a bit. There is a lot that is covering well-worn ground, but there’s also enough of a difference here, especially in the culture that informs, that it still feels fresh enough. It builds upon what has come before it, but it’s also the next natural evolution of some of those characteristics, in a good way. I think it’s on the right network and coming at the right time to do well. It’s been a while since I added a non-DC CW show to my TiVo season passes, but I think this one is going to make the cut, at least until I see how it develops from here.

KUNG FU premieres Wednesday, April 7th at 8PM ET on the CW.

Catching Up With THE FALCON AND THE WINTER SOLIDER

2021-03-25T11:47:00.017-04:00

Article first published as THE FALCON AND THE WINTER SOLDIER Review on Seat42F.

SPOILER WARNING: This review contains spoilers about the first (and only the first) episode of the series.

Marvel’s second MCU television series premiered on Disney Plus this weekend. THE FALCON AND THE WINTER SOLDIER, as the title implies, follows Sam Wilson, a.k.a. The Falcon (Anthony Mackie) and Bucky Barnes, a.k.a. The Winter Soldier (Sebastian Stan). Doing what, it’s not quite clear in the first episode, as the two do not come into contact. Nor are two more important characters from the films, Sharon Carter (Emily VanCamp) and Zemo (Daniel Bruhl), anywhere in sight. But the first hour is a set up as to where the two heroes currently are and what their state of mind is before the six-episode story really gets going.

The premiere of THE FALCON AND THE WINTER SOLDIER starts with a big action sequence featuring The Falcon before it gets personal. I know a lot of people watch Marvel for the big action sequences, and this one should satisfy them. It’s a start-of-the-movie bit, with the hero versus a gang of villains. Not even close to a final showdown, but something to get people excited.

Personally, I thought it went on a little long. Perhaps it did so because there was almost no more action the rest of the episode and they wanted to take care of that segment of viewership. But things got a lot more interesting for me once we checked in with Sam the person, not Sam the hero, and that’s what I hope THE FALCON AND THE WINTER SOLDIER is primarily about.

Sam is not a man out of time, but he is a man out of step with everything around him. His family has been suffering financially, his sister, Sarah (Adepero Oduye, 12 Years a Slave), having to take care of the family business herself when Sam blipped out of existence for five years. (And can we PLEASE have a series set DURING the blip??? I need to see that!) Sarah doesn’t welcome him back with open arms. Sam is determined to hang onto the past, which causes conflict between them. The question remains, will it be possible for him to do so? Or does he need to move on?

Along similar lines, Sam willingly gives up Captain America’s shield to the Smithsonian, not able to see anyone else but Steve Rogers as the Cap. But by handing over the shield to the U.S. government, he gives up control of Steve’s legacy. So like his family’s business, things may now have taken a turn that he doesn’t have anything to do with and can’t get back.

By contrast, in THE FALCON AND THE WINTER SOLIDER, Bucky is trying to make up for the past rather than change it. He is in therapy with Dr. Raynor (Amy Aquino, Borsch) and slowly making amends for the wrongs he did as the Winter Solider. This isn’t easy, but he’s trying, and that’s what matters, even if I’m not sure he’s feeling it does. At least this is something that gives him purpose, considering almost everyone he knew is dead and he’s a man out of time.

He also dips his toe into the dating pool with entertaining results, proving just what an old man he really is at heart. It’s the type of comedy mined for Steve in the films, but somehow seems even more amusing when it happens with Bucky.

Of course, there is a villainous group rearing their heads halfway around the world, as Sam’s friend Joaquin (Danny Ramirez, The Gifted) is looking into. This will probably be the mission that brings Sam and Bucky together. Zemo and Sharon Carter are probably connected, too. I’m guessing that will be the main thrust for the next five episodes.

But I hope as THE FALCON AND THE WINTER SOLDIER takes off, it doesn’t forget what this first installment was about: two men searching for their place in the world. I find that tale more compelling, and that’s the one I want to see more of. Sure, they can go kick butt against supervillains and that’s entertaining. However, rich characters are the heart of the franchise, and with six hours to tell the story, there’s plenty of time to explore that here. Let’s hope they do.

THE FALCON AND THE WINTER SOLDIER releases new episodes to stream Fridays on Disney Plus.

New Series INVINCIBLE

2021-03-23T12:11:00.007-04:00

Article first published as Amazon Prime's INVINCIBLE Review on Seat42F.

Amazon Prime has a new hour-long animated series coming next week called INVINCIBLE. Based on the comics of the same name by Robert Kirkman, the story follows a teen boy who begins to exhibit superpowers like his dad. This in a world filled with supers, both heroes and villains, with teams of powered people everywhere you look. But this particular boy is soon drawn into drama between several of them, and some dark secrets make things messy, indeed.

In preparing for this review, I not only watched the three episodes Amazon made available, but also read the first dozen or so issues of the comic. INVINCIBLE is a compelling tale that starts out looking like one thing but then becomes something almost completely different, yet at the same time holding onto a steady core. There are differences in the adaptation from page to screen, with some characters changing ethnicity and gender, and events are rearranged. Also, the comic seems to have more roles that are direct copies or parodies of existing properties from other publishers. But the changes seem to be good ones, mostly made to deepen the story and fit the episodic format length. If you were already a fan of the book, I suspect you’ll like this adaptation.

I can’t think of another hour-long animated show. The episodes, without commercials, come in at forty-some minutes, about as long as a broadcast drama, and double the length of most cartoons. The material in INVINCIBLE justifies it, though. Like Robert Kirkman’s other famous property, The Walking Dead, the story is complex and disturbing, at times graphically violent (as teased in the trailer). Yet, INVINCIBLE also has a cheery optimism because of its lead, Mark Grayson (Steven Yeun, The Walking Dead), that keeps things entertaining.

The voice cast is stacked with huge talent. Yeun stars, and the other two leads listed in the credits are Mark’s superhero dad, Nolan Grayson (J.K. Simmons, Whiplash, Spider-Man), and ‘normal’ mom, Debbie Grayson (Sandra Oh, Grey’s Anatomy, Killing Eve). There’s a shady government type, Cecil Stedman, voiced by Walton Goggins (Justified). And among those playing other supers are Gillian Jacobs (Community), Jason Mantzoukas (The Good Place), Zachary Quinto (Star Trek), Seth Rogen (Pineapple Express), Mahershala Ali (House of Cards), Michael Dorn (Star Trek: The Next Generation), Clancy Brown (Lost), Melise (The Vampire Diaries), Lennie James (The Walking Dead), Michael Cudlitz (The Walking Dead), Chad L. Coleman (The Walking Dead), Ross Marquand (The Walking Dead), Khary Payton (The Walking Dead), Lauren Cohan (The Walking Dead), and Sonequa Martin-Green (The Walk-, er, Star Trek: Discovery). Not to mention other characters voiced by Jon Hamm (Mad Men), Chris Diamantopoulos (Silicon Valley), Andrew Rannells (Girls), Zazie Beetz (Atlanta), Jonathan Groff (Mindhunter) and Mark Hamill (Star Wars). Believe it or not, this is not a complete list of recognizable names, and this list should give you an idea of how good the show is that so many pros wanted to be involved.

The world of superpowers has been done to death, and yet INVINCIBLE feels fresh. Partly because it leans on the tropes and familiar archetypes you already know and subverts them. Partly because it sometimes feels like its making fun of the genre it portrays, even while the characters feel grounded. This is a new take, and one worth watching.

