SMALL AXE RED, WHITE AND BLUE

 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.

The SMALL AXE MANGROVE

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

Amazon Prime recently premiered a new series of films directed and co-written by Steve McQueen (12 Years a Slave) entitled SMALL AXE. The first of these, MANGROVE, is available now. It follows the true story of The Mangrove Nine, a group of Black people arrested during demonstrations against the Metropolitan Police in Notting Hill, Kensington. So you’ll get a history lesson, a look at immigrant life, and hopefully think a bit about the racial injustice still prevalent in today’s society.

Shaun Parkes (The River) stars as Frank Crichlow, a man from Trinidad who has moved to London. Frustrated in dealing with the police, Frank opens a totally legitimate restaurant called the Mangrove, selling the cuisine of his native land, a.k.a. “spicy food.” But the local constable, PC Pulley (Sam Spruell, The Bastard Executioner), is deeply prejudiced, and decides that the Mangrove must be a place for unsavory characters, raiding it repeatedly for no legitimate reason. This only drives the community to embrace the Mangrove more, the local Black Panthers and others considering the place “theirs,” and things spiral far from Frank’s control. It all culminates during a march against the police in which Frank and eight others are arrested for rioting and affray. Off-screen the case is dismissed, and then tried again at the Old Bailey, a venue for only the most heinous crimes, as the police hope to make examples of the defendants.

SMALL AXE MANGROVE begins as one thing, a story focused on Frank and his restaurant, and halfway though, becomes a courtroom drama with varied protagonists. In lesser hands, this disjointed style and lack of strong focus might feel like a weakness. Instead, through flawless directing and performances, it feels like a complete piece, albeit one with two distinct halves. Yet, it’s also more than that. Frank’s story becomes the story of all these people, and the film enlarges to encapsulate that, minimizing Frank the way he becomes pushed to the background of his own fate. It’s actually a pretty cool move.

Parkes is great, full stop. He is not alone, however, and some of the best moments in SMALL AXE MANGROVE come from others. At the trial, one of the co-defendants, Darcus Howe (Malachi Kirby, Devils) decides he should represent himself. The stuffier lawyers protest, but Ian MacDonald (Jack Lowden, The Tunnel) thinks it’s a brilliant idea. Altheia Jones (Letitia Wright, Black Panther), another person on trial, agrees and decides to do the same. Altheia and Darcus speaking up for themselves is powerful, especially when Darcus plays the legal game better than some of the fully-trained lawyers, winning through logic, not just emotion.

The system is broken, the no one exhibits that better than Judge Clarke (Alex Jennings, The Crown), showing his prejudice right off the bat. But the cause is righteous enough, even he is eventually forced to admit wrongdoing on both sides, which unfortunately echoes remarks by own American president not too long.

That’s what’s so powerful about SMALL AXE MANGROVE, though: it isn’t just a history story. It is relevant today, shining light on the continued issues. This was written and filmed prior to this year’s Black Lives Matter marches, but they make it even more timely. The trial of The Mangrove Nine was fifty years ago, and yet, the problems remain, maybe not in quite the same way, but still very serious. The ending text on the screen reveal Frank’s troubles didn’t end after the trial, as he continued to be harassed for the next two decades. It wouldn’t have been surprising to learn he was still being harassed today, if he were alive. The police were not punished. And though his kids have a better life (you may know of his daughter, actress Lenora Crichlow), that doesn’t mean the problems are solved.

SMALL AXE MANGROVE is an excellent film with compelling characters and a true story that hits home. Even were it not applicable to current circumstances, it would land. The fact that the fight lives on only helps boost its impact. I can’t wait to see what the rest of the SMALL AXE series has in store.

SMALL AXE MANGROVE is available now on Amazon Prime.

UPLOAD This Into Your Brain

Article first published as TV Review: UPLOAD on Seat42F.

WARNING: The following contains spoilers from the first three episodes.

Greg Daniels, co-creater of The Office and Parks and Recreation, is back on television with the new Amazon Prime half-hour dramedy, UPLOAD. Set just over a decade in the future, it tells the story of a world in which the dying can upload their consciousness into the digital realm – for a fee. And like the apps of today, it’s connected very closely with anyone you want to interact with (even back in the real world), and has plenty of in-game purchases available. But there a dark underbelly to the satiristic story.

Robbie Amell (The Flash) stars as Nathan Brown, the protagonist who is killed in a malfunctioning self-driving car. He ends up in the app thanks to his rich girlfriend, Ingrid Kannerman (Allegra Edwards, Briarpatch), who wanted to marry him, but whom Nathan was trying to work up the nerve to dump. Once there, Nathan tries to accept his new status while feeling more and more isolated in the real world. Complicating this are missing memories and unanswered questions surrounding his demise.

