No Guilt About Skipping GUILT

Article first published as GUILT Review on Seat42.

A guilty pleasure show is, by definition, a show you feel bad about enjoying. Freeform is going for that category with the new drama series GUILT, premiering this week. Loosely inspired by the real-life Amanda Knox case of an American student abroad accused of murder, it weaves a complex web of many characters with various selfish drives and possible motives for murder. And it utterly fails to be good television, even in the guilty pleasure realm.

GUILT begins with Grace Atwood (Daisy Head, The Proxy), a coed, waking up next to a sexy French artist (Zachary Fall, Allies), only to find her roommate dead in the London flat below. If that sounds like a lot of nationalities, that’s because it is, just a small taste of how the show goes for flash over substance. It’s important that everyone and everything be beautiful and exotic to make the tale as fantastical and enticing as possible. Each scene brings more and more of these types of choices.

And that immediately gets to the crux of what GUILT does wrong. Rather than going for a slow burn drama that focuses on character development and the emotion of the situation, this show likes to throw out lots of tears, splashes of blood, and awkward expositional confessions that really aren’t necessary or warranted in the moment.

You might think those are just the elements of a good mystery, but GUILT isn’t that, either. It isn’t short on suspects nor clues, but so many of them are clearly false that it lacks authenticity. Whereas a real case like this might make it difficult to find the details of the situation, the police tasked with the job, led by DS Bruno (Cristian Solimeno, Rush), are beset by constant leads, few of them worth much. It’s a dizzying, fast-paced ride that doesn’t worry about authenticity or a strong foundation.

This is clear in looking at the rest of the cast, too. Buffy the Vampire Slayer’s Anthony Head plays James Lahue, slimy stepfather to Grace, and an American despite Head being British (and Daisy’s real-life father). While I like Head in the right roles, this one just has him as a flat antagonist who serves little purpose. Billy Zane (Titanic) is equally bombastic as the lawyer James hires, introduced with a poorly animated squirrel and some too-loud moaning, Zane may be having fun as Stan, but it’s hardly fun to watch him.

The moaning is only the tip of the iceberg for the sexcapades present in the pilot. Yet, because GUILT is on the network formerly known as ABC Family, it stops short of showing anything really exciting. Viewers get lots of suggestions to kink or eroticism, but no payout of it. Given the pulp nature of the piece, sex might help it sell itself as something worth watching, even if only for the titillation factor. With the limitations placed upon it, though, it lacks anything novel or alluring enough to suck all but the least desensitized in. There are plenty of cable networks that go a lot further on a regular basis.

So what we’re left with is a light-weight piece that promises much and delivers little. It sacrifices any chance of serious consideration for some over-the-top dramatics and “surprise twists” that are neither. It’s the type of summer show that might appeal to a YA audience that didn’t know there were better options out there, but I wonder how much of one exists in the age of carrying the internet in our pockets. I just don’t see it as likely to catch on, and if it somehow miraculously does, it will only be among a niche audience.

GUILT premieres Monday, June 13th at 9/8c on Freeform.

New DOMINION

Article first published as DOMINION Review on Seat42F.

DOMINION — Pictured: (l-r) Christopher Egan as Alex Lannen, Alan Dale as Rysen, Anthony Stewart Head, Roxanne McKee as Claire Rysen — (Photo by: Ilze Kitshoff/Syfy)

SyFy’s latest series, paired with Defiance, is DOMINION. A sequel to the 2010 film Legion, though not having seen the film, I can say the show seems accessible without it, this is the story of a world overrun by angels. It’s been 25 years since Michael (Tom Wisdom, 300) stood by humanity against his brethren. Now, he lives in the most secure city in what was once known as the United States, Vega (nee Las Vegas), watching over an unstable peace that is on the verge of collapse.

