Just KIDDING

Article first published as TV Review: KIDDING on Seat42F.

Jim Carrey returns to television in the new Showtime series, KIDDING, which has thus far aired two episodes. Carrey plays Jeff, who is a very successful children’s television host known as Mr. Pickles. Sort of a Mr. Rogers-type with the marketing reach of Disney, Mr. Pickles is not just a person, he’s a brand. But when one of his twin sons dies in a tragic car accident and his family falls apart, Jeff fights with his boss to take the show a little darker and deal with his loss on-air.

Carrey is a fantastic actor who hasn’t always done projects worthy of his talent. KIDDING is not a dumb comedy by any stretch; it’s a smart, complex look at grief and different ways of dealing with it. Jeff is a very odd person, his on-screen persona his true personality, not an act, and he has a unique viewpoint on the world. Carrey is a rare actor who can make that seem sincere while also allowing the pain to peek through. It’s a really excellent performance.

KIDDING would be fine as a one-man showcase, and indeed, Carrey has earned such a series. However, he is surrounded by a fantastic ensemble that really enriches the story being told. Frank Langella (The Americans) plays Sebastian, Jeff’s boss who is also his father, making that relationship a lot more layered than it would otherwise be. Puppeteer Deirdre (Catherine Keener, Being John Malkovich) that works on the show is also Jeff’s sister. His estranged wife, Jill (Judy Greer, Arrested Development), is a nurse at the Mr. Pickles Cancer Wing. This blurring of the personal and professional really informs on Jeff as a character, and they all carry their own weight rather effectively, more than just there to serve him, though they do that, too.

The series is both grounded and slightly fantastical, mostly in the way it applies to its lead character. Jeff doesn’t have a firm grasp on reality because he always sees and assumes the best. His show can exist in a place like that, and he’s been able to get away with it because of the lucky life he’s led. But when issues crash down on him, it’s very interesting to see how someone like Jeff weathers the storm.

I love that this is a very dark drama, but that it has room for small bits of comedy. And I do mean small. The opening sequence of episode two, which involves a car theft, is the funniest thing in the initial pair of installments, and no main characters are really part of it. It’s telling that the story has to step away from its leads to find something so hilarious, because their lives are not equipped to handle it currently.

And yet, there’s something about this show that I’m just not sure about yet. Partly it’s because Jeff’s viewpoint, which the audience is mainly guided by, is definitely not the true telling. Partly because we’re still missing key pieces of the emotional story. Partly because Jeff might very well be a powder keg that is going to explode before long. And partly because there are small hanging threads from episode to episode that beg to be resolved. KIDDING seems like something you’d have to make it through a whole season of before you could properly judge it.

I like this show a lot, mainly because of the actors and the basic premise. In the details, sometimes it can be a little slow, sometimes a little obtuse, but overall, it’s interesting and feels unique. I am very curious to see where it goes and if Carrey can keep his performance reigned in, as the subtlety is very much working for him.

KIDDING airs Sundays at 10PM on Showtime.

THE FIRST TV Series for Sean Penn

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

Warning: The following contains slight spoilers. THE FIRST is a new drama series coming soon to Hulu. From Beau Willimon (the creator of House of Cards), the show is set in the near future and chronicles mankind’s first attempts to get to Mars. With some very recognizable faces, including the lead, it’s a familiar human drama that also fires up the soul. The spirit of the human race is explored in some interesting ways, and the mission itself takes backseat to the characters, even as it drives the plot forward.

Sean Penn (Milk) stars as Tom Hagerty, a man who is watching the launch with much personal investment. Viewers may wonder why he’s so affected, as Tom isn’t working at the space agency nor among the crew, but you’ll soon find out. Tom is also a widower who would like nothing more than to rebuild his family. However, he can’t help but be drawn to events, even if they begin to interfere with what he says he wants. (I apologize if that sounds a bit obtuse; I’m trying not to give away anything, and it’s particularly hard to do with this series because of its elongated beginning.)

Penn is joined by an ensemble cast that includes Natascha McElhone (Designated Survivor) as the head of the space agency, LisaGay Hamilton (Men of a Certain Age) as an astronaut not assigned to the first crew, Anna Jacoby-Heron (Finding Carter) as a recovering drug addict, Oded Fehr (24: Legacy), Melissa George (Heartbeat), and Annie Parisse (The Looming Tower), among others. It’s a pretty sprawling group, but the story stays focused on just a few players, with others only coming in when they’re needed to serve those leads. This is an effective way to keep the story where it needs to be.

The pilot starts a little hokey, much of what happens in the first half being pretty predictable. Some different casting or direction, a bit less foreshadowing, could have made it very surprising. As it is, most regular television viewers will likely see what’s coming before it happens. THE FIRST boasts one of the most heavy-handed versions of this that I’ve seen in awhile.