As far as the story goes, I can’t say much. There are locks on spoilers, and I wouldn’t want to give anything away if I could because the shocks hit hard and fast. What I can say is this. The pilot starts out looking very much like a late 80s / early 90s cartoon of my youth, and that style never changes, lending an immediate comfort. But by the end of the first hour, this is disrupted, and each subsequent installment only continues the transformation. It is an artistically interesting production with an intriguing mystery and plenty of emotional-moving scenes. I both laughed and cried already. I definitely recommend it.

INVINCIBLE drops its first three episodes on Friday, March 26th, with weekly episodes streaming after that, only on Amazon Prime.

Not Quite THE ONE

2021-03-19T16:13:00.013-04:00

Article first published as THE ONE Netflix Review on Seat42F.

One of Netflix’s newest series is THE ONE. A British sci-fi crime drama, THE ONE is set in the near future where a company has found a way to match someone with their soul mate using DNA testing. As presented, the test only gives each person a single perfect match. If both people submit to the test, then that match is shared with them. In this world, there has been a HUGE spike in divorce, causing political unrest. But the head of the company calls this only a slight adjustment, and says divorces will be almost nonexistent after society adapts. Who is right, and what other ramifications are there to this technology?

The description above seems idyllic. I certainly wished for such an easy way to find someone in my younger, single days. But since perfect worlds make bad stories, given the lack of drama, THE ONE of courses only uses that as an overlay. Seemingly perfect worlds with a lot of bad stuff going on under the surface are a more familiar genre, and this show is definitely an entry in that one.

What surprises me the most is how much of the plot isn’t really about the system of perfect matches itself. That’s certainly present, and the system is manipulated by the cynical and the guileless. However, much of the driving story is made up of other tensions that happen around the system but not as much because of the way the system works. Which is too bad because I really want to know why only one person matches with you in the entire world and what happens if that person is no longer around? Can’t there be a second tier for those whose match are dead? Are there not other great matches?

Rebecca Webb (Hannah Ware, Boss) currently runs the primary company in THE ONE. She touts the success of her own relationship as being a product of that system, though like much of what she says, that is a lie. Instead, she is concerned only with making her system prevalent throughout the world, no matter the cost. Whether this is because she really believes in it or because she’s greedy, it’s hard to say. Flashbacks reveal some personal drama and her connection to a dead body that threatens to derail everything.

Another lead in THE ONE is Kate Saunders (Zoë Tapper, Mr. Selfridge), a cop who is surprised that her own match is a woman. Although she has dated both men and women, she expected to be paired with a guy. She is absolutely delighted with her pairing, though, until things take a tragic turn. Might this motivate her in looking into Rebecca? It’s not a focus in the first three episodes I viewed, but it seems like a logical next step.

Rounding out the trio of central women is Hannah Bailey (Lois Chimimba, Trust Me). Lois feels insecure in her marriage to Mark (Eric Kofi-Abrefa, Harlots), and after watching her best friend’s union fall apart because of THE ONE’s system, decides to proactively protect herself. So she submits her husband’s DNA and tracks down his match. Which of course inadvertently brings her husband and the other woman into contact with one another. Are any problems after this Hannah’s own fault? Will her husband fall in love and leave an otherwise happy relationship? Are they really happy if she’s this insecure?

The questions posed in THE ONE are interesting and worth exploring. There are many ways to go with this, and I’m glad it stays relatively focused on three plot lines for the initial eight-episode run (or at least the three episodes I’ve seen). Yet, I don’t find it as compelling as I’d expect to. It’s more a feeling than a concrete set of gripes I can list. Tone or pacing may play a part, but it’s just an overall impression I’m left with. It seems a well enough made and acted show, and I’m somewhat interested. But there’s something about it that feels less the sum of its parts and keeps it from rising to a must-see series.

THE ONE is streaming now on Netflix.

SUPERMAN AND LOIS Are Parents

2021-02-28T07:44:00.014-05:00

Article first published as SUPERMAN AND LOIS TV Review on Seat42F.

The CW has a new entry to their DC Arrowverse with SUPERMAN AND LOIS. Superman is a character who has had many, many incarnations on screens big and small, and the CW has had a lot of superhero shows over the past decade. But while key elements to Superman’s well-known legend are present, SUPERMAN AND LOIS feels different on both counts, and a worthy addition to a crowded slate.

SUPERMAN AND LOIS spends a few minutes reminding fans of the story between the titular couple, which is both a refresher on the often-told origin story and an outline of what choices have been made differently in this version of the tale. Tyler Hoechlin and Elizabeth Tulloch reprise their lead roles from earlier CW DC appearances. Then, we catch up with the couple in Metropolis, where Lois is “the most famous reporter in the world” while Clark’s Superman is successfully keeping the planet safe. And they have twin fourteen-year-olds at home, Jonathan (Jordan Elsass, Little Fires Everywhere) and Jordan (Alex Garfin, The Peanuts Movie), who sometimes feel a bit overlooked by their busy parents, especially Clark, whose secret they don’t know.

The primary plotline in the pilot of SUPERMAN AND LOIS finds Clark feelings out-of-touch as a father and struggling to right that. He still saves people, but he’s realizing that he needs to be present at home, as well, a sentiment that Lois agrees with, but her father, General Sam Lane (Dylan Walsh, Nip/Tuck), does not. So when Clark is laid off by The Daily Planet and his mother, Martha (Michele Scarabelli, Alien Nation), passes away, he takes the opportunity to move his family to Smallville and try being a stay-at-home farmer-father.

In true hero fashion, Clark has multiple motivations for doing this, besides his wife telling him to be a better dad. Lois strongly suspects something rotten is going on in the dying small town as a rich man forces residents into reverse mortgages and buys up properties. Also, moody Jordan exhibits superpowers, although his brother, star athlete Jonathan, does not. And the boys discover Clark’s secret. So he’s trying to get back in touch with them while helping them cope with tough stuff in the only way he knows how – the same way his parents did with him.

Smallville is full of memories, of course. Besides the farm, there’s Clark’s ex, Lana Lang Cushing (Emmanuelle Chriqui, Entourage), who works for the bank. Her husband, Kyle (Erik Valdez, Graceland), is kind of a jerk, though Lana makes excuses for him. Their daughter, Sarah (Inde Navarrette, 13 Reasons Why), is clearly a love interest for Jordan, despite already having a boyfriend. Plus there’s a villainous Luthor afoot because, of course.

But SUPERMAN AND LOIS won’t be a rehash of Smallville or any other Superman adventure because Clark is in a different place. He’s the dad now. And his sons are very different from him. They have their own challenges and relationships, which are pretty different from Clark’s with his parents. All of the Arrowverse shows have some kind of family element, but on this one, family is the central core, with the superhero stuff being the side story. For now, anyway. So it’s a new twist on an old tale, and one I’m very much looking forward to. Fresh Superman is not something I expected in 2021, but SUPERMAN AND LOIS delivers.

There are two things that bother me a bit about the setup. One, Jonathan and Jordan seem way closer and more understanding of one another than any two siblings I’ve ever seen in real life. Two, I get Clark being busy with his Superman stuff, but Lois is an extremely present mother while still maintaining her international reputation? That seems far-fetched. More likely, there’s a missing caregiver who was with the boys a lot before the series begins.

Still, these are small squabbles, and I’m excited to see this iteration. SUPERMAN AND LOIS airs Tuesday evenings on the CW.

Hello, CLARICE

2021-02-18T08:40:00.012-05:00

Article first published as CLARICE TV Review on Seat42F.