DOMINION is a dystopian future for mankind, a genre that is all the rage, but injects religion into its origin, too, asking viewers to accept the God and his winged followers are not only real, but once again involved in the happenings on Earth, Old Testament-style. There’s a vibrancy not unlike the Greek gods in how Michael, Gabriel, and the others are presented, and the city of Vega feels like the Roman Empire at its height, albeit with some modern technology. Basically, it’s a mish-mash of many things, repackaged in a way that works pretty well.

Michael himself comes across as alien. His demeanor is otherworldly, his actions not exactly matching those humans around him. They regard him as someone to be respected, but he doesn’t rule over them, making for an interesting dynamic. It’s hard to tell exactly what Michael’s motivations are, other than serving the larger goal of protecting the men and women around him. With such an obtuse character one of those central to DOMINION, it should making for an interesting chemistry.

Those familiar with the movie should remember Jeep (Langley Kirkwood, Invictus). Roaming the countryside for the past fifteen years, struggling to understand the tattoos covering his body, Jeep brings in greater mystery to the proceedings. His son, the chosen one, is hidden away, though viewers will probably be able to see the obvious reveal coming from a mile away. What they may not see ahead of time is where the plot will go from this starting point.

The enemies of Vega are an army of angels led by Gabriel who want to upset the balance of power and finish what they started, wiping out all humans. With one particular warrior that looks too much like Iron Man, Gabriel is stationed quite close to the city, setting the stage for numerous battles, though making a long, drawn-out war seem unlikely.

 

The danger to Vega may be more from within, though. One of the ruling family’s patriarchs, David Weel (Anthony Head, Buffy the Vampire Slayer), has his own ideas about how the government should change, wanting to solidify power into a dictatorship. His rival is General Rysen (Alan Dale, Lost), the current man in charge, who favors democracy and the erosion of the strict caste system that current exists. These two represent the opposite sides of a coin, and while it’s clear from the onset that Weel is the slimy one and Rysen is noble, if things get too bad, Weel could end up being the leader Vega needs.

As well-developed as Weel and Rysen are their children. Weel’s son, William (Luke Allen-Gale, Monroe), doesn’t necessarily fall in line with his dad, having his own belief system, which includes a faith in the chosen one, something his elder scoffs at. Claire Rysen (Roxanne McKee, Game of Thrones) does respect her father, but doesn’t feel understood by him. These are not just two copies of their parents, and the interactions of the four together make for a tenuous blend of alliances and blood ties, one that seems to be interesting and fresh, rather than stock and stale.

Rounding out the cast are: Alex (Christopher Egan, Kings), a soldier that Claire loves; Arika (Shivani Ghai, EastEnders), a representative from another city; and Becca (Rosalind Halstead, Bridget Jones: The Edge of Reason), Michael’s human ‘companion’ and member of the ruling council. Plus, there’s an adorable impoverished orphan.

The pilot gets a few things wrong, such as telegraphing a couple big plays and making a bad guy or two a bit over-the-top. But it also gets a lot right. There’s a great mix of complex personalities, a visually impressive setting, a new take on a bleak future, and plenty of intriguing unknowns to engage the audience. I find it quite entertaining, and am definitely tuning in to see how the first season unfolds, as the trajectory isn’t quite made known in the initial hour-plus.

DOMINION airs Thursdays at 9 p.m. ET on SyFy.

WAREHOUSE 13 Not "Endless"

Article first published as WAREHOUSE 13 Review on Seat42F.

Syfy’s WAREHOUSE 13 has only six episodes left to air. This week’s season five premiere, “Endless Terror,” doesn’t have much time for final arcs, though, as it is mostly concerned with tying up the loose ends from the previous season’s cliffhanger. Looking at the episode descriptions for the final five, it sounds like this show will go out with some character development, rather than a major villain that must be defeated, so the understated premiere could be part of the design.