Nathan is aided by Nora Antony (Andy Allo, Chicago Fire), the customer service representative that serves as his ‘angel’ in the afterlife. Nora is frustrated with her job and lousy corporate culture, but is drawn to Nathan, despite his unavailability, and finds personal motivation in building a relationship with him. (Jim Halpern, anyone?) Nora notices strangeness in Nathan’s case before he does, but is she really in a position to do anything about it?

UPLOAD is funny. One might even add a very to that statement. There are many visually humorous aspects to the situation present, and there’re some biting observations about modern society, especially concerning tech and corporate culture. This is a meaner, more raw version of what Daniels was saying in The Office, and it’s easy to appreciate the thought process that went into the making of this show.

However, sometimes believability is sacrificed for a laugh. Take, for instance, the scene in the pilot in which Nathan is shockingly uploaded. It’s hard to believe a hospital would have a window and allow family to witness such a thing, or that those who did witness were not prepared for the sight. We also are expected to believe that Nora suffers no direct repercussions for some of the acting out she does on the call center floor? And Ingrid unfortunately only becomes more cartoonish as the series unfolds.

One such thing that struck me very odd on the first viewing was Nathan’s behavior just before upload, but this has been explained away by further plot developments.

I like this show quite a bit, and it’s easy to devour in twenty-five minute chunks. (The pilot is double-length). The actors are universally charming, and the mystery adds a compelling through-line to a very interesting take on a man-made afterlife. Elizabeth Bowen (Resident Alien) may just out-Melissa-McCarthy Melissa McCarthy as amateur investigator Fran Booth. Owen Daniels (Space Force) is soooo creepy as the A.I. servant. There are also lots of answered questions that beg to be explored. A lack of aging and development in the app, for one.

But I do wonder just how amazing it could be with a few of the wrinkles ironed out. With just a bit more development time to really figure out those weak spots, I think this might even rise to the level of The Good Place, created by fellow Office and Parks alum Mike Schur (though of course the content is vastly different, despite both being about the afterlife). It is so close to being one of those shows you tell all your friends about. But it falls just slightly short, which doesn’t make it unwatchable, but definitely sparks a bit of longing for what might have been.

UPLOAD’s first season is available now to stream on Amazon Prime.

HUNTERS and the Hunted

Article first published as TV Review: HUNTERS on Seat42F.

Amazon recently released HUNTERS, a ten-episode drama about a group of Jewish people in the late 1970s hunting down Nazis hiding in America to take revenge for their wartime atrocities. From the mind of David Weil, this hyper-reality series picks a handful of things from history, and amps them up a la Inglourious Basterds, with plenty of shocking deaths in this cat-and-mouse spy game. It’s like The Americans, but way more fun (which is not a knock against that excellent series) because it’s a lot less concerned with accuracy.

The cast is very capably led by Logan Lerman (The Perks of Being a Wallflower) as Jonah Heidelbaum. Jonah lives with his grandmother, a survivor of the concentration camps, and his only remaining relative. But when she is mysteriously murdered in her home and Jonah doesn’t stop it, his mission to make up for his inaction leads him to a larger conspiracy. Jonah meets Meyer Offerman (Al Pacino, The Irishman, The Godfather) and his band of Nazi hunters. Despite Meyer’s best efforts, Jonah joins them in their quest, taking his grandmother’s place.

The supporting cast is wonderfully assembled. Jerrika Hinton (Grey’s Anatomy) is Millie Morris, an earnest federal agent investigating suspicious murders. Dylan Baker (The Good Wife) is so, so, so creepy as Biff Simpson, a former Nazi. Greg Austin (Mr Selfridge) is chilling in his cleanup. Lena Olin (Alias) is the cartoonishly evil German who wants to establish a Fourth Reich. Saul Rubinek (Warehouse 13), Carol Kane (Unbreakable Kimmy Schmidt), Josh Radnor (How I Met Your Mother), Tiffany Boone (The Following), Louis Ozawa (Bosch), and Kate Mulvany (Fighting Season) make up the members of Meyer’s team.

From the first scene, HUNTERS is gripping. A friendly cookout among co-workers goes wrong, and the result is something that very nearly crosses a line. From there, things only ramp up, as in the pilot alone, there are something like ten murders (most in a single scene). Each tends to be done with flair and dramatics, keeping one’s attention, even as it’s hard to know exactly when the next one is coming up. The pacing is quick, and the story flows smoothly.