CBS’s newest drama is CLARICE. As you might guess, it is related to The Silence of the Lambs and its protagonist, Clarice Starling. In fact, the story is set in 1993, a mere year after the events of the film and book. Clarice isn’t doing all that well, mentally speaking, suffering some severe post-traumatic stress from her ordeal. While being evaluated to see if she’s even fit to do her job, a status very much in doubt, Clarice is called up by the Attorney General of the United States (who also happens to be the mother of a girl Clarice rescued) to hunt a new possible serial killer.

A lot of CLARICE’s pilot is very interesting. Rebecca Breeds (The Originals) does a fine job portraying the damaged agent, and all the pain and suffering she is going through. Clarice is not OK, and yet she often manages to function in public and in her job. Breeds strikes just the right balance of sanity and trauma in crafting the role to make her believable. Clarice is easy to get annoyed at, as she makes many bad decisions or acts rashly, but Breeds keeps her sympathetic, as well, even when the character is making her own life harder.

Similarly, the production may call to mind NBC’s ill-fated Hannibal, evoking some artistic images. Although, CLARICE often goes for the gruesome over the pretty, so it’s not quite the same thing. The pacing moves a lot faster and the characters, other than the titular one, don’t seem as well-developed, either. So while those fond of Hannibal (for very good reason) may be pleased to see some similarities, CLARICE doesn’t live up to that previous effort.

There is a lot of imagery from the events of the film, reshot, of course, with new actors and sets to that everything matches. This is a good element, immediately calling to mind the horror Clarice bore witness to and helping audiences understand where she is. It’s a finely crafted premise executed pretty well in that regard.

Where CLARICE shows its weaknesses are among the supporting players. It’s not because the actors aren’t good; CLARICE has the likes of Kal Penn (Designated Survivor, House), Michael Cudlitz (The Walking Dead), and Jayne Atkinson (House of Cards) in its lineup. But the roles these actors play aren’t great. Jayne’s Ruth, the aforementioned attorney general, is too single-minded and harsh. Penn’s Shaan gets almost nothing to do in the pilot. Cudlitz’s Krendler is the most well-rounded of the three, playing Clarice’s boss, but even the parts where softness gets through his tough exterior feel cliché and tired. I don’t blame the performers, but these are stock characters in a procedural, not the deep ones that make up a high-quality drama.

Which makes sense, because CLARICE is a procedural. The pilot hints at a larger story arc, and I’m sure it’ll be followed up upon. But the whole season isn’t spent on a case, like the prestige shows. This is CBS, so most bad guys are caught in an hour and not much changes. With this unfortunate core, the high-quality aspects seem like set dressing, not the point of the series, and the program suffers for it.

The world doesn’t exactly need a better version of CLARICE; there are enough other series in this genre that foot that bill. But any chance this one has of standing among them is squandered by the network television mantra to have things static and easily consumable. This is fine for their audience now, but doesn’t necessarily build a devoted fanbase that will keep it living and talked about on streaming services from years to come.

CLARICE airs Thursdays at 10/9c on CBS.

Meet the New RESIDENT ALIEN

2021-02-02T08:45:00.013-05:00

Article first published as TV Review: RESIDENT ALIEN on Seat42F.

SyFy’s latest dramedy is RESIDENT ALIEN. Based on the comics of the same name, the series follows an extraterrestrial that crash-lands on Earth and has to fit in among the local population. He tries to stay apart initially, taking the identity of a doctor who lives in a remote cabin in Colorado near the crash site. But when the town’s local physician dies and no one else can get through the roads at this time of year, the mayor pulls “the doctor” out of retirement and forces him to fill in. Toss in a murder mystery, possible romance, a child nemesis, and a planned genocide, and there’s a lot going on.

Alan Tudyk stars in RESIDENT ALIEN as Harry Vanderspeigle, the human appearance of the alien (once the real man is killed). Tudyk has a long resume full of lots of voice-over work (Rogue One, Harley Quinn), as well as both comedic and dramatic turns in the series Firefly and its film spin-off, Serenity, so he’s already proven his bona fides and is overdue for a starring role. He mixes just the right amount of levity to a very dark story, and his humor is beautifully downplayed. Tudyk finds plenty of good moments for subtle acting, both physical and emotional, and is highly believable in a very strange part.

Harry, as I’ll refer to the alien from here, was on a mission to wipe out mankind when he crashes. It’s evident from the pilot that, living among the species, he’ll grow to have affection for humans, and likely protect them. Despite a couple of heinous acts, it’s still easy to root for Harry – as long as he is able to be stopped from murdering young Max (Judah Prehn, Kinderwood), the only one who can see his true form. I just don’t see how Harry could come back from killing a kid.

It would be very easy for Harry to fall into stereotypes, but so far RESIDENT ALIEN deftly avoids them. Harry is neither heartless nor full of emotion. He is intelligent, yet socially awkward, but neither to the point where it defines him or distracts from the story. He isn’t easy to pin down, and this complexity makes the character work in a way he very easily might not.

The supporting cast of working, but mostly not yet household name, actors are excellent, too, finding the absurdity of individualism and small-town life, making the most awkward group of delightful individuals this side of Stars Hollow. Sherry Mike Thompson (Corey Reynolds, The Closer) is a tough guy who’d like to be referred to as Big Black. His deputy, Liv Baker (Elizabeth Bowen, Upload), is awkward and open-minded. The two share a touching sing-along moment in the RESIDENT ALIEN pilot. D’arcy (Alice Wetterlund, Silicon Valley) stands out as the fun bartender. Mayor Ben Hawthorne (Levi Fiehler, The Fosters) is a liberal in a conservative town. And the second lead of the show, Astra Twelvetrees (Sara Tomko, Once Upon a Time), is a loner who finds the hidden kindness in Harry. Or maybe she just needs someone and he’s there.

I like that RESIDENT ALIEN has a sizeable ensemble cast. I like that it has a distinctive look that works for it. I like the mystery of the doctor’s murder that extends beyond the first episode. I like a lot of things about this show, including that I can’t adequately describe it one sentence. Mostly, I like that it’s a fully realized world, and despite some coincidences that stretch believability, it’s a well-thought-out story of complicated people, and one alien, that stands apart in its lack of cheesiness that often suffuses similar premises. It probably helps that its not a sitcom.

RESIDENT ALIEN airs Wednesdays at 10 ET on SyFy.

Infrastructure Work Needed for BRIDGE AND TUNNEL

2021-01-28T19:21:00.008-05:00

Article first published as TV Review: BRIDGE AND TUNNEL on Seat42F.

Epix recently premiered the new series BRIDGE AND TUNNEL. Set in Long Island in 1980, it follows a group of six friends who have just graduated college and are on the verge of moving onto the next stage of their lives. However, when they all come home for a summer break and to reconnect, their lives quickly become entwined again. Will they give up their futures to pursue the past? Or will this be a final fling before they move on into adulthood?

To be honest, I didn’t find the premise of BRIDGE AND TUNNEL all that realistic. All six members of this friend group had free time after college? None of them went straight into jobs? Was that how it was back in 1980, that adulthood didn’t start until you had one last summer break? This seems more like the circumstances of a post-high school summer, though the stakes are painted as quite a bit higher. It makes sense for the two characters waiting to go onto more studies, but not the others.

The idea that romance could derail a career, even a dream job, is more believable. We meet Jimmy (Sam Vartholomeos, Star Trek: Discovery) and Jill (Caitlin Stasey, Reign) as they hook up in the bathroom of their favorite local bar. Their friends gossip about them as they wait for their return, but the couple has other ideas, sneaking out so they can keep having sex. They are in love, but one is more committed than the other. Or perhaps, you could say one is more realistic about why a long-term relationship won’t work. Jimmy is heading to Alaska to take pictures for National Geographic, while Jill is a city girl.