As “Endless Terror” begins, there is still a bad guy to take down. Paracelsus (Anthony Stewart Head) has control of the Warehouse and, by extension, Claudia (Allison Scagliotti). Pete (Eddie McClintock), Myka (Joanne Kelly), Artie (Saul Rubinek), and Jinks (Aaron Ashmore) try to break past the building’s defenses and get inside before Paracelsus can put together a couple of artifacts and carry out his dastardly plan.

Our heroes don’t succeed right away, of course, and the result is an action-packed hour full of time travel and alternate timelines. This conceit allows WAREHOUSE 13 to parade through quite a few familiar faces, including some characters that are no longer alive, a fitting tribute to the final year. Plus, we get Rebecca Mader (Once Upon a Time) as Lisa DaVinci, so that’s fun. It’s a pretty solid story in terms of the premise, and a good way to being a victory lap, even if it left me wishing this particular arc filled all six episodes, not just a single one.

The major problem in “Endless Terror” isn’t in the big picture; it’s in the details. It’s been awhile since WAREHOUSE 13 was on the air so I don’t remember exactly if it has always been as cheesy as this entry is. If anything, the episode seems much heavier on the schmaltz, more concerned with delivering zingers than making a cohesive tale with developments that make sense. As such, it certainly isn’t among the best of installments.

WAREHOUSE 13’s charm has always relied pretty heavily on humor. The funny things the characters say are a main draw, and that element is intact as ever. Nothing has changed about the writing or the chemistry. However, while the plot may have had a few instances of deus ex machine or happy coincidence in the past, it isn’t built heavily on them, and the characters are often in real danger, even if they try to play it off as if they aren’t. “Endless Terror” abandons the toehold on reality, laughing off potentially deadly circumstances is such a way that makes the show seem hollow.

If this is how the players will be treated, it may be a good thing that WAREHOUSE 13 focuses on growth and development of its central cast, rather than an epic battle. Claudia is still upset with Artie for hiding her sister, Claire, from her. Myka’s brush with death has to be weighing on Pete even more than he lets on. Those are things that beg further exploration, and will hopefully drive this last half-dozen adventures.

Will fans be disappointed if WAREHOUSE 13 goes out quietly? I think so. After all, the series has tackled large arcs before, with evil geniuses who are not easily dispatched. One would expect the final leg to take this quality to the next level, not to ignore it altogether. Yet, “Endless Terror” is seemingly the wrap up of the last of these, choosing a different path to go down now.

Of course, the main thing the series will be judged on this year will be the last episode ever. If they can manage to nail that, giving us emotional closure and a fitting conclusion, fans will forgive any missteps along the way. I’m cautiously optimistic because the writers have done some cool things in the past, but this first episode back is so uneven as to make me a little nervous. We’ll have to wait and see how it goes.

WAREHOUSE 13 airs Mondays at 9 p.m. ET on SyFy.

"The Truth Hurts" WAREHOUSE 13

Article first published as "The Truth Hurts" WAREHOUSE 13 on TheTVKing.

For its penultimate season finale, SyFy's Warehouse 13 takes the series to the brink of the biggest cliffhanger in the show's history. In "The Truth Hurts," who the Warehouse's caretaker is up for grabs as three distinct caretakers all exist in the same time and space. Elsewhere, an agent lies dying, and the most dangerous villain yet makes his move.

It's quite smart to use genre alumni to fill the ranks for the last batch of episodes. Buffy the Vampire Slayer's James Marsters and Anthony Head are the latest to join the cast, both having appeared in multiple episodes this year, and hopefully will return again. Their presence lends little something extra, and because they play such different characters than the ones they are famous for, it helps the show, rather than distracts.

Warehouse 13 needs the help because it is a little hokey. I enjoy it, I really do, but there is something off about it that keeps the story from rising the top of its peer group. Part of it is case-of-the-weeks forced into most of the year's installments. Part of it is weird situations, such as tossing a cancer plot into the last couple of episodes for Myka (Joanne Kelly), despite there not really being a reason for it and it feeling gimmicky. And the other part is when things are done just for visual effect, rather than any actual purpose, such as when onjects are flying off the crashing shelves at the Warehouse to chase the main group out, even though the person doing this likes the Warehouse and has no reason to harm it, and he is letting the group go, so he's not really trying to hurt them, either.

