LOVECRAFT COUNTRY a Fantastical (and Scary) Place

Article first published as TV Review: LOVECRAFT COUNTRY on Seat42F.

HBO premiered LOVECRAFT COUNTRY this week. Based on the novel of the same name by Matt Ruff, it has been adapted to television by Misha Green (Underground) and produced by the likes of Jordan Peele and J. J. Abrams. The story follows a man named Atticus Freeman, his uncle George, and Atticus’ friend Letitita as they flee and fight murderous bigots on their way to find Atticus’ missing father. It’s a fantasy-horror-sci-fi adventure that tackles race head-on, and is set in 1954, when Jim Crowe ran rampant.

This show is excellent, and I mean that on every level. To start with, the style and production of LOVECRAFT COUNTRY look fantastic. It’s a grounded period piece, that also has fantasy elements in the style of author H.P. Lovecraft (obviously). Yet, these are blended in such a way that, even what shouldn’t be able to occur, feels like it fits into this world. It’s also a well-conceived universe, aided by actual history, that has layers beneath the surface and a lot going on.

For instance, one of the leads in LOVECRAFT COUNTRY, Uncle George Freeman (Courtney B. Vance, American Crime Story), is in a loving marriage with Hippolyta (Aunjanue Ellis, Quantico), living in a small town while pursuing travel and astronomy, respectively. George’s travel guides specifically tell African Americans where it is safe to stop on their troubles. Which means it makes perfect sense when George accompanies his nephew, Atticus (Jonathan Majors, When We Rise), on Atticus’ quest to find his father, given his unusual employment and the wanderlust he shares with his wife.

In contrast to this perfect-seeming family, Atticus’ own immediate clan is pretty messy. Atticus doesn’t have an easy relationship with his father, and there’s mystery surrounding Atticus’ mother. There is also tension between Atticus and George, so even within the happy abode, there is drama. The third lead, Leti Lewis (Jurnee Smollett-Bell, True Blood, Friday Night Nights), doesn’t get along well with her siblings (we see two in the pilot), so there are lots of juicy personal interactions to pick apart.

Which means when the danger hits in LOVECRAFT COUNTRY, there are already stakes. We care about Atticus, George, and Leti very quickly, and it would be a major blow to the story if any one of them didn’t make it. Which seems like a distinct possibility, given the monsters and creatures they face.

The monsters being the white people who don’t want the trio, or anyone that looks like them, around. By the time the multi-eyed animal forest dwellers attack, horror has already taken place, from a chase down a road, to guns in the woods. There is a very real feeling of danger, much in the style of Peele’s Get Out, as our protagonists stare into the empty eyes of people who want them dead for no reason more than the color of their skin. Sure, some will complain about the one-dimensionality of these antagonists. But I think we’ll get a little more complexity as things go along, and given the situations presented, it makes sense to simplify it in the way that it is.

All three of the lead actors are performing the hell out of the piece, and several of the supporting players make impressions, too, especially Ellis and Wunmi Mosaku (Fantastic Beasts and Where to Find Them) as Ruby Baptiste, Leti’s darker skinned half-sister with a killer singing voice and a strong will.

My only complaint about the first episode is I feel I don’t fully understand the scope of the story LOVERCRAFT COUNTRY seeks to tell. I really would have felt better with a second episode before I wrote my review. I can tell the show is great, I’m just not entirely sure what it is, as it seems like there’s more than presented in the first hour.

QUANTICO Like Grey's For the FBI

Article originally published as QUANTICO Review on Seat42F.

Joining veteran Once Upon a Time and new drama Blood & Oil on Sunday nights is QUANTICO. This drama is about a group of FBI recruits training at the famous academy in Virginia. There is a mildly non-linear story structure and plenty of mystery, as well as soapy personal drama as we get to know the characters. Think of it as Grey’s Anatomy meets How to Get Away With Murder, with just a touch of Alias tossed in.

QUANTICO has an ensemble cast, rather than a single lead, but if I were to name the most important person in the pilot, I’d go with Alex Parrish (Priyanka Chopra, Barfi!). Sneaking away from her family to be a member of Quantico’s newest class, Alex is also the subject of the flash forwards that take place in the aftermath of a terrible event nine months in the future, or most likely, the end of the first season. She is intelligent, brave, comfortable with herself, and interesting. She’ll do as someone to root for.

Joining her in classes are: Ryan Booth (Jake McLaughlin, Believe), her love interest who is much too curious about her; Nimah Amin (Yasmine Al Massri, Crossbones), a Muslim woman who is taking advantage of scoring the lone single dorm; Shelby Wyatt (Johanna Braddy, UnREAL), a pretty girl who is very good with guns; Simon Asher (Tate Ellington, The Mindy Project), a busybody gay; and Caleb Haas (Graham Rogers), who has his peers wondering how he got in. There is a seventh member at first, too, but since ABC has not included him in the cast photos, I think it’s safe for me to say he will not remain part of the group, though I won’t spoil why.