However, once you get past that, the story deepens and becomes much more interesting very quickly. While it would be preferable to start strong, even if it’s not a path the show is choosing to pursue, the central threads aren’t much hurt by the missteps, coming through strongly in spite of it. And once the initial set up is over with, THE FIRST is a grounded, complex tale that isn’t just repetition of other stories.

The familiar part of the series is its spirit. For anyone who enjoys rooting for the underdog, or films where a hero overcomes obstacles because of deep-seated beliefs that make them better than the average person, THE FIRST has this in spades. It’s uplifting, inspirational, and feels very good to watch. Yet, Penn’s performance and some very good writing keeps it away from cheesy, instead delivering a powerful, no-frills story.

I’ve watched beyond the first episode, and I’m very pleased with what I’ve seen. I can imagine why Penn agreed to go to the small screen when given material this good. Hulu has been upping its game in the quality department, and this drama is no different, feeling akin to The Looming Tower and other recent triumphs. While not as socially conscious as The Handmaid’s Tale, it does have something to say that reflects part of our humanity, and that’s a great starting point for a show.

THE FIRST premieres September 14^th on Hulu.

THE PURGE Of Story Over Action

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

THE PURGE is a movie series that is now being continued on the small screen, currently airing on USA. The premise involves a radical group called the New Founding Fathers of America taking over the government and instituting a holiday that shares a name with the series. Once a year for twelve hours, all crime (including murder and rape) is made legal, with emergency service workers going off duty. The rich huddle in their protected homes, while the poor are often the participants and the victims.

In this framework, viewers of the TV program meet a number of characters. Miguel (Gabriel Chavarria, East Los High) is a United States Marine who has come home looking for his sister on Purse Night. Said sister, Penelope (Jessica Garza, Six), has joined a cult that sacrifices themselves to those celebrating the event. Jenna (Hannah Emily Anderson, Jigsaw) and Rick (Colin Woodell, The Originals) consider themselves good people, but find themselves rubbing elbows with the morally questionable, especially Albert Stanton (Reed Diamond, Agents of S.H.I.E.L.D.), as they seek funding for their business venture. Jane (Amanda Warren, The Leftovers) usually plays by the rules, but decides to take on her boss (William Baldwin, Dirty Sexy Money) when she has the chance. And there are others, but these are the primary players in the first three episodes, those made available to critics for screening.

None of these characters are in the movies, but some of the organizations and concepts are. Unfortunately, if you haven’t seen the films, as I have not, the series doesn’t take the time to make the rules clear. Yes, it’s easy to understand that people are very violent and are allowed to get away with it for a night. But there are lots of details left out that apparently one would need to have seen the movies to understand.

This does detract from the enjoyment of THE PURGE. As a concept, I find it very interesting. Many have touched on such a thing before, including an episode of the original Star Trek back in the 1960s (which Ben Stiller’s production company is named after). And the show does seem like it will explore some of the concepts in the way (I assume) the movies didn’t have time to do. Morality plays that make you question your values and realign your viewpoints in the face of a much-changed world are in vogue; just look at The Walking Dead.

To its detriment, THE PURGE doesn’t embrace this as fully as it should. Instead, it seems like much more screen time is given to the senseless violence and quick thrills. While these are absolutely necessary to properly tell the story, it’s the balance that feels off, holding the show back from being as good as it could be.

That being said, it is still enjoyable popcorn television. It does touch on some of the things that should be explored further, and hopefully if it gets multiple seasons, they will be. It doesn’t feel too limited by the constraints of basic cable, which generally don’t allow shows to get too gory or intense (AMC and FX historically taking a lot more liberties than this network, USA). It finds a way to skirt that line, keeping it relatively tame while not feeling like it is.

If you like the movies, you’ll probably like the television show. If you don’t like the movies, I’m guessing you should stay away. But if you haven’t seen them, check this out and make up your own mind. Is it worth getting through the brutality to get to the scenes where the characters really dig in? I think it probably is, especially if this world is allowed plenty of time to develop, and you may agree.

THE PURGE premiered last week and airs Tuesdays at 10ET on USA.

The Next JACK RYAN

Article first published as TV Review: JACK RYAN on Seat42F.

Amazon now has the latest version of Tom Clancy’s Jack Ryan character in a series entitled, appropriately enough, TOM CLANCY’S JACK RYAN. In this drama, the first adaptation of the role in an ongoing series, not just a film or two, Ryan is a financial analyst for the CIA, out of the Marines, but before he holds public office. Of course, the everyman gets drawn into major terrorist activities and turns into action hero, which is what the show will mainly be about.

