Looking for MANHUNT: UNABOMBER

Article first published as TV Review: MANHUNT: UNABOMBER on Seat42F.

Discovery Channel’s newest series, MANHUNT: UNABOMBER, premieres this week. Unlike most of the programming on the network, this one is completely scripted, with a cast of familiar actors playing the roles of actual people, rather than interviews with experts and historians. I’m not sure why Discovery needs scripted shows, but given the focus on forensic linguistics, a practice largely dismissed at the time of the events depicted, this makes sense as the type of program that their core audience will likely be interested in.

Sam Worthington (Avatar, Clash of the Titans) stars as Jim ‘Fitz’ Fitzgerald, the FBI agent who gets inside the head of serial killer Ted Kaczynski (Paul Bettany, The Avengers movies) and brings him to justice. Fitz is a loner himself, smarter than most people, and he comes to understand Ted in a deep way that is, at times, disturbing. As Ted complains about how society is changing, Fitz can’t help but see his point, which does allow him to save lives, but screws up his own pretty completely in the process.

Worthington’s performance, full of complexity and nuance, is worthy of a feature film, and the style and tone of the program seems to bend that way as well. While watching the two-hour premiere, I couldn’t help but feel like I was at the theatre, similar as MANHUNT: UNABOMBER is to films in the genre. In fact, other than its clunky title, it seems like a pretty quality feature.

The supporting cast helps, too, with Keisha Castle-Hughes (Game of Thrones), Chris Noth (Sex and the City), Elizabeth Reaser (Twilight), Jeremy Bobb (The Knick), Brian F. O’Byrne (Aquarius), Mark Duplass (Togetherness), Brian D’Arcy James (Smash), Lynn Collins (John Carter), and Jane Lynch (Glee) making for a pretty formidable ensemble. And that’s not even a full roster.

But where MANHUNT: UNABOMBER suffers is where it differs most from a feature film: the running time. At eight hours, it is too long, telling a story that would have been hard to cram in two, but isn’t interesting enough for a full miniseries. Yes, I make that claim after having only watched twenty-five percent of it, but the amount of wasted screen time in those initial two hours is why I feel comfortable saying it.

A lot of time is given over to Fitz begging his bosses to let him use his talent, do his thing, and his bosses refusing him, telling him to just follow orders. Now, I like the point this makes, as Ted’s whole thing is about not being blindly obedient to the system. But it could have been told in one scene, not many. It started to feel pretty repetitive by the third time it happened. And it’s not like seeing it over and over built much suspense because, given the framework story, even those who didn’t follow the case as it was playing out know that eventually the higher ups will listen to Fitz.

I didn’t care for the framework story in general, either. Showing us what happened to Fitz later on, starting just before he goes to talk to Ted, who is awaiting trial, could be an interesting tale. But it’s a different tale than most of the rest of the episodes are telling. It gives away an ending unnecessarily, and is actually quite a bit less interesting than the investigation itself. Maybe it would have worked if it was saved for the conclusion, showing the arc of growth over time, rather than revealing it right away. But what’s here just doesn’t feel all that well planned out.

So, I like MANHUNT: UNABOMBER for its cast, performances, and style. But I probably won’t finish it because the pacing and story just doesn’t engage the way it should.

MANHUNT: UNABOMBER premieres this Tuesday at 9/8c on Discovery.

How Many REASONS Do You Need?

Article first published as 13 REASONS WHY Review on Seat42F.

Last week, Netflix released the new drama 13 REASONS WHY (or TH1RTEEN R3ASONS WHY in the opening title sequence), based on the novel by Jay Asher. By now, many people have had time to check out at least a few of the thirteen episodes available, and reviews have been strong. But in an age of peak TV, you might be wondering just what this show is and why you should watch it over the plethora of other excellent choices. This article seeks to answer that question.

13 REASONS WHY begins in the aftermath of Hannah Baker’s (Katherine Langford, Daughter) suicide. Hannah is, er, was a high school girl, newish in town, average by most standards. Various members of the community are quite shaken by her demise, including her parents (Private Practice’s Kate Walsh and Smash’s Brian d’Arcy James). Why did she do it? Ah, well that is the mystery.

Our conduit into this question is Clay Jensen (Dylan Minnette, Scandal, Saving Grace), a boy who had a crush on Hannah, and who is reeled not only be her taking her own life, but by what comes after it. A box is delivered to Clay’s doorstep containing seven cassette tapes, six recorded on both sides, detailing the thirteen sides of Hannah’s story. Hannah says at the start that everyone who receives these recordings figures into her decision to end herself, and Clay is freaked out as he listens to each one, getting through one tape side per episode.

There are a lot of unanswered questions as we start this. Why did Hannah kill herself? What is her true purpose in recording the audio? Why does Clay, who seems like a mild-mannered, ‘nice’ guy get the tapes? Who had them before him? Who will get them after him? What will Clay do about it?