Now, a lot of those descriptions are simplistic, but the characters are not. Everyone in QUANITCO is hiding something that’s not obvious, from each cadet, to the administrator, Miranda Shaw (Aunjanue Ellis, The Mentalist), to the instructor (Josh Hopkins, Cougar Town). Each member of the cast quickly begins finding out at least one other person’s secrets, but QUANTICO thrives on what characters don’t know, hard as that might get to track, and I don’t expect anyone will come out into the open soon. Expect the unexpected to happen on a regular basis.

QUANTICO is definitely a sudsy soap, and that’s OK. Personal issues are as much as part of the story as stopping terrorism, and there will surely be numerous hook ups and crushes, besides what is shown in the pilot. It’s a juicy guilty pleasure series, which also has a pretty compelling story, and just enough action.

I would call the show fast-paced, but not too much so. A lot happens, and more will keep happening, but the writers don’t blow everything right away, and it doesn’t move so quickly that developments don’t make sense. It strikes that balance that makes for layered entertainment without requiring too much work. It’s a feat I’ve seen far too many dramas fail at lately, and it’s nice to see one do better.

Which is not to say it’s my new favorite show. The soapy nature does keep the quality down at a mediocre level. I enjoyed this pilot, but there are much more complex dramas with far better actors out there. Still, for ABC, it’s pretty decent, and within its Sunday night lineup, paired with Once Upon a Time and Blood & Oil, it is the best, even if it’s not quite the most original, of the three. I’m willing to give it a couple more hours to see if it can kick itself up a couple of notches, or if it will begin losing steam quickly. Either are realistic possibilities for this show.

QUANTICO premieres Sunday, September 27^th at 10 p.m. ET on ABC.

SLEEPY HOLLOW Wants Its "Mama"

Article first published as SLEEPY HOLLOW Review Season 2 Episode 9 Mama on Seat42F.



FOX’s SLEEPY HOLLOW introduces viewers to the “Mama” this week. Mama Lori Mills, that is, mother of Jenny and Abbie. She is haunting Tarrytown Psychiatric Hospital, the setting of many a SLEEPY HOLLOW scene, presumably urging patients to kill themselves. Our heroes take the official police case, well-suited to the supernatural component that no one else knows about or is willing to admit.

Lori Mills (Aunjanue Ellis, The Mentalist, The Help) is someone oft-talked about, but never seen. We know she was crazy, and that the demons she wrestled with deeply affected her daughters, who were taken away and placed in foster care. We suspect, given what those daughters have found out as adults, that Lori’s ghosts were real, though, and that she had a firmer grasp on reality than anyone knew, but just didn’t know how to deal with it. “Mama” clears up a lot of the details in that theory and reveals quite a bit about Lori.

The mystery itself, where Abbie (Nicole Beharie) and Jenny (Lyndie Greenwood) investigate their mother’s connection to several recent deaths, isn’t anything special. Since Abbie and Jenny are good, it makes sense that Mama Mills is, too. Besides, a prime suspect, Nurse Lambert (Cynthia Stevenson, Men in Trees, Dead Like Me), who seems a little too sweet, is introduced right away in “Mama.” When Lambert shows up in the abandoned wing, Abbie may be too distracted to think that’s strange, but it immediately confirms her to the even moderately discerning viewer as the real culprit.

Why “Mama” succeeds, though, is the emotional heft bringing Lori into the story delivers. Sure, it could have been a little weightier if saved until a crisis point in one or both of the girls’ lives. But it feels more realistic (if that words applies to SLEEPY HOLLOW) to bring her in during a ‘typical’ week. It makes Abbie and Jenny confront their childhood and their memories, and gives them deeper understanding of where they come from. Lori fought the demons, too, and it allows them to bond, especially in the teary farewell sequence, in a way the family never has. There is love, understanding, and acceptance.

“Mama” is a side trip from the main plot, and Lori isn’t likely to pop up again soon, if ever. However, it’s a strong touch point in the growth of these characters, so is important and makes the episode far more intriguing than if the ghost had just been a random person.

Ichabod (Tom Mison) is sidelined for most of the hour, which does seem a little convenient, given the Mills story. The way SLEEPY HOLLOW gets around this is by making Ichabod sick, which leads to numerous amusing scenes as the ailment is played for laughs. I’ll hand it to the writers; when they are on their game, they can dress up a story in the best of fashions.

Hawley (Matt Barr) also shows up, now cast as the helpful boyfriend. He assists the Mills without asking for anything, and even brings Ichabod, whom he clearly is lukewarm, at best, on in the hand-holding séance, soup. It doesn’t seem like Hawley and Abbie are official yet, and Abbie learning Hawley used to sleep with Jenny will be the false drama that delays them. But they are firmly on the road to coupledom, which is welcome.

Captain Irving (Orlando Jones) is in “Mama,” too, of course, being a resident at Tarrytown Psych. He is one of the intended victims, though that death would be far too pedestrian to actually stick, and so he is saved. More importantly, though, he uses the going-ons as an opportunity to escape, hopping into Abbie’s vehicle as she leaves the facility.