There is a line one wouldn’t want to cross, and HUNTERS comes right up to it. The line I refer to is showing brutality towards children, which the show manages without being graphic the way it is in its treatment of adults. That restraint is appreciated, even if it’s clearly just for viewer sensibilities; the world isn’t any less realistic in the outcomes towards the youths.

Still, there’s a lot of violence, and without stating that it’s glorification, it is stylized entertainment. Much as the way the rest of the show is. As I said in the opening, HUNTERS operates on a hyper-reality, and from Florida wallpaper choices, to sitting positions in an alley, to a secret lair, much care has been taken to build something that feels just not-grounded enough to fully enjoy, without worrying about what might have really happened. There’s an air of fairy tale to it that keeps you from being bummed out by all the death, even as the frequent references to the Holocaust lend a sad undertone. The overall satisfaction is joyous, with those who have been wronged balancing the scales in their own ways, extralegal or not.

I love what I’ve seen of HUNTERS. It’s got some absolutely terrific performance moments in a pleasing package. I wouldn’t call it light entertainment; it threads a careful balance between fun and depth. Yes, it is prestige programming, and uses its period concept delightfully. But it also says something, and the specific point of view behind it makes it well worth the watch.

You can stream the entire first season now on Amazon Prime.

Amazon Goes to the CARNIVAL

Article first published as CARNIVAL ROW Review on Seat42F.

WARNING: This review contains spoilers for the pilot, but only the pilot.

With Game of Thrones over, a slew of fantasy shows will surely be trying to capture that audience. Amazon’s entry into the race is CARNIVAL ROW, a dark drama that merges magic and the real world into a steampunk, war-torn, fictional version of Britain. While Game of Thrones, it is not, CARNIVAL ROW does have some intriguing elements.

The story begins with fae Vignette Stonemoss (Cara Delevingne, Suicide Squad) fleeing her home. With her brethren strung up or shot down around her, she somehow dodges bullets and barely makes it to a sailing ship off the coast. But that is only the beginning of her troubles as she makes her way to the heart of the Burge, a stand-in for London, England.

The other lead is Vignette’s missing lover whom she assumes dead, human Rycroft “Philo” Philostrate (Orlando Bloom, Pirates of the Caribbean, Lord of the Rings). Philo is working as an inspector for the local constabulary, trying to find whoever is beating up the fairy folk refugees, also called Pix. Philo, having fought alongside them in the war with the mysterious Pact, feels respect and decency towards the fairies who have had to flee their home, which is not a sentiment shared by all of his kinfolk.

The political and racial themes are many and central. In a city populated mostly by humans, but with a decent among of fairies and Pucks, the tensions are rife. This should be familiar territory for showrunner Rene Echevarria, one of the writers for former series Star Trek: Deep Space 9, who is used to handling such stories. The relationships between the races at large and the individuals specifically are complex and dense, something only glimpsed at as the show begins, and with plenty of room to delve deeper. They feel familiar to the real world, but also appear to be pretty solidly laid out in their fictional version.

Design is one of the strongest elements of the series, aside from a small handful of weak spots in the CGI. It’s easy to see the influence of Guillermo del Toro, who was involved in the development, but also is more grounded than some of his work. The steampunk sensibility is in vogue, rightly so, but the production also has enough originality in the details to avoid just ripping off an existing style. Mixing something akin to magic into this sensibility is pleasing and feels natural.

Bloom is excellent, as one might expect, and Delevingne is coming along as an actress, not quite matching his level, but close enough for a starting point. I expect she’ll improve the series progresses, and she does project a tone that fits the world well. They are joined by Jared Harris (Mad Men), Indira Varma (Game of Thrones), Tamzin Merchant (The Tudors), David Gyasi (Interstellar), Simon McBurney (The Borgias), Andrew Gower (Outlander), and many lesser known, but talented, performers. I have no complaints about the cast, many of whom have fine experience in genre programs.

Great production design, a good cast, and thorough world building are all terrific elements to have, but don’t guarantee an overall success. CARNIVAL ROW feels very near to a great series, but there’s something just a little off to keep it from getting up to that top tier. It’s hard to put a finger on just why that is. Perhaps it’s a little slow, and isn’t quite as compelling as it needs to be to pull that off. Or maybe it’s just a hair darker than necessary. It’s fine, to be sure, but lacking some ineffable quality at the moment. It may gain this in time, but just doesn’t quite have it yet. It’s good enough to give it a chance, but I’m not sure at present if it’ll be worth seeing through.

To judge for yourself, check out all eight episodes of CARNIVAL ROW, now available on Amazon Prime.