John Krasinski (The Office) is the fifth actor to portray Ryan, and despite a light resume of action flicks, he handles the role well. Krasinski is as believable as the soft-spoken nerd as he is the desperate man thrust into a situation he’s not prepared for. Ryan’s past service explains how he can handle himself in a battle situation, even if he doesn’t seem the type that will be fist fighting anytime soon. This is some solid casting.

Just as solid is the supporting cast, which includes Treme’s Wendell Pierce as Jack’s boss, James Greer, Abbie Cornish (Klondike) as Cathy Mueller, Jack’s love interest, Ali Suliman (The Looming Tower) as Mousa Bin Suleiman, the main terrorist, and Dina Shihabi (BKPI) as Hanin Ali, Sleiman’s wife. I know I often say the casts of these shows are strong, but this one is, too. With a smaller group, more is on these few players, and they all are up to the task.

JACK RYAN feels like a pretty quality production. It was developed by Carlton Cuse (Lost) and Graham Roland (Fringe). Roland’s background certainly helps make the military stuff work, and Cuse has plenty of experience on other good shows. Michael Bay is among the long list of producers on the project, and that might have come in to play when developing the action, which is big and intense.

In fact, that will likely be the main reason some will complain about this show. It contains a lot of action and special effects, ridiculously big attack sequences, and plenty of explosions. This is entertaining, obviously, elements common in tentpole blockbuster films. But there is a simplicity to the story, a bit of two dimension us vs. them stuff, that does drag down JACK RYAN. However, it’s less than 24 had, at least for now, so it’s not an unprecedented amount. There are also slower scenes that help balance things out, so I wouldn’t consider the action a disqualifying factor.

The plot in the CIA is welcome, with plenty for Pierce to do. The romantic stuff, where Ryan falls for his ex-boss’s daughter, is a little less interesting. To start with, it seems a predictable, uninspired relationship. However, I’ll admit to not having ready any of the Ryan novels, so there may be a faithfulness or importance here that I’m not seeing in the first few episodes of the series.

Despite the danger of blatant blind patriotism, and there is definitely a danger to such a thing, especially in the current political climate, I think most Americans won’t have any trouble rooting for the thoughtful, noble Ryan. It’s a fun series, and sometimes it even gets a little better than that description. I certainly think it’s ripe for a continuation over many years in which we see Ryan grow into the president of the United States, a post Jack Bauer did not, and could never, achieve. It’s nice to see a bit of restraint in the midst of such a glaring viewpoint.

In summation, I like JACK RYAN, I think most people will like Jack Ryan, and while it’s not a perfect show, it is definitely an entertaining one.

The entire first season of TOM CLANCY’S JACK RYAN is available streaming now on Amazon Prime.

Got ONE DOLLAR?

Article first published as TV Review: ONE DOLLAR on Seat42F.

CBS All Access, that extremely-overpriced streaming service with scant offerings, is very slowly adding to their catalogue. The newest drama to hit the service is ONE DOLLAR. The conceit is there is a dollar bill that changes hands between multiple characters, several people sharing ownership in the first hour alone. This happens in a small town, and not too far along in the pilot, a mysterious mass murder occurs there, too. Supposedly, this dollar bill will connect the strangers, but its not immediately apparent how.

The lead in the first hour seems to be Philip Ettinger, who plays Garrett Drimmer (Compliance). Garrett is a single father who is barely scraping by on his income from the local steel mill. He falls behind on his childcare payments, but suddenly becomes flush. Why? Well, one theory might be that he’s the murderer, but that seems way too obvious to be true. So that remains unrevealed for now.

ONE DOLLAR boasts a large ensemble cast, and given how far down the list Philip is on the official site, it seems the focus may jump around a bit. Other central figures in episode one include: Bud Carl (John Carroll Lynch, American Horror Story), the millowner; Wilson Furlbee (Greg Germann, Once Upon a Time), a developer; Dannie Furlbee (Kirrilee Berger, K.C. Undercover), Wilson’s daughter who will soon be off to college; and Jake Noveer (Nathaniel Martello-White, Collateral), a private investigator. The CBS site shows nine other main players, including Scandal’s Jeff Perry, so the story is likely to be winding.

The production has done a great job going for the gritty realism of a small town. A lot about it is authentic, and the direction plays well. Despite some obvious fake outs, the mystery is interesting and the story is intriguing. A number of talented, familiar faces mix well with the lesser-knowns. My overall impression of the drama is that I want to see more, and was disappointed that CBS All Access is only releasing installments weekly, on Thursdays, instead of all at once, so I could only see a single episode. That makes sense for a streamer with close connections to a broadcast network.