BRIDGE AND TUNNEL does a good job of showing the pain of love that isn’t practical. Movies and television shows often subscribe to the “love conquers all” premise, and while it’s not unheard of to go in a different direction, it’s still appreciated when a series does. Their time is limited, and that misery hangs over any time they spend together. It might be smarter to stay away, even if they can’t seem to do so.

The other four characters are less developed. Stacey (Isabella Farrell, Fluidity) and Mikey (Jan Luis Castellanos, 13 Reasons Why) are full of lust for one another, but they don’t pretend it’s anything more than physical attraction. And while at least one of them has a significant other somewhere else, which doesn’t stop them, it doesn’t seem completely immoral, either, or at least not any more so than their previous teen non-relationship was. Pags (Brian Muller, The Deuce) would like to pair up with the remaining girl in the group, Tammy (Gigi Zumbado, Pitch Perfect 2), but she’s more interested in waiting for her turn with Mikey, who hasn’t seem to have noticed her in that way.

Series creator, writer, and director Edward Burns (Saving Private Ryan, Public Morals) is also acting in the show as Jimmy’s father, Artie. He seems to be the type of man that isn’t interesting in showing his emotion, but is interested in his son’s life. He finds ways to communicate that are traditionally masculine while still being involved.

BRIDGE AND TUNNEL is almost a fantasy series, because of the unlikely premise, even if the characters are realistic enough. Still, this isn’t exactly a fresh idea, and I’m not sure it needed to be done again. If it’s personal to the creator, I would understand why he’d want to make it. It’s fun and colorful enough to be entertaining. But I wouldn’t expect this to qualify for prestige or must-see television without better fleshing out the world and tying it to reality.

The first episode of BRIDGE AND TUNNEL is available free on Amazon Prime, and further episodes will air Sundays on Epix.

WANDAVISION Blurry

2021-01-19T10:33:00.019-05:00

Article first published as TV Review: WANDAVISION on Seat42F.

WARNING: This review contains spoilers from the first two episodes.

The Marvel Cinematic Universe’s first television show, the highly anticipated WANDAVISION, dropped its first two episodes yesterday on Disney+. Set in a fantasy sitcom world, the series is slow to reveal the mysteries at its heart, instead dwelling in the neighborhood that has been constructed, and not giving viewers many clues as to why or how these characters are here. It’s a strange, surreal comedy that touches every cliché of decades past, with a dark undertone for what will surely be revealed as the season unfolds.

Elizabeth Olsen reprises her role from the films as Wanda Maximoff, while Paul Bettany returns as Vision. This premise is immediately suspect as, last we saw Vision, he had been utterly destroyed by Thanos. Yet, here he is, happily married to Wanda and in a suburbia that never existed. This isn’t just a reimaging, as the presence of a beekeeper (a familiar symbol of AIM to comic book fans) and a garbled radio broadcast asking Wanda what was done to her make it clear there is a life beyond this constructed one. So the question seems to be, who captured Wanda and what kind of experiments are they doing on her that has left her locked in this dream with her deceased lover?

WANDAVISION could easily just be Wanda-centric, given she is possibly the only one truly existing here, but the title and the way the story unfolds gives equal weight to both heroes, hinting that perhaps something of Vision has survived the removal of the Soul stone from his lifeless physical form. Given that Vision started in the MCU as an A.I., it is reasonable to think perhaps he can continue as such, even as fans (including myself) may hold out hope for him to rejoin the rest of the Avengers in the real world eventually.

I could easily see WANDAVISION as a film instead of a nine-part series that presumably will run about four and a half hours. It lingers so, so much in the fake scenario, going through entire stories in each of the first two installments. The premiere is about Vision having his boss and his wife over for dinner, and of course Wanda isn’t prepared and things go wrong. This one looks like the ‘50s in a The Dick Van Dyke Show house. Yet, as the second episode begins, they’re shifted over to a 1960s Bewitched format (with no comment on the change) for a talent show scenario involving the local women’s club. Each are stand-alone entries of slightly different styles, but there are small hints at reality trying to bust through. As enjoyable as these are, I began to quickly grow impatient to get to the larger narrative. Though a Pleasantville-style occurrence in the second installment indicates the pacing might speed up a little soon, and the ‘commercials’ are definitely leading to something.

Despite my wish that WANDAVISION not move so slowly, there are many familiar faces to help it along and make the wait go easier. Kathryn Hahn (Transparent) is fantastic as nosy neighbor and friend, Agnes. Debra Jo Rupp (That ‘70s Show) delights as Vision’s boss’s wife, Mrs. Hart. Emma Caulfield Ford (Buffy the Vampire Slayer) is perfect as the mean lady that heads the local ladies. Teyonah Parris (Mad Men) is immediately magnetic as Geraldine. There are many others, as well, and if there wasn’t a mystery box waiting to be opened, this could be a fun throwback sitcom outside of Marvel.

One of the actors above has been confirmed to actually be someone who exists beyond this, and was played by someone else in an MCU film, though to avoid spoiling, I won’t say which one. Additionally, other performers from the MCU movies have been tied to this production, they just haven’t shown up yet. I’m anxious to get to those reveals.

I liked WANDAVISION, but I do wish, because they’ve chosen the drag the story out over 9 episodes, that they’d just released them all at once for us to binge. It’s frustrating and hurts my enjoyment to not get much towards the big picture in episodes 1 and 2. After this much anticipation, I feel like we needed a little more payoff. Let’s hope the ensuing weeks make up for that (and I suspect they will). I can’t help but think most of the glowing reviews are from those that have seen more than has been released to the public at this point.

WANDAVISION streams weekly on Disney+.

BRIDGERTON's History That Never Was

2020-12-30T14:39:00.019-05:00

Article first published as TV Review: BRIDGERTON on Seat42F.

On Christmas day, Netflix dropped the eight-episode first season of BRIDGERTON, a gift to many viewers. Created by Grey’s Anatomy’s Shonda Rhimes, this period piece is soapy drama from the Regency era of English history beginning around 1813. Part Pride and Prejudice, part Gossip Girl, the costumes and performances (not to mention narration by Dame Julie Andrews as Lady Whistledown) make it seem classy, even as its modern pacing will help it appeal to more modern audiences.

The story of BRIDGERTON begins as the local young ladies are introduced for courting season, essentially a period of open dating and marriage proposals. The Bridgerton family is one of the most powerful in town, and daughter Daphne (Phoebe Dynevor, Dickensian) even catches the eye of Queen Charlotte (Golda Rosheuvel, Lady Macbeth), making her pairing most promising. That is until her older brother, Anthony (Jonathan Bailey, Broadchurch), now head of the household, sabotages her prospects, leaving her with a single, unattractive suitor. Luckily, Daphne’s mother, Lady Violet (Ruth Gemmell, Deep State), plots with her friend, Lady Danbury (Adjoa Andoh, Fractured), to pair Daphne with Simon, the Duke of Hastings (Rege-Jean Page, For the People), who is refusing the marry, and just happens to be Anthony’s best friend. Simon and Daphne see right through the matchmaking, but decide that a fake relationship would serve them both.