HOMECOMING Dance

Article first published as TV Review: HOMECOMING on Seat42F.

One might think it would take a unique series to lure Julia Roberts to the small screen. While crossing over from film to television is anything but uncommon these days, there are still some stars that seem too big to make the move. Well, Amazon’s HOMECOMING is definitely unique. And if you’ve forgotten just how good Roberts is, this series will remind you of that.

Roberts stars as Heidi Bergman, an administrator and counselor at Homecoming, a facility to help soldiers reintegrate into society after traumatic active duty. Heidi truly seems to want to help, though she has to balance that desire with the strict, demanding instructions of her boss, Colin Belfast (Bobby Cannavale, Ant-Man). We learn early on that whatever she intends doesn’t pan out, and four years later, she’s working as a waitress. But why? What happened?

HOMECOMING is a twisty, suspenseful tale. Most of the plot is set at the facility in 2018, with the 2022 flashforwards making up only a few minutes of each episode. The tone is that of an old Kubrick or Hitchcock drama, with bizarre directing shots to match. It feels out of time in sort of a semi-reality where you can’t trust anything you see. The paranoia is purposeful and not unique to the viewer, as at least a couple of characters share it, too. The closest thing I can compare it to on the modern landscape is Mr. Robot, which makes sense because it has the same creator, Sam Esmail. The mystery plays out slowly in a way that begs to be binged. Thankfully, Amazon dropped all ten episodes of season one at once (though I’ve only had time to view three so far).

The cast around Roberts is every bit as good as she is, pulling together a remarkable ensemble. Shea Whigham (Boardwalk Empire) is Thomas Carrasco, the man following up on a complaint about the facility in 2022, and gently nudging the spilling of secrets. Sissy Spacek (Bloodline) is Heidi’s mother, Ellen, who tells her daughter she’s lying to herself. Alex Karpovsky (Girls) is an employee at Homecoming. Dermot Mulroney (My Best Friend’s Wedding) is Heidi’s boyfriend in 2018, pushed aside in favor of her work.

Then there are the patients themselves. Stephan James (Selma) plays Walter Cruz, the main patient we see and the subject of Carrasco’s inquiry. Walter seems well-adjusted, like he doesn’t belong in the program, but is happy to go along with things. He gets along well with Heidi, developing a camaraderie that is more intimate than I imagine most doctors and patients share (though completely chaste, at least three installments in).  Their bond is immediate and interesting.

The thing that interrupts Cruz’s peaceful stint is his loyalty to fellow soldier Joseph Shrier (Jeremy Allen White, Shameless). Shrier is suspect of everything Cruz takes for granted, insisting that they aren’t even in Florida. Shrier is painted as the crazy man who is probably right, though only time will tell if he’s close to the truth. More importantly, he complicates Cruz’s tenure and treatment, keeping the story quite colorful.

HOMECOMING is based off of a scripted podcast by Gimlet Media starring Catherine Keener as Heidi. Which may explain why the episodes are less than half an hour each, despite being far more drama than comedy. And it’s probably the best adaptation of a podcast I’ve seen. It takes the best elements of that format, and even without having listened (yet, though I definitely will), I can see what parts have been carried over. However, it isn’t distracting as the show also makes full use of the visual medium, seamlessly blending the two in a beautiful, near-perfect marriage.

(Disclosure: I am the creator / head writer of a long-running, scripted, serialized comedy podcast called It’s All Been Done Radio Hour, so I might be a bit more enamored with the medium than most.)

I love HOMECOMING. I think it’s a stellar effort, well done on every level, and the perfect vehicle for Roberts and the rest of the cast. Check out the whole first season on Amazon Prime streaming video.

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.

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.

THE TICK Ticks On

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

Before we get started with this review, I must confess, I’ve never seen any previous incarnation of The Tick. I’ve always meant to and I’m sure I would enjoy, but just never got around to it. So this article is purely about the new Amazon series.

Amazon launched a new THE TICK yesterday, a second live-action version of the comic superhero spoof. Centered around a big, blue man in a bug suit and his more timid butterfly-like chum, The Tick fights for justice and doesn’t condone killing. With cartoonish jokes and supermen and women whose names themselves are gags, this occasionally meta, delightful absurd, woefully inane series is just getting warmed up.

The lead character of THE TICK is not The Tick. No, that title, at least for these six episodes, should go to Arthur Everest (Griffin Newman, Vinyl). Arthur is arguably the unluckiest person alive, with a very traumatic childhood backstory. He does have mental health problems, but it’s a miracle that his problems aren’t crippling and he’s, more or less, leading a normal life, even if his nighttime activities are less than normal.

