THE ALIENIST Sans Aliens

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

TNT begins a new chapter in their programming with THE ALIENIST. An alienist has nothing to do with extraterrestrials, though TNT has done their share of that type of show. Instead, the term, considered archaic now, refers to someone who practices psychiatry. Which, if you’re following along, means the series is about a person who studies the human psyche in a bygone era. A period piece drama is not the normal fare you’d expect from the network. But does it work?

Not quite. The pacing is slow and the plot is dreadfully plodding. The first word that comes to mind to describe THE ALIENIST is boring. I don’t care about the characters, nor their motivations, which is not a sustainable model for a television show.

TNT is known for works that are fast-paced and somewhat cheesy, so THE ALIENIST is a departure, and that by itself is good. Care has been taken with sets and costumes, so it looks good. This is especially true in an early sequence on a wooden bridge. There aren’t the usual plot holes and cliché dialogue that other programs on the network have contained. The acting is quality, as is the directing. So it’s not the individual elements that are the problem here.

THE ALIENIST stars Daniel Bruhl (Captain America: Civil War) as Dr. Laszlo Kreizler, a doctor who works with the mentally disturbed and tries to treat them. Not cure them, mind you, but make their conditions more manageable. He is assisted by John Moore (Luke Evans, 2017’s Beauty and the Beast), an illustrator who helps Dr. Kreizler see things he cannot, a second pair of eyes who provides other perspective. Rounding out the central trio is Sara Howard (Dakota Fanning, The Runaways), a police clerk who is interested in following the law, but is intrigued by the doctor’s work when it seems more reliable than the old techniques.

These three are decent actors, as anyone who’s seen them in other works can attest. Fanning, once a child actor who has starred in respected films, makes her first foray into series television, and Evans and Bruhl have had some success on screens both large and small. I can’t point to any of the trio as a weak link.

The three begin by trying to clear the name of a man sentenced to death. I would say there is some moral quandary as to whether they should, as the accused is suffering from painful, incurable syphilis anyway. But as all good classic heroes, they are committed to truth and justice, and so seek not just the extension of their ground-breaking work, but to use it to help people, too.

It’s not this somewhat tired premise that spurs the bad review. Although it seems similar to a couple of recent streaming and cable shows, also period pieces, the trappings of the setting and the way the story plays out distract enough from the common formula. It’s just the overall tone, which doesn’t rise to the level of the style of the piece.

THE ALIENIST is also very gory. Gory enough that I couldn’t see it on basic cable in the pre-Walking Dead days. This choice fits well with the story they’re telling, being brutally up front at showing things, not glossing over and romanticizing. In that, I do think the show made the right decision, supporting the premise and plot.

In the end, I must conclude that the show is decent, certainly a step up for TNT, but lacks the charm, intensity, and magnetism that many of the best shows today have.

THE ALIENIST airs Monday evenings on TNT.

Another AMERICAN CRIME STORY

Article first published as THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY on Seat42F.

THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY, the second season of the franchise, kicked off its run this week with episode one, “The Man Who Would Be Vogue.” Set in both 1990 and 1997, we see the eventual killer, Andrew Cunanan, as he first encounters the legendary designer, as well as the murder and its aftermath. The mostly non-fiction story apparently seeks to examine the relationship between the two men, as well as the manhunt for Cunanan, and how Gianni’s sister, Donatella, steered the company following her brother’s death.

That’s a lot to cover, but it doesn’t seem like too much for nine hours of television, which is how many episodes this will run. By keeping the story focused to only four leads (the three above plus Versace’s long-time partner, Antonio D’Amico), it avoids the sprawling that some such dramas get into, and provides a cohesive narrative, even as the timeline jumps back and forth.

THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY feels very Ryan Murphy. What I mean by that is, like other Murphy properties, there are strong, colorful characters, sometimes understated, at its center, the direction and design are artsy while remaining relatively grounded, and the pacing is slow but purposeful. There’s a certain tone and style that has become a Murphy hallmark, and even with most of his familiar band of recurring actors absent from this outing, his fingerprints are noticeable on the work.