I guess what I'm saying is, it's no Battlestar Galactica, or even Defiance.

But there are also some wonderful moments that make it worth watching. The interactions between the characters have deepened over the years, and their relationships are really something to watch. In particular the Artie (Saul Rubinek) / Claudia (Allison Scagliotti) and the Peter (Eddie McClintock) / Myka stuff is great, and when these are played up, the show is at its best. Their dialogue interchanges are extremely entertaining, even when not authentic. And though Artie and Claudia bury the hatchet very quickly after his betrayal this week, even that doesn't seem rushed, given the circumstances, and it works.

Claudia has had the most dynamic journey on the show, and "The Truth Hurts" begins to bring that to culmination. We have seen bits of greatness in her frequently, and know that she has a destiny. The series has certainly served her role well, and the end of this season finale promises more payoff for Claudia in the last episodes.

But why give her an evil sister? That seems so done before. Why can't a new villain just come in that is completely unconnected to our characters? Or why not just make Paracelsus (Head) the last big bad? He's already well connected to the mythology, and has the means to really cause trouble right on through to the last. Do we really need some family drama from a thus-far-unknown relation tossed in at the last minute?

I am very interested in seeing Mrs. Frederic (CCH Pounder) no longer serving as caretaker. During the run, she has been almost solely defined by her job, seeing little of who she is. Now, she's a person again, with everything that comes with being a normal human being, and that should provide some very interesting plot if Warehouse 13 chooses to pursue it, which it absolutely should.

Basically, Warehouse 13 always has been and remains a 'B' level show. The ingredients are there if it wants to kick it up a notch and rise above its current quality standards, but it doesn't seem likely that it will. "The Truth Hurts" is a perfect example of what the series does right, and also what it does wrong. I expect more of the same, perhaps with a slightly grander scale, when it comes back.

Warehouse 13 will return for an abbreviated final season on SyFy.

Free Agents a bit freer in original verison

     Last night brought the premiere of the original, British version of Free Agents on BBC America. Airing in 2009 "across the pond," Free Agents ran for six episodes. The first two were broadcast back to back last night. Alex (Stephen Mangan, Episodes, Billy Elliot) is a depressed man going through a divorce who falls into bed with his co-worker, Helen (Sharon Horgan, The Increasingly Poor Decisions of Todd Margaret). Soon after sex, Alex becomes a weepy mess, and Helen, still upset over the death of her own guy, sends him away. But Alex is convinced that Helen is right for him, no matter how many dates Helen tries to set up for Alex, and thus begins their dance.

     Mangan and Horgan have excellent chemistry, and work really well together. Their not-quite-a-relationship is believable and sweet. Even though Alex is a mess emotionally, so is Helen, which is why she has sympathy for him, even as he keeps crying. After all, how many women would put up with that? Their understanding of each other's feelings and their friendship in the workplace are the makings of something real, should Helen finally decide to go for it. Which she probably will, despite reservations, because she truly does care for Alex.

     Rounding out the cast is Anthony Head (Buffy the Vampire Slayer, Merlin) as their pervy boss, Stephen. Stephen is obsessed with porn and all things sexual, and is a multiple divorcee. By episode two of this series, Stephen falls for a woman, thinking seriously of marrying her. Yet, that doesn't really change him. His outsize, bluntly honest personality make for a very funny character, and add levity to what could potentially be, without him, a depressing, sappy sitcom.

     With all of this, Free Agents is definitely worth a watch. While it will only air for a few weeks, and no second series has been ordered two and a half years after the original run, it's still a nice story, well made and well acted. It's too bad there aren't more installments, if the first two entries are any indication of what's to come.