Enter The Tick (Peter Serafinowicz, Guardians of the Galaxy), who takes Arthur’s unfortunate hobby and makes it his life. The Tick seems to come out of nowhere. Yet, he’s clearly got history with Arthur and has been around awhile (and not just because all of the heroes and villains in the show don’t seem to age over years or even decades). But The Tick doesn’t know what he is or who he is, only that Arthur has a destiny and The Tick must help him. If anything, it’s almost like The Tick is Arthur’s sidekick, even if their personalities point to the other way around.

What follows are odd battles with people like Ms. Lint (Yara Martinez, Jane the Virgin), a woman who flows with electricity, making her a magnet for floating particles, and The Pyramid Gang. Everyone wants Arthur’s superhero suit, which isn’t really his, and there’s a bit of a comedy of errors as custody goes back and forth.

Yet, there’s also a grander story here. Very early on, we know there’s something off about the original superhero who came to this planet more than one hundred years ago, Superian (Brendan Hines, Lie to Me). There’s also a naked VLM (Very Large Man, played by Ryan Woodle) who keeps growing and walking towards population centers. There’s the question as to whether the great villain The Terror (Jackie Earle Haley, Watchmen) is still alive. All of these moving pieces don’t fully come together in the first six episodes, which seem like an extended pilot.

Normally in a show like this, I would assume there isn’t a great picture coming into focus, as this seems like a goofball comedy. Even without having seen the earlier versions, it seems unlikely they had such lofty goals. And yet, the more signs shown in each installment, the more it seems certain that THE TICK is going somewhere. Which makes it even better.

And if you’re just wanting to tune in for the humor, there’s plenty of that, too. For instance, Ms. Lint lives with her ex-husband, a weird hipster named Derek (Bryan Greenberg, How to Make It in America), Arthur’s stepdad is way, way too nice, and Ramses IV (Michael Cerveris, Fringe) keeps a sarcophagus full of power drinks. Those are just a few of bizarre things in these installments.

I’ve barely scratched the surface of what THE TICK contains. It mixes offbeat comedy with genuine superhero stories with deep mysteries with hyperreality with whatever the heck Overkill (Scott Speiser) is, plus the psychotic woman from The Following (Valorie Curry) plays Arthur’s sister. It defies easy explanation and is super addictive, as I quickly plowed through all six half hour installments in short order.

THE TICK’s first half of its first season is available now on Amazon Prime.

Hopefully Not THE LAST TYCOON

Article first published as TV Review: THE LAST TYCOON on Seat42F.

Last year, Amazon released the pilot for THE LAST TYCOON as one of the shows under consideration for series. Based on the unfinished F. Scott Fitzgerald book of the same name (published posthumously), the story is centered on a Hollywood producer battling his boss as 1936 Germany tries to exert control over the American motion picture industry. Thankfully, this terrific series, based loosely on real people and real events (though with fictional names swapped in) was picked up, and tomorrow, eight more episodes will be available, in addition to the already-streaming pilot.

Matt Bomer (White Collar) is great as Monroe Stahr, the Jewish producer who works for Brady-American studios. He has a complex role to play, having not-too-long ago lost his beloved wife, Minna (Jessica De Gouw, Underground), and not able to get past her ghost. The professional conflict Monroe is dealing with comes mainly from that relationship he can’t let go of, though there are some romantic angles worked, too.

Equally central and equally terrific is Kelsey Grammer (Frasier) as Pat Brady, Monroe’s boss. Pat values Monroe, who helped him build the studio into the success it is, but is also a slave to keeping the gears turning. He justifies his rolling over for the Nazis by claiming it’s about keeping everyone employed, and there’s a moment in the first episode where he looks pretty altruistic. He sees himself as the hero, even as Monroe accuses him of being a coward, which seems to hit Brady a little hard. Their relationship is very interesting, close but strained.

To complicate matters even more, there’s a third lead, Celia Brady (Lily Collins, Mirror Mirror), Pat’s daughter. Celia is infatuated with Monroe and is determined to wed him, despite his lingering grief and health issues. This infuriates Pat, of course, even though Monroe is only interested in her talent, which, it turns out, she actually seems to have quite a bit of. This makes her invaluable to him, and turns the whole triangle into a mess. Thus, THE LAST TYCOON has plenty of drama.