As usual in a Murphy show, the casting is spot-on. He brings back Glee’s Darren Criss as Andrew Cunanan, who appears to be the lead character in the first episode. Criss is a talented man, and this role stretches him. Cunanan is a habitual liar, acting his way through life, and it’s hard to gauge his sincerity, even in the moments where he is alone. Criss balances this while still showing us why people would fall for Cunanan’s falsehoods and charm. It’s a complex and difficult performance, and Criss nails it.

The other leads are Edgar Ramirez (Gold) as Gianni Versace, singer Ricky Martin as Antonio D’Amico, and an almost unrecognizable Penelope Cruz (Vicky Cristina Barcelona) as Donatella Versace. Ramirez doesn’t have a whole lot of chance to show his skills yet, almost being set dressing in his own show, but Martin and Cruz prove themselves right away.

They are joined by a whole bunch of great recurring players, including Will Chase (Smash), Dascha Polanco (Orange Is the New Black), Jay R. Ferguson (Mad Men), Max Greenfield (New Girl), Jose Zuniga (Snowfall), Joe Adler (Grey’s Anatomy), Annaleigh Ashford (Masters of Sex), and more, with Judith Light (Transparent) and Finn Wittrock (American Horror Story) slated for later this season. So the troupe should be solid.

The setting itself is necessarily opulent. Versace did not live simply, as one might expect, given what he’s known for. And Miami Beach in the 1990s was not a boring place. This makes for a locale that looks almost Hollywood glitzy, but is true enough to the reality. It makes one think of the trappings of wealth and celebrity, and the murder itself shows how none of that protects anyone from the darkest parts of the human soul. I don’t mean this to sound overly metaphorical, because it’s not; it’s a grounded show.

The frequent back-and-forth time jumps aren’t my favorite way to tell a story, but are the right choice for THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY. There’s really no other way to depict both the lead up and the aftermath without it feeling like two separate shows. By splitting it in this manner, it helps with overall cohesion.

THE ASSASSINATION OF GIANNI VERSACE: AMERICAN CRIME STORY airs Wednesdays on FX.

MOSAIC Unclear

Article first published as TV Review: MOSAIC on Seat42F.

Note: this review is about the television miniseries MOSAIC. It does not review the app.

HBO is premiering something quite experimental this week. Called MOSAIC and presented on five consecutive nights, the six-hour story concerns the murder of children’s author Olivia Lake and its four-year aftermath. With an all-star cast, Steven Soderbergh cuts together a narrative first developed for an interactive app, which allowed users to follow one of two murder suspects through the story, as well as view related ‘evidence.’ The result here is a professional director’s combining of the plotlines.

Soderbergh (Red Oaks, The Knick) is well-respected and often well-reviewed, known for balancing multiple narratives, a la Traffic, so he seems a natural choice for such an ambitious, ground-breaking project. Not just anyone could pull such a thing off, and so it makes sense that HBO would entrust a talent like his to get it done. He has a certain style that does show up in the series.

The cast has been stocked with some very talented performers, including Sharon Stone (Basic Instinct, Casino) as Olivia and Garrett Hedlund (On the Road) and Frederick Weller (In Plain Sight) as the two main suspects. The supporting players include Jennifer Ferrin (Hell On Wheels), Beau Bridges (Masters of Sex), Jeremy Bobb (The Knick), Paul Reubens (Pee-wee’s Playhouse), Maya Kazan (The Knick), Michael Cerveris (Fringe), Allison Tolman (Fargo), James Ransome (Bosch), and many more. So the cast is certainly not the reason it would fail.

But, in my opinion, despite the immense talent involved, it does fail. As a narrative, it is disjointed, jerky, and boring. I found it extremely hard to follow, and the characters less than interesting. I don’t know if the app provided a better experience, but at least in the one hour I viewed, I found it far below the quality level I’ve come to expect from HBO shows. I was delighted to learn it is a miniseries, played out quickly, airing in a single week, than a drama that would potentially run for a long time. Mainly because of the chance I am wrong and it resonates with critics at large, forcing me to play catch up just to stay current on television, which will be unnecessary for a miniseries.

I can’t say the hour is totally without merit. Most of the actors do deliver good performances. Stone herself is fantastic, and the bits of MOSAIC that do captivate me, few and far between as they are, generally involve her and Reubens, who I also really enjoy. Some of Weller’s stuff, including his chemistry with Stone, is also very good. But those moments are not enough to hold my interest in between.