Nearby family, the Featheringtons, is headed by Baroness Portia (Polly Walker, Rome), who has three daughters she’d like to see married off. This includes young Penelope (Nicola Coughlan, Derry Girls), who isn’t even interested in boys yet, and wishes she could delay a year like her bestie, Eloise Bridgerton (Claudia Jessie, Dixi). The girls would rather look at books, and are terrified when Portia’s new charge, Marina Thompson (Ruby Barker, Wolfblood), is revealed to be pregnant, wondering how that could happen outside of marriage so they can avoid it themselves.

And all of this drama is captured by Lady Whistledown, who distributes gossip pamphlets that the upper crust devour, all the while wondering at her identity.

These details are merely scratching the surface of BRIDGERTON, which is very involved and has a lot of characters. However, it doesn’t get bogged down by this, keeping its focus on a few, and using the supporting players appropriately where needed. The pacing isn’t too fast, but it isn’t slow, either, an enjoyable romp that should expand beyond the appeal of most shows set in this era.

One glaring question I had going into BRIDGERTON is how the series would deal with race, seeing as how I couldn’t imagine Shonda putting forth an all-white cast, as one might expect for a program set in this era, other than seeing a minority as a maid or other ancillary role. The answer is, the show doesn’t deal with it. Certain families in the series, including the Queen and the Duke himself, are just Black and there’s no comment one way or the other. Ethnicity doesn’t seem to play into the attraction of one character to another, nor does it influence the social structure displayed. Basically, it’s a reimagining of history that allows performers or all colors to participate and ignores what actually was, to its credit. I hope more shows follow suit.

I loved Downtown Abbey, but am not a fan of P&P nor most other shows like this. Yet, I do love Shonda, and I found this cast of mostly-unknowns (to me) to be charming and compelling. At eight episodes, it’s an easy season to swallow, and I can easily see myself finishing it, even as I had no plans to before watching. I wouldn’t call it must-see, but it is good, and if you like some soapy historical stuff, BRIDGERTON has you covered.

BRIDGERTON is available now on Netflix.

SMALL AXE Provides an EDUCATION

2020-12-21T17:08:00.003-05:00

Article first published as TV Review: SMALL AXE EDUCATION on Seat42F.

It is with no small amount of sadness that we reach the end of the five-film run of SMALL AXE. That is due in part to the fact that the final movie in the series, EDUCATION, is one of my favorite two of the group. (The other being the very first one.) As someone that worked in the field of education, I admit that I am extra susceptible to such stories. But I dare anyone to watch SMALL AXE EDUCATION and not be affected by the tale told.

Kingsley Smith (Kenyah Sandy, Jingle Jangle: A Christmas Journey) appears to be a normal twelve-year-old boy except for two things. One, he can’t read. Two, he is Black. You could easily argue the second item on that list is not abnormal, and I would whole-heartedly agree with you. But clearly the administrators in his place of learning do not. They don’t even seem to notice his illiteracy and push him out of the regular school and into a ‘special’ institution for ‘subnormal’ learners. They make excuses as to why Kingsley must be transferred, but it’s very clear to anyone paying attention this his skin color is the primary motivator, given his behavior is not any different than his peers.

Which is not to say that all the students at Kingsley’s new school are non-white. There’s a little girl (Tabitha Byron, Hetty Feather) that makes animals noises instead of talking, and perhaps she does need some assistance outside of a regular classroom, though certainly not what this place is offering. And Kingsley isn’t helped by the move, either. No kid is, as if a teacher supervises their room at all, he’s playing on his guitar instead of providing instruction. This is a bad place that benefits no one.

Lest you think Kingsley does belong in a special education class due to his lack of reading skills (and setting aside any judgment, positive or negative, on special education), SMALL AXE EDUCATION follows Kingsley’s story long enough to show that a little attention, encouragement, and motivation are enough to have him catching up in no time. This is a regular kid who fell through the cracks, the normal failings of educators to him exacerbated by bigotry and ignorance. He belongs in a regular classroom in a public school.

I’m a believer that every child deserves to have a teacher who can help them learn, and every child can learn. So SMALL EDUCATION breaks my heart before providing a far-from-perfect, but very touching, balm. There is a happy ending, of a sort.

The performances in SMALL AXE EDUCATION are great, as one would expect from this series. Sandy is absolutely terrific in the lead role, and I hope he has a long acting career ahead of him. I was also deeply moved by Sharlene Whyte (The Story of Tracy Beaker) who plays Kingsley’s mother, Agnes. At first, Agnes is one of those failing Kingsley. But she does care very deeply for her son, learns her lesson, and becomes not just an advocate, but a devotee who sees Kingsley for what he is, eventually. It’s her face at the end that brings me to tears as much the story itself.

As has been the case in every installment of SMALL AXE, the production is terrific, directing is solid, and sets and costumes are period-authentic in a non-distracting way. This is a fine entry, and ends the run on a very high note, making me miss SMALL AXE already. I really hope it comes back for a second season.

SMALL AXE EDUCATION and the other four films by Steven McQueen are available now on Amazon Prime.

CBS All Access take THE STAND.

2020-12-21T09:03:00.007-05:00

Article first published as TV Review: THE STAND on Seat42F.

This week, CBS All Access rebooted Stephen King’s THE STAND with a brand-new, nine-episode miniseries that will be released weekly. The story is one of two powerful beings, one good and one evil, fighting in a post-apocalyptic landscape. It reportedly contains additional material and a fresh ending and coda by the author himself, so even if you’ve read or watched the 90s miniseries, there’s something new here. Also, this version is on a streaming service, so it is not bound by episode running times or broadcast television standards.

THE STAND starts after a pandemic wipes out the vast majority of the world’s population, then flashes back to show us briefly how the early days played out. It doesn’t waste much time going through the illness, just giving us enough of a glimpse of some corpses to let us know the impact of what happened. The big difference between this and a network broadcast seems to be letting the production get really gross with the bodies. This was also made before the recent real pandemic, and it’s unsettling to watch this alternate, much more dire outcome. Though I do worry too many will see this and take it as a sign that ours isn’t so bad, which is not the lesson that should be taken away at all.

Judging from the pilot of THE STAND, titled “The End,” there appears to be three lead characters. Stu Redman (James Marsden, Westworld) is a simple guy who somehow becomes the only one in his friend group, and then in a much larger circle, that is immune to the virus, surviving in a government facility while everyone else dies around him. At the same time, Harold Lauder (Owen Teague, It, Bloodline) is left alone in his neighborhood with his former babysitter, Frannie Goldsmith (Odessa Young, Assassination Nation). Unlike Frannie, who is grief-stricken by her circumstances, Harold seems gleeful for the chance to get close to Frannie, who he has been stalking for a while.

Harold gets the most focus in “The End,” seen both during the crisis and after, when a bunch of survivors (including all three leads) gather. But that doesn’t mean viewers will root for him. He’s an unlikeable creep, and every moment he’s with Frannie is a moment that I fear for her safety. And that’s even before Harold reveals his chilling manifesto, which surely means dark times are coming.

Without having read the book or seen the earlier version, I didn’t realize from this initial installment that THE STAND was actually about a supernatural battle. The good Mother Abagail (Whoopi Goldberg, Sister Act, Ghost) and the evil Randall Flagg (Alexander Skarsgård, Big Little Lies) are barely glimpsed in the first episode, and not explained in the slightest. Before reviewing materials on the series, I had no idea they were of much importance at all. Though I like both performers very much and look forward to seeing more of them.