I’d think the other characters would be happier to see him out. Irving’s soul does belong to Moloch, but he’s a friend who has been wrongfully imprisoned. Surely, he’ll be more help out in the world than behind bars. But I guess they also have to hide him, and that could get them in trouble, which leads to Abbie’s reticence. Oh, well. She’ll get over it. Though isn’t Irving staying in to protect his daughter? Doesn’t his leaving endanger her?

In Casa de Henry, Katrina (Katia Winter) is goaded into holding baby Moloch, who appears to be a normal sweet child. In SLEEPY HOLLOW, things are not always as they seem, and the infant is an illusion, created by Katrina’s necklace that allows her to see Abraham as he was, rather than the Headless Horseman he has become. The baby makes her neck scaly and gross, which she can’t help but notice.

I’m glad the baby does this to Katrina because it destroys any fantasies she may have of doing motherhood over again. Surely she can now resist any pull the infant has over her and do what must be done, quickly concocting a potion to stop him. She doesn’t count on his rapid growth into a child, but that shouldn’t change her plan, should it? Her pause at the end of “Mama” has to just be from shock, right?

“Mama” is not the best SLEEPY HOLLOW episode, but by layering lots of good things on top of a formulaic framework, fans will probably be distracted enough not to notice. The character development is rich and the mythology is satisfying, which leaves one with an overall good impression of the installment.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

Missing misses the mark

On this week's episode of ABC's Missing, "Ice Queen," the plane lands without Michael (Nick Eversman, Vampires Suck, The Runaways) on board. The CIA questions the woman who is on the plane, Sloane (Victoria Smurfit, Trial & Retribution), but she plays dumb. Giancarlo (Adriano Giannini, L'ombra del destino) gets Becca (Ashley Judd, Sisters, Heat, De-Lovely) out of CIA custody. However, before Becca can get information from the also-released Sloane, Mary (Aunjanue Ellis, The Mentalist, Ray) shows up, making herself a pawn in the game. Meanwhile, Michael is placed in seemingly comfortable surroundings.

Missing would like to be a cross between Alias, 24, and Taken, but it fails to reach those aspirations. The action is pretty exciting, and Judd excels at her performance, as always. The overall tone is enticing, and the pace is fast enough. In short, it's fairly enjoyable.

It is more than a simple spy show, or a basic kidnapping story. Given the format of series television, Missing can afford to toss in back story, mystery, and some twists. But it does it so clumsily that it fails to live up to its potential. The fault of Missing is not with the actors, who are all at least adequate, or the locale, which is usually beautiful, if CGI-enhanced. No, the real issue with Missing is the plot. There are so many plot holes and developments that just don't make sense. It becomes incredibly distracting for those trying to enjoy the story.

For one thing, why doesn't Becca just come out and tell Mary the truth? She wants to protect Mary and maintain their friendship, fine. Then confessing her past to Mary would not only spare Mary's feelings, other than a bit of betrayal for not having been told sooner, but would get Mary home safely and not force Becca to act like an "Ice Queen." Instead, by lying at first, Becca sets Mary up to keep digging until she is taken by Sloane, putting her in real danger. Not to mention, Becca asks Giancarlo to pose as her lover, but then doesn't give him the chance to until after Mary doesn't follow through with Becca's wishes. So Becca knows Mary well enough to know that she just won't go home? Then why even attempt that route?

The scene in "Ice Queen" where Becca and Sloane have their final confrontation is also weird. A sniper takes out Sloane to keep her from spilling the beans after Sloane tells Mary that the man who killed Becca's husband, Paul (Sean Bean, Lord of the Rings, Game of Thrones), has Michael. The sniper is in position long before he pulls the trigger. It's understandable that he doesn't shoot while Ashley Judd holds the diamonds over the water, but only if he then goes after the diamonds, which he doesn't do. It's unlikely this shooter can hear the girls, anyway, so why doesn't he kill Sloane sooner? The timing is strange.

Additionally, Dax (Cliff Curtis, Trauma) keeps telling Becca and Giancarlo that he will help. Yet, he seems perfectly willing to let the CIA send Becca home until Giancarlo breaks her free. Then he changes his mind and decides to intervene, though he claims total support for her. So which is it? Is Dax following CIA orders or assisting Becca? Because those two purposes do not run parallel.

Lastly, it doesn't make any sense for the Big Bad to be consulted about shooting Michael to warn versus harm in "Ice Queen." Clearly, the plan is already in place to have Oksana (Tereza Vorísková, Znamení kone) tell Michael that he will be injured if he attempts escape again as part of the plan to get Michael to trust her. It's a solid scheme, but it makes the early scene unnecessary and weird. If the scheme isn't developed until after the warning shot, which seems unlikely given the level of planning the villains show in Missing, then the logical thing to do when the Big Bad orders the next shot to hurt Michael would be to tell him this immediately.

In summary, Missing could be good if the writing gets smarter. Until then, it's popcorn fluff, with story continuity taking a back seat. Missing airs Thursdays at 8 p.m. ET on ABC. In Columbus, ABC is found on channel 6 (antenna), 386 (satellite), or 1006 (high definition cable).

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