The story itself just doesn’t feel all that well constructed. There are a LOT of characters and connections to keep track off, and with the constant, abrupt movements in setting, it becomes more of a chore than a pleasure. There just isn’t enough time spent with certain individuals for the audience to grasp who they are and what they want before it moves on, usually to something totally unrelated, or so it seems. Parts shown out of order don’t help. Perhaps if I binged the whole thing at once, some general picture would emerge, mosaic-like, from the fray. I just don’t see the draw in episode one.

Now, I concede there are likely fans of the app who got really into solving the mystery and following all the clues. Those people might like to see the whole story edited together like this into one narrative, and already having prior knowledge of the proceedings, could follow it more easily.

But if you’re just planning to tune into MOSAIC as a show, I’d recommend skipping it.

MOSAIC premieres Monday at 8/7c and runs throughout this week on HBO.

Part / COUNTERPART

Article first published as TV Review: COUNTERPART on Seat42F.

COUNTERPART is a new drama premiering on Starz tonight (though fans of Outlander might have already seen the pilot, which aired ‘sneak preview’ style after the recent series finale). The story follows a mild-mannered man who has spent his career in an unsatisfyingly low-level job within a secretive part of the UN. Said man, Howard Silk, has his life suddenly disrupted when he finds out that his employer is actually guarding a gateway to a parallel reality. And he learns this because a tough, commanding version of himself crosses over to defect and help them stop a serial killer.

J.K. Simmons (Whiplash, Spiderman) is brilliant as both versions of Silk, the leading role he deserves. Simmons is one of those performers who got the supporting player and character roles for far too long, but can totally handle headlining. It almost seems like COUNTERPART is making it up to him by giving him two such roles at once, and complex ones at that. For Simmons alone, I would like to watch this show.

He is joined by a brilliant supporting cast. Harry Lloyd (Manhattan) plays his boss, Peter Quayle. Olivia Williams (Manhattan) is Silk’s wife, Emily, who seems to have quite a different relationship with the protagonist on each side. Jamie Bamber (Battlestar Galactica) is Emily’s tool of a brother. Sara Serraiocco (Worldly Girl) is the enigmatic, gender-fluid assassin. There are quite a few more characters, too, but these are the ones that stand out the most in the pilot.

In terms of genre, COUNTERPART crosses a couple of them. Its narrative structure is that of a spy thriller. There’s a cat-and-mouse aspect to the espionage, and real danger. Violence is a tool, not the point of it all, and there is plenty of mystery. There is a Cold War feel to the hunt, two sides who could cause great damage to one another, staring across the abyss, full-fledged conflict threatening to erupt. And, of course, one cannot deny the strong science fiction aspect.

Speaking to the sci-fi, there is a promising premise here to be explored. It’s interesting that they establish these two realities used to be one, splitting off at a defined point. Given how different things have gone on each side, one really wonders about specific events and their importance. I think it would behoove the show to explore the past as well as the present as the tale unfolds, as viewers will be curious at how some of the divergences happened. Plus, we don’t yet know all the rules of the separation and what might be done, nor much about the code work Silk was doing, which definitely seems to have larger meaning than we see in episode one.

In short, I really, really dig COUNTERPART. While it shares some familiar elements with other series, it also appears to have its own, strong identity, and a rich world to explore. I have no idea where things are going, which is a big plus on a show like this, but I can’t wait to see them play out. With the stellar cast, especially Simmons, it seems likely that even weaker moments will play well. Though, the pilot seemingly lacked those weak moments, which hopefully keeps up as the show goes on (always an iffy prospect for high-concept sci-fi, which often stumbles when forced to explain everything).

Starz has a great series here. I only wonder why they didn’t keep it paired with Outlander. I feel like there is enough common DNA, though the two shows are very different, that it could keep some of the same audience. True, Starz might want to maintain the viewers when Outlander isn’t on, but they seem like such a natural pairing, it looks to be a missed opportunity to air them in different seasons.

COUNTERPART premieres tonight at 9/8c on Starz.

BLACK LIGHTNING Strikes The CW

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

If you’re a big fan of the CW’s Arrowverse, a collection of television shows based on DC Comics properties that connect with one another, you may have mixed feelings about new series BLACK LIGHTNING. Although it joins the network with like source material, it is tonally quite different than the other series, and for now at least, it isn’t connected into the bigger picture. But if you just like superhero shows, this one is a fine addition to the genre.