Teague is a fine performer, perfect for the part, as unsettling as it may be. But spending time with his character is tiresome, and that’s why I was disappointed THE STAND took out several others I liked in short order. “The End” offers us Hamish Linklater (Legion) as kindly Dr. Ellis, whose passing was incredibly sad. J.K. Simmons (Spiderman) appears in a single scene, and as impactful as he is, he feels wasted. I’m glad Eion Bailey (Once Upon a Time) is sticking around, but I wonder how many other great actors will blow through in little more than cameos, presumably attracted by the King name.

I liked THE STAND, I didn’t love it. I didn’t get as much of the performers that I wanted to see, and got a lot of one who made me very uncomfortable (albeit, well-acted for the role). Its parallels to modern events are scary, but the pacing is a little slow, and it doesn’t substantially reveal major elements of its own story in the only episode released so far. Without exterior motivation, I don’t think this hour alone would make me want to watch.

THE STAND’s first episode is available now on CBS All Access, and will release new installments every Thursday.

SMALL AXE ALEX WHEATLE

2020-12-14T14:39:00.015-05:00

Article first published as TV Review: SMALL AXE ALEX WHEATLE on Seat42F.

The fourth installment in the SMALL AXE film series by Steven McQueen is ALEX WHEATLE. It’s a true story, told non-chronologically, of Alex, a kid abandoned by his parents. Alex grew up in a children’s home and was subjected to abuse. He finally finds a family of friends in his teenage years (though they do lead him to the wrong side of the law), and then he ends up in jail following the Brixton riots of 1981. It’s a rags-to not quite riches-to prison story that is alternatingly inspiring and depressing. Kind of unfortunately, the audience knows it will not have a happy end.

Or will it? Alex himself is well-known writer now, so clearly he had a rich life after his stint behind bars. But that isn’t the focus of this movie, nor part of the narrative presented her.

Early on, because the episode is told in jumbled order, we see Alex (the first credit for Sheryi Cole) in a cell. He’s angry, and justifiable so, as we’ll come to find out. Alex reluctantly tells of his past, which he doesn’t consider a story, to cellmate Simeon (Robbie Fee, Berlin Station). It’s through this that we get an account of Alex’s life so far, his short eighteen years, most of them tragic. Thank goodness for a wise cellmate who helps Alex realize who he should be.

I said last week’s entry was small and focused, centering on a father and son. SMALL AXE ALEX WHEATLE is even more so, concerned with the life of a single individual, and mostly covering just a short period in his life. It’s a pivotal moment, one which defines his path forward. But it is just a small snapshot into a much larger existence.

I find it kind of curious that SMALL AXE ALEX WHEATLE doesn’t run much into a second hour, never showing us what Alex becomes on the other side of prison. Other SMALL AXE movies are focused, too, but often show longer periods. That after-life is much more well-known, and certainly the bigger part of him. But it’s also a bold choice to home in on something monumental, and it is doubtful that any single event later will ever measure up to what this film chooses to show. In a series that is becoming known for the decisions director and co-writer Steven McQueen makes, this may be one of the most important.

SMALL AXE ALEX WHEATLE was in the bottom half for me of the four installments I’ve viewed thus far. It’s still very good, and Cole, who basically has to carry the whole thing himself, is quite talented. I just found the story a little less compelling than the Mangrove restaurant and trial, or the father-son cop conflict, though maybe a bit more moving than the single-night dance party. I still think ALEX WHEATLE is a tale worth telling, and it looks and sounds just as great as the others. But while the catharsis of change is powerful, and there are moments that stick with you (such as a disturbing one involving a sheet), it is overall more specific to an individual and less relatable than other films in the series.

Still, it’s a worthy inclusion in the series, and McQueen once again proves why he deserves to keep making films such as these. On the strength of this run, I hope SMALL AXE is picked up for a second batch as soon as possible, and I look forward very much to reviewing the final of his five releases.

SMALL AXE ALEX WHEATLE is available now on Amazon Prime streaming video.

On YOUR HONOR

2020-12-10T15:55:00.018-05:00

Article first published as TV Review: YOUR HONOR on Seat42F.

Bryan Cranston returns to television in Showtime’s new drama YOUR HONOR, which premiered last night. Cranston plays a respected judge named Michael Desiato who is kind-hearted and takes justice seriously, even investigating witness stories on his own sometimes. So when, on the anniversary of Michael’s wife’s death, his teenage son accidentally hits a boy on a motorcycle and kills him, Michael’s first instinct is to do the right thing and drive his son to the police station. But the identity of the victim changes the judge’s mind, and now he’s in a desperate attempt to coverup the crime.

Michael Desiato doesn’t seem anything like Cranston’s Breaking Bad character, Walter White, other than the love he has for his family, which Walt seemed to lose over time, but Michael probably won’t. If not for the exact specific circumstances surrounding the boy’s death, Michael would have tried his best to help his son, but through the proper legal channels. He wants to handle it above board, and that is noble, something not every parent could bring themselves to do when their child’s freedom is on the line. We get a chance to see who this character really is before things go down.

YOUR HONOR also follows Michael’s son, Adam (Hunter Doohan, Truth Be Told), during the incident, and his case is sympathetic. Grieving his lost mother, scared of a perceived threat of violence from others, and suffering an asthma attack, one can see how the wreck occurred while still remaining sympathetic to Adam. Even when the teen flees the scene and tries to get rid of evidence, it can be chalked up to panic and shock. Adam knows he must turn himself in, and doesn’t fight it when his father tells him so. In fact, Adam doesn’t seem to want to keep hiding the truth when Michael first decides they have no choice but to hide it. He seems like a good kid in tragic circumstances that made mistakes but will accept responsibility for them.

The twist is that the boy Adam hits and kills is the son of Jimmy Baxter (Michael Stuhlbarg, Boardwalk Empire), a notorious crime lord. And both Jimmy and his wife, Gina (Hope Davis, For the People), are determined to find the person who murdered their son. It is heavily implied they do not want justice so much as revenge, and should Adam turn himself in, he would likely be quickly murdered in jail. Hence Michael’s decision not to let his son be arrested, as much as that makes sense under any other circumstance.

Admittedly, the coincidences in YOUR HONOR pile up quickly. The story seems unrealistic because of just how much has to happen to set up the exact scenario described above. Recent real-life events over the past few years make even the most unlikely thing more believable, in my opinion, but there is a certain amount of “Really?” baked into the premise that will likely give some viewers pause, and as many negative reviews of this show have pointed out.

To me, I think Cranston is a phenomenal actor, and the rest of the cast is very talented, too. The story is interesting and compelling, and the character reactions are relatable. I thought the death scene got too gory, and perhaps Michael’s demonstration of principle early in the pilot was a bit heavy-handed, but other than that, I did enjoy it immensely. A plot twist another reviewer spoiled about Adam’s girlfriend, which will be revealed in an upcoming episode, does make me groan, but overall, I am deeply intrigued and plenty prepared to watch this series, which seems certain to just be a miniseries, rather than a years-long story. YOUR HONOR is not without flaws, but my impression of the initial installment is that it’s pretty good and worth a look.

If you want to decide for yourself, new episodes of YOUR HONOR air Sunday evenings on Showtime.

THE New Old HARDY BOYS

2020-12-10T07:14:00.018-05:00

Article first published as TV Review: THE HARDY BOYS on Seat42F.

This week, Hulu gave THE HARDY BOYS their sixth(!) television adaptation. This 1980s-set mystery series follows Frank and Joe Hardy as they investigate a family tragedy, with their friends and loved ones sometimes helping. The case is surely spread out over the entire first season, as each episode finds the boys getting just a clue or two to the bigger picture.