The material is dark, of course. While the plot does revolve around high school kids and the characters feel authentic to the age that they are, there is weighty subject matter in the suicide and fall out from it. High school is a strange place, a setting where kids turn into adults, some quicker than others, and this is well illustrated by exploring very mature themes in this locale. 13 REASONS WHY deftly captures the duality and dynamic period that is both relatable and a bit foreign to anyone who might watch it.

Kicking the series up another notch is the non-linear way in which it unfolds. Jammed with flashbacks, Hannah is as much a character as anyone, second only to Clay in screen time, and while Clay is on a set journey, his thoughts don’t always stay on the path. This makes it more complicated to follow, although that is helped along by a visible facial injury early in episode one. It still feels very natural, though, mimicking the process one’s mind might go through while facing the complex reality.

Sealing this one for me are a pair of authentic, deep performances by Minnette and Langford. Given that they are the central characters, they are the ones most responsible for keeping 13 REASONS WHY from feeling like a trite young adult novel, not an easy feat. Yet, the do it almost effortlessly, impressing viewers for their acting ability; they are talented for any age.

All of these elements combined are why I have no reservations about recommending 13 REASONS WHY. It’s a well-told, well-executed production about important matters. It avoids the traps many series or films in this movie fall into, and while not totally unique, this is certainly among the best examples on the subject. Although twice the age of the lead, I found it very compelling and easy to feel for Clay, and Hannah has piqued my curiosity, especially in the elaborate way she set up her project with (I assume purposely) outdated technology. I look forward to seeing this through.

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13 REASONS WHY is available now on Netflix.

Smash is finally "On Broadway"

Article first published as SMASH Season 2 Premiere Review at Seat42F

Grade: 91%

NBC’s SMASH returns tonight with two new hours. Having viewed the first half of the sophomore premiere, I can report that some positive changes have been made that should improve the series, but fans will be satisfied that it mostly remains the same show it was in the freshman run.

As “On Broadway” begins, the previews in Boston are over, and cast and crew return to New York City. The first task is for Eileen (Anjelica Huston) to book a theater, and she already has one in mind – the legendary St. James. However, just when things look to be a go, her financial actions come back to bite her in the butt.

It’s not surprising, really. After all, nothing can come easy in a television series like this for the show within a show. If it did, SMASH would lack drama and driving force. Our heroes have to overcome obstacles. That’s what shapes them into the strong, triumphant figures that we love to root for.

Eileen is taken to a bad place here. She basically crosses the line to save the show, and not just for herself. She believes in Bombshell, and doesn’t want to disappoint all the people who work so hard on it. But because it’s her fault that this happens, you have to feel bad for her, and realize how hard it must be for her to admit to everyone that she has let them down.

The most likely path for Eileen to turn down next is to go to her sleazy ex, Jerry (Michael Cristofer), for help. He still lurks on the fringes, and has probably exacerbated Eileen’s problems for his own benefit. But if he can save the show, I guess it will be good that Eileen might rely on him again, and it could even give her yet another challenge to overcome.

Of course, even once Eileen get the business end of things worked out, Bombshell won’t be out of the woods. As the reviews have revealed, the music is great, but the book sucks. This falls squarely on the shoulders of Julia (Debra Messing), who is distracted by personal worries, as well, especially after a development involving Frank (Brian d’Arcy James, now a recurring player) happens in “On Broadway.” She has her work cut out for her.

How much is Julia supposed to take? Yes, she screws up majorly, but her situation is even more dire than Eileen’s. Both of the are examples of strong, successful, driven women who are having trouble catching a break right now. I’m sure they’ll get through it, but it’s hard to watch them in pain.

Rounding out the trio of suffering females is Ivy (Megan Hilty). Now that Karen (Katharine McPhee) is firmly the star, and Ivy has not made up with her, it seems like Ivy will likely be out of Bombshell. Not permanently, I would imagine, given how much Hilty brings to the role, and how essential Ivy seems to the show. But for now, the odds are against her.

Why does SMASH choose to focus on these girls, and give them so much bad to deal with? It makes for good television, but it’s also depressing. Those writing SMASH off as a light, frothy musical are dead wrong.

Others in the cast don’t have it so bad. Tom (Christian Borle) is happy with Sam (Leslie Odom Jr.), and even though their relationship has a trial ahead, they seem to be in a good place, and so they can overcome. Karen is being hailed as a new star, and might even have a new love interest in her life in the form of wanna-be Broadway composer Jimmy (Jeremy Jordan). Derek (Jack Davenport) may be the captain of a floundering ship, but his reputation remains intact, and he’ll bounce back, just like Bombshell.

A new element SMASH introduces in “On Broadway” is Tony-award winning actress Veronica Moore (Jennifer Hudson, Dreamgirls). It’s not clear what part she might play in the larger story, and she isn’t brought in with any connection to Bombshell. But Veronica makes quite an impression in her first episode, and it sounds like the producers have plans for her, so it’ll be interesting to see how she is drawn into the inner circle.

If you watch SMASH mainly for the musical numbers, “On Broadway” has you covered. From Karen’s big opening, to Veronica’s introduction, to a duet between the two, an enticing solo by a new male cast member, and Ivy’s lament, there are plenty of tasty treats. The numbers themselves may not be super memorable, but they will wash over you in a very nice way while they are being performed.