BLACK LIGHTNING centers on Jefferson Pierce (Cress Williams, Hart of Dixie), a metahuman who used to fight crime as the titular hero. Nine years ago, urged by his now ex-wife, Lynn (Christine Adams, Agents of S.H.I.E.L.D.), Jefferson hung up the mantle and focused on making a difference in his troubled community as a high school principal. Now, however, gang violence is on the rise. After his younger daughter, Jennifer (China Anne McCalin, House of Payne), gets pulled into the mess, Jefferson decides to go back to his previous vigilantism. This is much to the delight of Jefferson’s dear friend and helper, tailor Gambi (James Remar, Dexter), who has an upgraded suit ready to go for him.

The central gang are known as the 100, headed by Jefferson’s former arch-nemesis, Tobias Whale (Marvin ‘Krondon’ Jones III, Harry’s Law). Whale is a lead character, which indicates something hinted at in the pilot, “The Resurrection” : BLACK LIGHTNING will not a villain-of-the-week procedural. Instead, it is about the environment of one city, with past playing into present, and the situation is more complex that can be boiled down to a sound bite or trailer.

We see this most prominently in Jefferson’s friend, William Henderson (Damon Gupton, Criminal Minds). William is a detective on the force who thinks law enforcement should handle the situation. But clearly, the cops aren’t doing enough, as the 100 operate relatively openly. Even Jefferson has been complicit in their activities, working out a truce to keep them out of his school. So as BLACK LIGHTNING jumps back into the fray, the balance will be upset, which will likely give both good guys and bad reasons for concern.

This is also very much a family drama. Jefferson wants nothing more than to get back with Lynn. While Lynn pressured Jefferson to give up the crime fighting, when their children are put at risk, she doesn’t raise objection when he does what he has to to bring them home safe. Jennifer is rebellious, but seems to have a good heart. Older daughter, Anissa (Nafessa Williams, Twin Peaks), the more obedient and politically active young adult, will be involved in multiple aspects of her father’s life, revealed in a twist at the end of the hour that comic fans will see coming. So there’s a lot going on here.

There will be inevitable comparisons of BLACK LIGHTNING with Marvel’s Luke Cage on Netflix, especially as this series focuses on the larger neighborhood and the past relationships of the characters, making for a similar premise. BLACK LIGHTNING suffers by comparison, not taking its time as much, nor going as deep. But it is a solid series on a non-cable network, which, because of easy access, has the possibility of reaching a different audience. And the lead characters are separate enough in makeup, having some very significant differences, so there’s certainly room for both on the air at the same time. Thankfully, the CW DC shows all go for something a bit different from one another and their competition.

While I love the world building, I think it is smart not to immediately connect BLACK LIGHTNING to the other Arrowverse properties because it is more grounded, more serious than its fellows However, I do hope someday to see the worlds collide, as it’s a cruel tease to fans to have the crossovers so close to reality and not seem them to fruition. If it happens, though, I do hope care is taken to keep Jefferson true to the soul of his own series, and not sanitize him down just to involve him in the larger group.

BLACK LIGHTNING airs Tuesdays at 9/8c on the CW.

Dreaming ELECTRIC DREAMS

Article first published as TV Review: ELECTRIC DREAMS on Seat42F.

Amazon has joined the sci-fi anthology trend with PHILLIP K. DICK’S ELECTRIC DREAMS, which premiered yesterday. Each installment of the ten-episode season is based on a different novel or short story by the prolific author. The writers and directors are given wide latitude to adapt the source material as they see fit. A strong roster of actors rotate through the various parts, which have different running times, but are generally between 40 and 50 minutes, so about the length of an hour-long drama sans commercials.

I viewed the first two installments in preparation for this review. “Real Life” finds a future cop named Sarah (Anna Paquin, True Blood) dealing with the aftermath of a massacre. Her wife, Katie (Rachelle Lefevre, Under the Dome), suggests a VR ‘vacation’ to live out another life that her own mind makes up. Sarah accepts, and finds herself in the past from her perspective (roughly our present) as George (Terrence Howard, Empire). George recently, tragically, lost his wife, Katie (also Lefevre), and has invented a VR headset to escape into. But what quickly becomes confusing to Sarah/George as she/he goes back and forth is, which is the real world and which is the dream?