While there are elements of the pilot that I found hokey and unrealistic, in general, this is a compelling show. It is a bit emotionally manipulative with the Nazi stuff, but in a good vs evil classic form, made more relevant by the current rise of a would-be totalitarian in the White House currently who seeks to discredit the media and control his coverage, an event that couldn’t have been foreseen as this series was ordered. There is a love story, Monroe’s to his deceased wife, that makes the conflict personal, even as the audience will root for the overall bend towards freedom and civil rights. But while the Germans are two-dimensionally evil, the other Hollywood types aren’t. Flawed, yes, but not flat. And even our heroic lead has some shameful things in his life to make him a little less noble.

Oh, and I hadn’t gotten to this yet, but the county’s economic depression also plays into the plot, and not just as it pertains to studio finances. Which adds more depth to the situation, and helps ground it.

We’re seen other old-Hollywood pictures before, more in films than in an ongoing series, but this one still feels fresh. Perhaps that’s because it’s about more than making movies, and has some truly engaging characters in it. Yes, it comes a little close to the fantastic Feud FX anthology series, but the material is different enough that THE LAST TYCOON should stand quite comfortably on its own.

Buoyed by a supporting cast that includes Dominique McElligott (House of Cards), Rosemarie DeWitt (Mad Men), Enzo Cilenti (The Martian), Bailey Noble (True Blood), and Koen De Bouw (Professor T.), I am very hopeful about the continued quality of THE LAST TYCOON, and looking forward to watching more episodes.

THE LAST TYCOON’s first season drops tomorrow on Amazon.

GOOD GIRLS REVOLT Or Revolting?

Article first published as GOOD GIRLS REVOLT Review on Seat42F.

Amazon has a new period drama called GOOD GIRLS REVOLT, which premieres this week. Set in the late 1960s, it’s a drama about the employees of a newsroom for a magazine (similar to Newsweek) called News of the World. Specifically, the characters at the center are women ‘researchers’ who essentially do all the work of writing the articles, but get none of the credit because of the sexism of the time. Now, they’re ready to fight for their rights and recognition.

GOOD GIRVLS REVOLT is confusing because it’s got a lot of real elements, but is not actually a true story. For instance, the events mentioned that are reported on more or less actually happened. Several characters, including Eleanor Holmes Norton (Joy Bryant, Parenthood) and Nora Ephron (Grace Gummer, Mr. Robot, The Newsroom), are real people. Yet, what they are doing isn’t true to life. Ephron did work for Newsweek, but at a different time, and for a longer period than what the show portrays.

Because of the real names and events, viewers are likely to be tricked into thinking this is a true story. I feel like that’s kind of dangerous. It’s absolutely fair to take a little creative license when portraying historical happenings, but GOOD GIRLS REVOLT isn’t doing that. Instead, it’s misleading to lend itself unnecessary and unwarranted authenticity. This is purely personal opinion, but I don’t approve of that sort of element at all.

Taken on its own, I did enjoy the pilot of GOOD GIRLS REVOLT, before I looked into how accurate it was. It’s very easy to get behind two of the three main women, Patti (Genevieve Angelson, Backstrom) and Cindy (Erin Darke, Love & Mercy), and root for them to succeed. It’s also a timely tale as the first female candidate of a major political party runs for office in a race beseeched by sexism, so it seems important to bring these things up.

However, the show is also pretty predictable and one-dimensional. The costumes and music are almost a bit too over the top, and the drug use and penis sculptures just make it seem ridiculous. Could people have acted like this? Perhaps. Did they? Probably not to this extent. This is more a vision of what modern viewers think the 1960s was like, taken in a cartoonish fashion. Even Patti, Cindy, Nora, and Eleanor are more archetypes than complex characters.

The one player that gets a bit of depth, Jane (Anna Camp, The Good Wife, Pitch Perfect), is not likeable. I’m not complaining about the actress; I’ve enjoyed Camp very much in several other projects. But instead of letting us see the internal struggle she is going through, wanting to hold onto the achievements she has made and afraid of rocking the boat, it’s actually surprising when Jane does the right thing in episode one because she’s shown to be such a cold person prior to this. We don’t get any insight into why she makes that decision.

There are men in the show, too, specifically, Chris Diamantopoulos (Silicon Valley), Hunter Parrish (Weeds), and Jim Belushi (According to Jim). They fare no better than the women, coming across as entitled bullies who may like girls that know their place, but certainly aren’t going to join the cause of gender equality. They aren’t outright villains, but are (mostly) quietly prejudiced. They are simply the obstacles in the way that must be toppled.

I do kind of want to see where GOOD GIRLS REVOLT is going. I like enough of the elements to be curious about episode two. Yet, that’s more because of a fascination with an era and the positive feelings I get from watching women kick butt than the show’s own merits enticing me.

GOOD GIRLS REVOLT season one will be released on Amazon this Friday.