I was not expecting to like this show, nor was I eager to watch it. I’ve never read a single book from THE HARDY BOYS series, despite being a big reader, because I just wasn’t interested. I love many CW shows, but I did not care for the recent Nancy Drew reboot, and the two are often lumped together (and have been on television as one in the past). So this seemed like another program I’d suffer through a pilot and type out a review for without ever giving it a second thought.

Instead, THE HARDY BOYS is intriguing and engaging right off the bat, and I immediately went straight into a second episode. I probably would have kept going if I’d had the time, and I do plan to go back to it this week. It’s a slower starter, which makes sense for the tone. But by episode two, it quickly seems to sort itself out with a structure and order that I would expect to continue through the rest of the season.

The boys are a bit further spaced in age than they are usually portrayed. Athletic and brainy Frank (Rohan Campbell, Virgin River) is a teen, while tech whiz Joe (Alexander Elliot) is a bit younger. This provides separate friend groups and different focuses for their investigations. It may seem a bit odd that the locals in the small town the boys move to for the summer are so friendly and immediately sign on. Then again, the family is already known in the area, and there is an impression that not much usually happens around these parts.

Further splintering the story are the scenes, admittedly fewer, that follow their father, Fenton Hardy (James Tupper, Men in Trees), as he investigates the case internationally. Himself a police detective and their mother a journalist, the Hardy boys come by their skills honestly. It’s no wonder they dive into the work when the right motivation prompts them to.

Essentially, by splintering the case out into three distinct plot threads, THE HARDY BOYS gets kind of a Stranger Things structure, with the teen group keeping most of the focus (rather than the younger crowd in that show), and the adults reduced to the smallest chunk. (Though the coming together to share information at times feels a bit forced and expedient.) Admittedly, THE HARDY BOYS is a lot more grounded than that Netflix series, with not even the whiff of anything supernatural happening, though the spy antics are a bit of heightened reality. Still, the comparison is favorable, and is likely to appeal to a broad overlap of audience.

The 1980s setting isn’t strictly necessary, but I would assume it’s done to eliminate the internet and smart phones from the mix. Probably a wise idea, given the investigative style the franchise is known for and wants to recreate. Nothing will be gleaned quickly, and the slower pace fits well in what appears to be a simpler time. I think it works for them.

THE HARDY BOYS is an entertaining watch in the mostly-family-friendly mystery category, and it likely has a place in the current television landscape, as this type of show isn’t all that prevalent. Nostalgia will bring some in, the target demographic likely to be those millennials who grew up with tales of the duo. The ease of viewing will likely also serve potential new fans, as that age group can watch this with their kids.

The first season of THE HARDY BOYS is streaming now on Hulu.

SMALL AXE RED, WHITE AND BLUE

2020-12-09T10:00:00.016-05:00

Article first published as TV Review: SMALL AXE RED, WHITE AND BLUE on Seat42F.

Another week, another episode of SMALL AXE on Amazon. The latest entry, RED, WHITE AND BLUE, tells the true story of a young man who was inspired to join the local police force after his father was beaten by cops because of the color of his skin. As you might expect, this is not an easy road for the man to go down. He not only faces systematic racism within the force, which is to be expected because he joined to try to change the organization from within, but also the disappointment of his father, who mourns his child standing among the ranks of the men who beat him.

SMALL AXE RED, WHITE AND BLUE is a powerful story of two men, Leroy Logan (John Boyega, Star Wars) and his father, Ken (Steve Toussaint, Deep Water). The film starts on Ken, and we can see what a kind-hearted, intelligent, perhaps a bit naïve, but all-around good man that Ken is. As the focus shifts to Leroy, we see someone who is a bit more assertive, and perhaps it is his father’s influence that made him that way. Not because Ken ever pushed Leroy, but because Ken raised him with appropriate values in a protected environment where Leroy felt he might be able to make a change. It’s not what Ken intended, but it also proves Ken to be a good father.

There’s a bit of a let down for each of the man as this plays out. Ken is sad because Leroy got involved with men that Ken thinks he should stay away from. Leroy is disappointed because the force ends up being a lot more entrenched than he expected. He can only do so much as one man, and seeing other minorities eventually give up, he wants to give up, too. But he can’t because he’s not doing this for himself; others are making sacrifices for him, and he must push on whether he wants to or not.

SMALL AXE RED, WHITE AND BLUE is bittersweet because viewers will know that Leroy is making a difference, even if it’s not as much of one as he’d like to, nor does change come quickly. Yet, there is a spark here, and even if he doesn’t realize it, he’s part of a broader movement. Attitudes and opinions are slow to shift, and that only happens with great effort. Leroy is essentially sacrificing himself, as so many have done, to change things even a little bit. It’s frustrating and it’s humbling to know how little one man can affect that balance. And yet without lots of men like him, things would remain the way they are.

That’s a large burden to place on Leroy’s shoulders, as Ken must realize, but the story of SMALL AXE RED, WHITE AND BLUE is not about sweeping injustices; it’s very much a personal story, embodied best in the final scene of the piece being a quiet moment between father and son. This movie really helps give face and personal impact to what people are going through, and have gone through, in society.

Once again, Steve McQueen has made an excellent film, well-acted, well-produced, and thought-provoking while also bringing the feels. The performances are great, especially from the leads. But even the minor parts are authentic, like the racist cop who can’t help but nervously smirk as he’s being yelled at. It all feels very real, and that’s both a good and a bad thing. But it’s also beautiful art, and that’s only good.

Catch SMALL AXE RED, WHITE AND BLUE, along with the rest of the SMALL AXE series, only on Amazon Prime.

Check In For THE FLIGHT ATTENDANT

2020-12-01T18:55:00.019-05:00

Article first published as TV Review: THE FLIGHT ATTENDANT at Seat42F.

HBO Max began a new miniseries this week entitled THE FLIGHT ATTENDANT. It’s about a – you guessed it! – flight attendant, who works on international flights. On layover in Bangkok (pun intended), the titular airline employee hooks up with an attractive passenger. The next morning, she wakes up to find him clearly murdered in the bed beside her. She panics, cleans up the room, flees, and soon finds herself in a spiraling bad situation as the FBI, among others, closes in on her, even as she can’t remember all the events of the fateful night.

Kaley Cuoco (The Big Bang Theory) produces and stars as Cassie Bowden, the attendant in question. I wasn’t sure what to expect from an actress I’ve only seen in sitcoms. And while I’m not sure she’s doing more than she did in her previous work, this role is very well suited to her, and she plays it beautifully. Cuoco has the right amount of charm and magnetism to pull off making a character who, on paper, isn’t completely likeable and making you root for her. She is a natural and fitting lead here.

I like very much that THE FLIGHT ATTENDANT isn’t just about a person in the wrong circumstance. That’s part of the equation, sure, but Cassie’s continued poor judgment and destructive coping mechanisms (with a backstory slowly teasing out why she is this way) continue to make the situation worse as the episodes play out. Unlike in some similar works, the agents following her are far from incompetent, and suspect her pretty much right away, her bad behavior not going unnoticed. It’s the specifics of the situation that draw out the plot and keep things murky, not people who don’t know how to do their jobs, or a protagonist that is preternaturally smart.

The plot moves very quickly, with twists coming fast, but not too fast. THE FLIGHT ATTENDANT takes plenty of time to dwell on Cassie’s misfortune. A lot of moving parts and layers to the story keep the pacing moving, though, in a good way.