I’m glad to see stick-in-the-muds like Julia’s family and Dev reduced or dropped from the cast, and even bitchy Elias is gone. The newbies, like Hudson’s character and Karen’s love interest, are very talented. The new direction for SMASH seems to be that conflict will come from within, rather than without, and there will be better showcases for the positives. I dig it, and while “On Broadway” stays true enough to the characters to feel like the SMASH I fell for last season, the tweaks they’ve made work, and I’m anxious to see more.

SMASH returns Tuesday, February 5th at 9 p.m. ET.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter.

Smash should be able to prove its name

NBC's Smash premieres today, though many have already had the opportunity to view it, as it has been posted online for some time. If you are coming across this review before watching the "Pilot" and do not want anything spoiled, please check back after watching the first episode.

In the NBC Smash "Pilot," Julia Houston (Debra Messing, Will & Grace, The Starter Wife) is taking a break from Broadway to adopt a baby. That is, until her writing partner's, Tom Levitt (Christian Borle), new assistant Ellis (Jaime Cepero) suggests that the two do a show about Marilyn Monroe. Caught up in the idea, Julia and Tom can't resist writing a number, much to the chagrin of Julia's husband, Frank (Brian d'Arcy James). But it's soon out of everyone's hands when Ellis posts that early recording session online, and it goes viral, putting the gears in motion for a full production.

Eileen Rand (Anjelica Huston, Medium, The Royal Tenebaums) is first on board, looking for something to produce while her other project is tied up because of her nasty divorce from husband Jerry (Michael Cristofer, Rubicon). Eileen would like to hire Derek Wills (Jack Davenport, FlashForward, Pirates of the Carribean) to direct, but Tom hates him. Unfortunately for Tom, Derek puts together a fantastic rendition of a musical number from the show-in-progress, and Julia comes 'round. Which means, it seems, that Derek is in, too.

Now, the next challenge is to pick the girl who will be Marilyn. Tom argues for Ivy Lynn (Megan Hilty, Bitter Feast), a chorus singer whom he thinks has lots of talent, and looks perfect for the part. Ivy gets a leg up by recording the viral demo, and assumes that the part is hers. However, the others, especially Derek, are also entranced by fresh faced Karen Cartwright (Katharine McPhee, American Idol). Which will win out in the end? The question is left hanging as the "Pilot" culminates in the girls' call back audition.

And, there are, of course, love stories. Will Julia and Frank work out their issues? Their marriage seems to have a solid foundation, despite this rocky time. Eileen and Jerry are definitely over. Karen gets supports from her beau, Dev (Raza Jaffrey, Mistresses, MI-5), who believes in her dream. But then, Derek seems like he'd be willing to cross the line with Karen. Will she reciprocate if her career is on the line? Instinct says no, but then again, one never knows how situation might change circumstance...

Any comparison of Smash to Glee is premature and pretty much dead wrong. While both involve singing, Smash has a much more serious tone, and isn't about high school. Additionally, while popular music will be used in the series, every episode isn't packed full of it, with the musical numbers spread out more, and only when the characters need to sing for the plot, at least in "Pilot." Original music will be written for Smash (some is already in the first episode) as the characters work on the Marilyn musical. Unlike Glee, this means that some songs may be repeated many times throughout the show's run. The basic difference can be boiled down to one thing: Glee is a musical, while Smash is about a musical.

Is Marilyn Monroe tired subject matter? Julia suggests that this might be the case, as she mentions recent books and movies. Yet, Smash takes the icon in a different direction. It's immediately obvious from the "Pilot" that this show will not be like anything else in production. It's why Julia and Tom agree to pursue it, and the new take should keep audiences from growing bored. And Monroe is an icon for a reason, so there's plenty of substance to build upon.

The acting and singing in Smash is phenomenal. Right out of the gate, Hilty and McPhee carve out their place in the series. Which other characters may sing remains fuzzy, but these two will be the powerhouse voices that carry the show. And they are up to the challenge. What's more, they're good enough in the acting department that they don't appear out of their depth alongside veterans like Messing, Davenport, and Huston. Yes, their characters don't seem as experienced, but that's the point, and the girls are good at making that feel authentic.

The staging is great. There is definitely a feel for the world of Broadway, at least, it appears so to an outsider who is not rooted in that culture. The characters and settings are very natural in this environment. Thus far, the musical numbers are presented in a bare bones style, but as Julia, Tom, and the others are just beginning to work on the show, this is appropriate. Hopefully the stage sets will grow with the rest of the series. All in all, "Pilot" is a very well orchestrated production.

There will be haters of course; those who don't care for musical theater, or appreciate it on television. But Smash should have a broad appeal as a story, as well as a music-related piece. Time will tell if it works out, but the first episode has plenty of signs to promote optimism.

Watch Smash Mondays at 10 p.m. on NBC.

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Article first published as TV Review: Smash - "Pilot" on Blogcritics.