Episode two, “Autofac,” is set in a post-apocalyptic landscape where the surviving humans are being killed off by pollution from the still-running factories. Emily (Juno Temple, Vinyl) and her friends concoct a plan to contact the artificial intelligence running the factory, which sends a customer service bot (Janelle Monae, Moonlight) to meet with them. Will Emily’s plan to shut down the machines work? Or has the Autofac out-thought her every move?

Both of these are entertaining, if dark, installments. They have high-quality concepts that mess with one’s mind and have one guessing the nature of reality. Some of the twists you may see coming, but certainly not all of them. Written by Ronald D. Moore (Outlander, Battlestar Galactica) and Travis Beacham (Pacific Rim) respectively, they make these ideas understandable, couched in relatable characters who are also complex. They also look visually stunning, especially the future parts of “Real Life,” which features flying cars and giant, electronic advertisements.

And yet, ELECTRIC DREAMS is no Black Mirror. It’s hard to put my finger on why exactly it falls short by comparison to today’s defining sci-fi anthology series, which recently released a fourth season on Netflix. Both are similar in makeup and the talent behind them. But ELECTRIC DREAMS just seems a little less cohesive, a little more quickly done, and little cheaper, for lack of a better word.

Perhaps they shouldn’t be held up against one another, as similar as they may be, because there are important differences, and with short seasons, there are room for both. It’s a pleasure to get so much quality science fiction in this era, and no one need choose between the two. Though, if you had to, I think it’s a pretty clear choice in Black Mirror’s favor.

Perhaps because the writers are reigned in a bit by having to go off of Dick’s works, as brilliant as they are, it gives them a little less room be imaginative. That may not be the real issue; I’m really having trouble figuring out what the difference is. That’s just the only thing I can think of that would change the approach in how these stories are told.

Still, it’s not like ELECTRIC DREAMS is bad. I am interested enough to see what other concepts are explored. I just don’t think it will be giving its peer a run for it’s money at the top of the heap.

PHILLIP K. DICK’S ELECTRIC DREAMS is available now on Amazon, free to Prime members.

Rescue 9-1-1

Article first published as TV Review: 9-1-1 on Seat42F.

Before watching, one can be forgiven for dismissing the new FOX series, 9-1-1, as a typical procedural. After all, it stars firemen, police women, and EMTs, and the people they help don’t carry over from week to week. But there is a lot more to it than that, even if it’s hard to define exactly what the quality is that it exudes. Let’s try to break it down, shall we?

First, there’re the brains behind 9-1-1: Ryan Murphy, Brad Fulchuk, and Tim Minear. These guys are known for a variety of high-quality cable shows in recent years, most notably American Horror Story, American Crime Story, and Feud. Given those credits, it’s hard to believe they would deliver anything at all close to a run-of-the-mill, case-of-the-week series. And they do not.

The next clue that this will be better than usual are the actors who signed up. Angela Bassett (American Horror Story, Olympus Has Fallen) is Athena Grant, the main police person we see in the cast. Peter Krause (Parenthood) is Bobby Nash, the fire captain. Kenneth Choi (Sons of Anarchy, Last Man on Earth), Aisha Hinds (Underground, Dollhouse), and Oliver Stark (Into the Badlands) all play characters who work for Bobby. Connie Britton (Friday Night Lights, Nashville) is a 9-1-1 operator named Abby Clark serving as go-between for all of these people, making it a rounded series. While it’s true that none of them have spotless resumes, to have so many great performers in one series says something.

The premise itself does feel a bit formulaic when described. In the pilot alone, the characters respond to several calls for help, and deal with the issues. One of the ensemble gets in trouble at work for acting inappropriately, one is a recovering alcoholic, and Athena is dealing with marital issues with husband Michael (Rockmond Dunbar, Prison Break). None of these things sound like they belong to a new, promising show.

However, there is something more to 9-1-1 that transcends the formula. It’s an ineffable element that is hard to define completely. The best way I can describe it is that there is an urgency, a pacing and tone, that belongs on a high-quality cable show, and feels very out of place on a broadcast network. No scene comes across as cheesy, everything is done with sincerity, and when paired with the performing talent, it rises above the sum of its parts.