There are quite a few subplots and supporting players in THE FLIGHT ATTENDANT. Cassie’s best friend, lawyer Annie (Zosia Mamet, Girls), has a non-boyfriend who appears conveniently in the third hour. Her brother, Davey (T.R. Knight, Grey’s Anatomy), provides a bit of a ticking clock with an impending visit and his concern about her alcoholism around his children. Needy co-worker Megan (Rosie Perez, Rise) is involved in illegal activities of her own, which will surely come into play at some point. Federal agents Van (Nolan Gerard Funk, Glee) and Kim (Merle Dandridge, Greenleaf) have an interesting chemistry that seems effective. The dead passenger, Alex (Michiel Huisman, The Haunting of Hill House), haunts Cassie from beyond the grave, while his business partner, Miranda (Michelle Gomez, Doctor Who), closes in on her in reality.

All of this should be more than enough to sustain the eight-episode miniseries, even as it rushes along, and I’m intrigued by each piece of the puzzle. Solid direction, great acting, an eye-catching, globe-hopping setting, and more keep THE FLIGHT ATTENDANT entertaining and mysterious.

My only complaint about the show is its misuse of music, the dark, heavy themes distracting from the action itself, hurting rather than helping the story along. I also would have preferred to be able to binge the whole thing at once; as soon as I began the first of three initially-released installments, I couldn't stop.

Those gripes are relatively minor, though, and I look forward to finishing the series over the next three weeks. This one is a lot of fun, so make sure you catch it, too. THE FLIGHT ATTENDANT episodes one through three are available now on HBO Max.

SMALL AXE LOVERS ROCK

2020-11-30T10:08:00.014-05:00

Article first published as TV Review: SMALL AXE LOVERS ROCK on Seat42F.

The second installment in the SMALL AXE series has arrived today. It’s called LOVERS ROCK, and it takes place in the course of a single night. This one is not a grand, historical tale, like the first film in the series, but is instead a much more personal story of a group of young people attending a house party in early 1980s West London. Not allowed into the clubs and beset by racism on the streets, young Black folks of the time instead cleared out the furniture, cooked some food, and set up their own gatherings in the safety of someone’s dwelling. LOVERS ROCK shows one such party.

It’s a testament to how good a film maker Steve McQueen is that SMALL AXE LOVERS ROCK is worth watching. I say this because it contains almost no discernable plot, and without IMDB’s help, I’d be hard pressed to name more than a couple of the characters. Instead, it is a peek at a moment in time, designed to showcase a specific event of the type that was prevalent in a bygone era. Through music and charm and solid direction and lingering scenes, it succeeds in that, and manages to hold viewers’ attention for a full seventy minutes.

As specific as SMALL AXE LOVERS ROCK is, it is also universal. Everyone who attended parties in high school or college can identify the various stages of the event. There’s the excited and nervous preparation, or if you’re hosting, the quiet before the storm as you put in the work and sweat to set things up, fun because of the anticipation of what’s to come. Then people start to arrive, and they look at one another with some amount of trepidation. Friends hang together or find one another. As things heat up, gatherers mingle and begin to pair off differently. Romances blossom and fall apart. Happy people sing along to the music, or even after it stops. The disgruntled friend goes home early. Someone acts out of control and has to be dealt with. Slow dances turn sexy. People begin to drift off. And finally, the manic end of the night where it feels like a dream and you’re spat back out into the world. Then you head to bed, only to have to have to get up too early and face the day, exhausted.

All of this is part of the beautiful rhythm of SMALL AXE LOVERS ROCK, just as certainly as the excellent and era-appropriate soundtrack. A period piece it may be, but it’s also just a portrait of plain, old human nature. Some of the details might be different from one experience to the other, but the recognizable aspects override anything else.

Amarah-Jae St. Aubyn is the closest thing to the star of the film, and this is her first and only credit on IMDB. She handles the role with skill and aplomb. I’m sure we’ll see her in more soon. There are a few faces you may or may not recognize, like Michael Ward (Top Boy), Kedar Williams-Stirling (Wolfblood), and Daniel Francis-Swaby (The Santa Suicides), but the relative anonymity of the cast leads to the authenticity, and there are certainly no current household names present. Yet, there isn’t anyone who feels like they’re acting, either, the world built seamlessly and the actors melting into it.

I find myself surprised to enjoy SMALL AXE LOVERS ROCK as much as I did, given the lack of plot thread, but it is a solid installment, and certainly quite a bit different from the first movie in the series. Check back on this page soon as I cover the rest of the SMALL AXE releases.

SMALL AXE LOVERS ROCK is available now on Amazon Prime.

What is BLACK NARCISSUS?

2020-11-28T18:58:00.017-05:00

Article first published as TV Review: BLACK NARCISSUS on Seat42F.

This week, BLACK NARCISSUS premiered on FX and the BBC. A joint-production, FX marketed it as a creepy show based on the 1939 novel by Rumer Godden. Though, watching the three-episode miniseries, I’m not sure that accurately describes it. In fact, this show is very hard to define exactly what it is or what genre it belongs in.

BLACK NARCISSUS begins high up in the Himalayas with a disturbing opening in a cliffside “house of pleasure,” or that’s what it appears to be, anyway. (The truth is close enough to that.) A tragic event happens. Then, about twenty years later, a quintet of nuns move into the abandoned building to form a school for the locals. The place seems suitable to their needs, though there are just a few strange things that happen, especially to one nun in particular, sort of related to that opening.

I’m halfway through the miniseries as I write this and I plan to finish it. But I’m still not sure exactly what to say about BLACK NARCISSUS when considering it overall. There isn’t a sense of urgency or danger in any real way (except when climbing those railing-less steps). There also isn’t any certainty that something big will happen before the end. I am not familiar with the novel or the 1940s film adaptation, but this seems to be a slow-moving drama without an overriding central narrative, other than running a school, and maybe being haunted just a tiny bit.

The setting of BLACK NARCISSUS is absolutely beautiful. The views from the mountain are, as you might imagine, breathtaking. I don’t have much frame of reference to say how accurate it is, and I wonder about the feasibility of building a ‘palace’ so far up and having other stone-hewn villages nearby. But the design is very cool and detailed, and this certainly seems like a place I would love to visit.

Gemma Arterton (The Girl with All the Gifts) stars as Sister Clodagh, the leader of the little group, and she is very compelling. Sister Clodagh’s inner life is explored through a series of flashes to a different time. It’s unclear if these are things that actually happened or just what she wishes her life to be like. But it’s informative to see her wavering of the mission when outwardly she is so focused and holy. She is doing her best in running the group, and she’s not bad at leadership. Though she can be a bit petty at times.

The rest of the roles are well-performed, too. My second favorite is Mr. Dean (Alessandro Nivola, Chimerica), an immigrant who has blended in with the locals, and who offers handyman support and eye candy for the nuns. I assume he’ll have something to do with how things end, but that’s unclear at the moment. I really like friendly Sister Briony (Rosie Cavaliero, Hold the Sunset), a good moral center and caretaker to the group. Sister Philippa (newcomer Karen Bryson) is intriguing and odd. Sister Ruth (Aisling Franciosi, The Fall) provides the right amount of crazy, pretty shocking, but not so much as it feels weird that she’s still among them. Nila Aalia (Wolfblood) is wonderful as Angu Ayah, the local who lives among the nuns, and seems to be the only one who really knows the secrets of the place.

For the performances and the vistas, I recommend BLACK NARCISSUS. After all, it’s a small time commitment, basically a movie and a half, and those are important elements. My hesitation stems from the lack of clear story, but maybe the second half will pick up? I doubt it. Even so, it’s neat to sit in this world for a few hours.

BLACK NARCISSUS is available to watch in its entirety now on Hulu, through FX.