Something that makes ONE DOLLAR superior to other programs I’ve watched on All Access is that it isn’t beholden to the forty-two minute running time that most broadcast shows are. Whether that’s because CBS still hopes to cut Star Trek: Discovery and The Good Fight for regular broadcast at some point (minus a bit of language) and this show just wouldn’t work on the basic airwaves, or for some other reason, it’s not clear. But ONE DOLLAR is a well-developed, non-procedural that fits well with the All Access brand and is better than most (if not all) of what airs on the parent network.

So my only real complaint is how inaccessible the series is. By hiding it behind a pay wall most people won’t be interested in buying access to, few will see it. Unlike the two sister programs mentioned above, this one doesn’t already have a built-in audience, and I’m not sure those subscribing for The Good Fight or Star Trek will be that interested in this. I mean, I am, but I’m a reviewer who samples a wide variety of shows, and some people have more narrow tastes. Hopefully those who already subscribe will sample it, as I think it’s worth watching. I just wish CBS wouldn’t make such a bad service model.

Oh, and the title ONE DOLLAR and the thing with the dollar bill? So far, it doesn’t make much sense. Only time will tell if it pays off or not. Still, even if it doesn’t, I don’t think it’ll matter much to the quality of the show, which seems high.

ONE DOLLAR releases new episodes every Thursday, and is available exclusively on CBS All Access.

THE INNOCENTS Sort Of Is

Article first published as TV Review: THE INNOCENTS on Seat42F.com

The following contains spoilers from the first episode and less spoiler-y comments on hours two and three.

It seems like Netflix is constantly putting out new shows these days. One of the latest, which arrived last week, is THE INNOCENTS. Two teenagers, one feeling put upon by her single father, the other saddled with being a caretaker to his, run away together. However, the girl has a secret that even she doesn’t know, an inheritance from the mother that abandoned her. As this hidden skill comes to light, it won’t just be their families trying to track them down.

Sorcha Groundsell (Clique) stars in THE INNOCENTS as June, the girl who can shapeshift into other people. June doesn’t know how to control the power, it just happens suddenly one day, throwing her life into disarray. Sorcha does an excellent job playing the scared teen believably, as earnest in her desperation and need for reassurance as she is able to let loose when the situation presents itself.

Her leading man is Percelle Ascott (Wizards vs. Aliens) who plays Harry. It might be hard to believe that Harry stands by his girlfriend when she changes into a man and doesn’t know it’s only a temporary shift. But we’ve already seen Harry put his own welfare second to others, falling very easily into the role of caretaker, so it makes sense. His deep love for her is well demonstrated before this moment.

In the rest of the ensemble of THE INNOCENTS, there are several other actors of note. Viewers are likely to recognize Guy Pearce (When We Rise) as Halvorson, the scientist who is caring for (keeping captive?) June’s mother in scenes that very nearly smack of the Strange Things laboratory, except in the country. Sam Hazeldine (Resurrection) has a tough job playing a character we’re conditioned not to like who really doesn’t seem all that bad. Johannes Haukur Johannesson (Game of Thrones) steals the show, not so much as Steinar, Halvorson’s operative, but as June during her extended shift into him.

The tone is, at times, creepy, but it’s also very grounded and authentic. The kids act like kids, and the parents act like parents, a testament to both the writing and performances. The settings are gone through quickly, but not unnecessarily so. This is in contrast to the pacing, which is relatively slow, letting the characters breathe, rather than just run. At times, one could reasonably argue, it does this too much. However, it definitely feels like a carefully-plotted season because of it, and endings are often cliffhanger-y, persuading viewers to let the next installment play immediately.

The weakness is that it’s not all that exciting of a story, at least not initially. The stakes aren’t clear, the ‘bad guys’ offering therapy, not enslavement. The danger is minimized, and when violence is interjected, it almost feels out of place. Which is not to say the series is tame, but just not all that intense. Though, June and Harry’s relationship is a little more chaste than you might expect two teenagers running away together to be.

And, as mentioned, the slow way things unfold means that it doesn’t stay gripping. For instance, June and Harry take time to go to a club in episode three. Sure, it’s part of their journey, they’ve just met new friends and all that. But it still feels a bit weird, when so much attention is devoted to the search for them, that they’re just kind of hanging out, having fun.

Overall, however, it seems like an interesting story that is being told in an intriguing way, a new twist on shapeshifting. THE INNOCENTS doesn’t share a lot of DNA with other series, which works in its favor. Filmed partially in Norway and produced by the UK, there’s an exotic quality to it that will only enhance American viewing. The acting and direction is quite solid.

The entire first season of THE INNOCENTS is streaming now on Netflix.