Another Kelley GOLIATH

Article first published as GOLIATH Review on Seat42F.

The prolific David E. Kelley, gone from the broadcast airwaves for a few years, returns to television on Amazon this week with GOLIATH. Like most of his former series, GOLIATH is a legal drama. But with the freedom of streaming services, unbound from the set running times, act breaks, and episode counts of the broadcast networks he called home for so long, it’s a new beast from the old hand. And, let’s be honest, what fan of legal drama doesn’t want another one from this guy?

GOLIATH stars Billy Bob Thornton (Fargo, Friday Night Lights) as Billy McBride, a washed-up alcoholic who is past the peak of his career. Spinning into a personal hole, Billy has a bad relationship with his ex-wife, Michelle (Maria Bello, Touch, Prisoners), and daughter, Denise (Diana Hopper, Hidden Truth). He doesn’t start in a very good place.

Billy’s break comes when a woman brings him a big case that would pit Billy against his former partner, Donald Cooper (William Hurt, Humans, Into the Wild), and the firm Billy was forced out of, which Michelle is still involved in. Now, personal and professional life is intermixed as Billy fights for justice, and possibly for a little revenge from those who wronged him.

It’s an enticing premise. Everyone wants to cheer for the guy who is down, and who we expect to turn it around, especially when his opponent (Donald) seems so clearly in the wrong. It’s a black-and-white dynamic, and while the odds are stacked against Billy, David-and-Goliath-style, we are sure that the misfit crew he puts together, which includes a real estate attorney and a call girl, will win the day.

If I were to compare this to any of Kelley’s other series, I would say, on paper, it is most like Harry’s Law, which featured a noble, flawed character staging a comeback. Except, GOLIATH is a much darker drama and the case will be ongoing over at least the course of the season, whereas Harry’s Law was funny and procedural. So GOLIATH still has some of the classic Kelley elements and similarities to his past work, but isn’t just a retread.

The writer takes to the looser format very well. Watching GOLIATH, I was struck by how much it resembles some of the higher-quality series on the premium cable and streaming networks. It doesn’t have the same memorable juice as Fargo, American Horror Story, Westworld, Breaking Bad, and the others at the top of the heap, but it is a very solid entry that can hang in the same general stratosphere.

Helping this along is the excellent cast assembled. Thornton proved himself to any doubters with his last television role, and he is more than capable of taking the lead here. Yet, so are most of the other actors around him, so he is in good company with Bello, Hurt, Olivia Thirlby (Good Vibes, Juno), Molly Parker (House of Cards), Nina Arianda (Hannibal), Tania Raymonde (Lost), Sarah Wynter (24), Damon Gupton (Bates Motel), and more. There should be no complaints about the company.

The pilot starts off intriguing, but like the excellent Damages, it just seems to be scratching the surface initially. It sets up the scenario and introduces us to most of the players, but there are sure to be a lot of twists and setbacks as things unfold. At approximately eight hours running time, it looks to be a manageable, quick series, with no time for fluff and treading water, so I expect it will move quickly, but going by the pilot, not too quickly. I’m intrigued and plan to watch the full season.

GOLIATH’s entire first season will be available on Amazon Prime beginning today.

Lying Down With FLEABAG

Article first published as FLEABAG Review on Seat42F.

Launching as an Amazon Original, though also a British series that already posted to online streaming service BBC Three, all six episodes of FLEABAG come to American audiences on September 16^th. Set in present-day London, it’s the story of a young woman who isn’t handling the death of her best friend very well. Told in semi-non-linear fashion, it’s about grief, feminism, millennials, sex, and so much more.

FLEABAG is created by Phoebe Waller-Bridge (Crashing, The Iron lady), who also stars as the titular character. When we meet her, she’s a mess but we don’t know why. She treats her sensitive boyfriend, Harry (Hugh Skinner, W1A), and her sister, Claire (Sian Clifford, Paddy), poorly, using them and then pushing them away, and not really seeming to take their feelings into account at all. Her father (Bill Paterson, Outlander) has it even worse, with Fleabag causing friction in his relationship with her godmother (Olivia Colman, Broadchurch). Fleabag herself will sleep with just about anyone and seems to barely get by day by day.

But then, we learn about Boo (Jenny Rainsford, Prometheus), her guinea pig-obsessed best friend and business partner who perished. Did Boo kill herself, or was it an accident? This is in doubt. Since Boo is the only character we ever see happy (in a number of interspersed flashbacks), it makes the situation even more puzzling.