The primary thing I can say is that numerous bits of the pilot moved me deep in my gut. I welled up, but not in the way This Is Us makes me. I experienced adrenaline rushes, but not as I do when watching 24. I was scared, but not like a bad slasher flick evokes. I really felt the emotions the characters were feeling, and I have to say, that is quite a feat to do in an hour procedural, let alone multiple times. Maybe it was the mood I was in, but having just reviewed a terrible show right before it, I don’t think so.

Some will dismiss this assertion and find it ridiculous. Everyone is entitled to their own opinions, and I’ve already seen some negative reviews of 9-1-1. But I loathe crime procedurals and watch far too much TV to think I haven’t become desensitized. What I can tell you is that this one feels different. This one makes me eager to watch more. It might be the best show FOX has aired in years, and I don’t think that’s making a questionable boast. This is what a procedural should be, the best of its genre.

9-1-1 airs Wednesdays at 9/8c on FOX.

GROWN-ISH Immature

Article first published as TV Review: GROWN-ISH on Seat42F.

GROWN-ISH, a spin-off of the hit ABC sitcom Black-ish, premieres this week on Freeform. Centering around Zoey Johnson (Yara Shahidi) as she goes off to college, the series seeks to show a unique, yet familiar, point of view in the way that Black-ish does, albeit for a different demographic. It also looks to continue to be closely connected to the mother show.

Besides Zoey, who fans of Black-ish are already very familiar with, we are quickly introduced to the rest of the ensemble. There’s Nomi (Emily Arlook, Shitty Boyfriends), a closeted bisexual. Aaron (Trevor Jackson, American Crime) is super woke. Vivek (Jordan Buhrat) is far too obsessed with wealth. Luca (Luka Sabbat) is very fashionable. Sky and Jazz (R&B duo Chloe x Halle) aren’t as perfect as they pretend to be. It’s a more diverse, modern Breakfast Club, which Grown-ish goes to great pains to point out.

Many pilots go through meeting the various leads in hokey ways, bringing the main characters together in a single half hour through less than realistic means. Grown-ish sort of avoids that cliché by introducing Zoey to a new group of friends all at once, who happen to be in the same class as her, which makes sense.

However, Grown-ish still seems to feel the need to toss in the hokey circumstances. It details how each student ends up in a less-than-ideal midnight marketing class through zany sequences that prevent them from getting to the registrar in time. Thus, while avoiding the awkward setup initially, through flashback, it falls back into that familiar trap.

This is far from the only thing Grown-ish does wrong. The pacing is constantly interrupted by extended freeze frames, often with hashtags attached. The narration provided by Zoey is overacted and cheesy. Including fellow Black-ish character Charlie Telphy (Deon Cole) is a huge stretch that feels inauthentic. Chris Parnell (Saturday Night Live, Suburgatory) once again shows up as a goofy, out-of-touch authority figure; I love Parnell, but enough with this type for him, or characters on TV in general. A lot of the plot feels stilted and as predictable as it is uninteresting.

There are promising bits, though. The pilot has an important lesson to teach involving fellow student Ana (Francia Raisa, The Secret Life of the American Teenager), and it eventually does get around to it. It may be slightly preachy, but it’s something kids should see. There is a well-defined point-of-view from not just Zoey, but the other characters, too. The basic premise is relatable and has legs for at least a little while. Some plot twists keep things interesting. The backgrounds of some of the characters aren’t nearly as sanitized as one would expect from Freeform, the show being OK with flaunting illegality to serve realism.

I also like that Grown-ish seems determined to stay connected to Black-ish, keeping the world together. A brief cameo from Andrew (Anthony Anderson) promises more to come, which makes sense for a father-daughter relationship, especially when the college is geographically close to their home. Shahidi is supposedly still going to be recurring on the original. And Cole is apparently doing double-duty, starring in both shows at once.

But overall, I did not find the Grown-ish pilot very watchable. Sure, there are some good elements, and if they are developed further, focusing on those rather than other bits, there could be a decent show here. But the essential structure itself just doesn’t feel very well done, and some choices to inject off-tone humor distract from the cohesiveness of other threads. It might be moderately successful on the Freeform network, but I can’t see it really hitting a broad audience, or even bringing along much of the Black-ish following.

Grown-ish airs this Wednesday, January 3^rd, on Freeform.