     The American premiere of the British version comes at an interesting time, as the American remake, airing on NBC, recently premiered its first season, but is not doing well, and may soon be canceled. But watching both series together allows an easy comparison. It is very clear that, as delightful as the American stars are, they do not have the chemistry of the original Alex and Helen. Head reprises his role, but is less integrated with the central duo, and thus, less effective. And many additional characters are added, seemingly just to force laughs. This drags the series down.

     Sure, the Americans probably realized they couldn't run a show for years off of 6 episodes worth of material, and needed to expand the cast and stories, a la The Office. Except that third tier comedians make up those side characters, who are weird and goofy in a bad way. Thus, the original comes across as far superior, despite having much of the same dialogue in the first episode, and an almost identical story.

     Plus, since the series is kind of filthy, and very sex-based, the American remake is at a disadvantageous because it can't use the obscene language or dirty teasing of the original.

     Watch the original Free Agents, Saturdays at 11 p.m. ET on BBC America.

     If you like my reviews, please follow me on Twitter!

Free Agents - "Pilot"

     NBC's new sitcom Free Agents, which premiered last night, is about two friendly co-workers who sleep together. This might not be the best idea, considering Alex (Hank Azaria, The Simpsons, Huff), the gentleman in the scenario, is recently divorced, and the girl, Helen (Kathryn Hahn, Crossing Jordan), lost her fiancé a year ago. The episode begins with the aftermath of the sex, so how two people who are just friends end up in bed together is not shown. But Alex begins crying, and then gets clingy. Helen, when not trying to help Alex move on, downs copious amounts of wine and looks at the dozens of pictures of her fiancé that line her walls. Not exactly a match made in heaven.

     Yet, there's something about these two that is oddly endearing. They are both messed up people, but they seem to really take comfort in each other. While the romantic sparks may not be flying left and right, there is genuine affection present. Helen tolerates Alex's crying, and even helps him shop for a shirt for a date. Alex leaves a date with a very attractive, much younger girl when Helen calls him upset. The rest of the pieces could eventually fall into place if they just remain available for each other.

     If the series were just about Alex and Helen, it would be wonderful. Sadly, the rest of the ensemble cast mostly drags the series down, even those that are welcome on screen. For instance, it's thrilling to see Anthony Head (Buffy the Vampire Slayer, Merlin) as Stephen, their somewhat creepy and sex-obsessed boss. Natasha Leggero (Ugly Americans, Last Comic Standing) is a hilarious woman, and gets the best one-liners in Free Agents. But both are mere distractions from the central story, which is not nearly as funny as they are. And that's ok, when sweet romance is the subject material.

    Then there's Mo Mandel (Chelsea Lately) who is a seemingly well rounded co-worker, but his entire plot in the pilot is getting Alex to double date with him. Walter (Al Madrigal, Gary Unmarried) is a married man who is skeazy because of his desire to go out with Mo and the girls. Maybe he really just wants some time away from his house, but he comes across as not someone you'd want to hang out with. Gregg (Joe Lo Truglio, Reno 911!) the security guard is just as bad as Walter, forcing Alex to sit through homemade videos of him swinging a sword. All three of these characters are worse than useless. I find myself groaning each time they are on screen.

     For Free Agents to succeed, it needs to figure out what it's strengths are, and trim the fat. There could be a really cool story here, told in an original way. But sitcoms on television feel the need to beef themselves up with "quirky, funny" supporting characters, and they are not always necessary. It's almost as if two completely different series are warring for screen time, and it makes the flow stumble.

     That being said, scenes where Alex improvises a sexual conversation to co-workers, or Head shows Alex photos of some of the named sexual positions, are really quite humorous. So some belly laughs are OK, as long as they included appropriately.

     Free Agents normally airs Wednesdays at 8:30 p.m. ET on NBC.

     If you like my reviews, please follow me on Twitter!