The fact that Fleabag lost Boo does not excuse her behavior, at least not all of it. Fleabag is rude, self-centered, and semi-psychopathic. And yet, viewers will want to cut her some slack because of Boo’s death. Everyone deals with grief in different ways, and maybe Fleabag is acting out from deep emotional pain. After all, she’d have no one at all if she were always so awful, right? Maybe…

Waller-Bridge gives a stunning performance, one that constantly keeps you guessing about whether you should like the protagonist or not. Her snide comments and looks at the camera, a la House of Cards, help us get inside her head and earn some sympathy. And yet, they also betray that she may be just as horrible as she outwardly acts.

I watched two episodes to try to figure out the fascinating dichotomy. I did not manage to, though I’ll be watching the additional four installments to see if they can shed any more light. Instead of answers, we get a complex woman that feels completely real, both a product of her time and a reaction against it. While it’s hard to like Fleabag too much, she begs you to try to peer into her soul, and it’s difficult to look away. She is one of the most interesting, enigmatic character studies I’ve seen in a long time, which is probably why I liked the show so much.

If you are casually pulling up a scene or skimming through FLEABAG, you are likely to wonder why in the world you’d ever want to watch such a thing, which is what my wife asked me ten minutes into episode two (she missed the pilot). But if you’re willing to devote the time and attention this dramedy deserves, it seems to me there is much richness to be mined, and certainly a ton of originality, which is lacking from most other shows.

I don’t know if there’s any hope of FLEABAG coming out of the funk she’s in, or if this is her natural personality and always has been. I hope it takes her awhile to figure herself out, though, because this is something I’d like to watch for a few years, not just one afternoon.

FLEABAG will premiere on Amazon Prime September 16^th.

ONE MISSISSIPPI One to Watch

Article first published as ONE MISSISSIPPI Review on Seat42F.

Coming soon to Amazon is the dramedy ONE MISSISSIPPI. Starring comedian Tig Notaro (Transparent) as a version of herself, it is a semi-humorous look at death, illness, and the other dark parts of life. And it’s absolutely excellent.

ONE MISSISSIPPI reminds me a lot of Louie, the FX series created and starring Louis C.K., who is a producer on this one. It is similar in that the main character resembles the actual person at the center of it. The stories line up a bit with the performer’s stand up material, and the arcs are deeply personal and thought provoking. The quality of both shows is immense and at a different level than most television.

Where ONE MISSISSIPPI is different is in the same way that Tig is different from C.K. She is a product of the south that went on to not be defined by it, and that’s where this show is set. The setting becomes as much of a character as New York City does for Louie, which offers a completely different perspective for those who don’t live there. Tig is quieter and more accommodating than Louie, perhaps part of her polite Southern roots, but there’s the same level of authenticity and rawness in both.

Tig herself is a fine performer, fully evident in the first episode of the series, written by Tig and Diablo Cody (Juno), and already available on Amazon. The pilot finds her returning home to watch her mother die. While perhaps she doesn’t show the range and complexity of emotions that an actor might in an Oscar-nominated drama, it would feel completely over the top for her character to do so. She is not that type of person, and the reactions she has are brilliantly aligned with who she is. It’s really powerful stuff.

Tig is joined by Noah Harpster (Transparent) as her amiable brother, Remy, John Rothman (The Devil Wears Prada) as her OCD-plagued step-father, Bill, and Casey Wilson (Happy Endings) as her girlfriend, Brooke. Each of these bring something interesting to the dynamic, especially Rothman, whom I started out not caring for, but was completely won over by towards the end of the half hour.

Tig is perhaps most famous at this point for being the comedian who survived cancer, and that is part of the story of ONE MISSISSIPPI. Her missing boobs (she had a double mastectomy and opted not to get reconstructive surgery) are mentioned not once but twice in the initial installment. If this show were not good, it would still be laudable because of the way it deals with such issues head on, as Tig has, shining light on the end of life that most people and programs shy away from. The fact that it is done in a sympathetic, relatable, and often funny, manner, makes it even better.

It’s this discomfort in the subject material that elevates the series to something new. These are life experiences we all go through but don’t talk a lot about. Why not? ONE MISSISSIPPI forces the conversation, and I think it will help viewers become more self-aware individuals. True, that’s a big task for a television show, but one I think ONE MISSISSIPPI achieves.

I also enjoy the fantasy-type sequences, which allow for exploration of jokes and help us to get a better understanding of how Tig’s mind works. Assuming she is baring her mind to us, of course, which is what it feels like, though I could be wrong.

While I do draw a lot of parallels between ONE MISSISSIPPI and Louie, this is its own show with its own point of view, and as such, entirely worth watching. The pilot is available now, and the rest of season one will be released Friday, September 9^th on Amazon.