SWEET and BITTER

Article first published as TV Review: SWEETBITTER on Seat42F.

One of Starz’s newest half hour dramas is SWEETBITTER, based on the Stephanie Danler novel of the same name. In it, Tess slips away from her home to move to New York City with barely any money or possessions to her name. Finding a cheap flat, selling her car for rent money, she desperately looks for work until she lands at one of the best restaurants in the city as a waitress. But will she survive the demanding work and low pay in the service industry to find her dreams realized? And what exactly are those dreams?

SWEETBITTER doesn’t make clear what Tess (Ella Purnell, Miss Peregrine’s Home for Peculiar Children) wants or what she’s doing in the Big Apple in the first episode. Instead, it seems the audience is just expected to understand her passion, shared by so many who have come before her. Tess’s journey is so much a trope that, until one stops to really consider it, it’s easy to miss the most basic, all-important details about the protagonist are entirely missing. We’re not even really told or shown where she’s from. This is just the stereotypical young person fleeing to the big city plot, a classic coming of age in a fresh, exciting world for a fish out of water, that has been done so often.

That being said, SWEETBITTER isn’t terrible. The cast is filled with fine performers like Caitlin FitzGerald (Masters of Sex), Paul Sparks (House of Cards), Tom Sturridge (On the Road), and Evan Jonigkeit (X-Men: Days of Future Past). Sparks, in particular, stands out, always great at playing the observer in a busy situation. Here, he’s Howard, the boss in the restaurant, but he still listens more than he talks, exuding quiet authority. It’s an ensemble cast that works, and that’s why one may forget about the glaring omissions. For a little while, anyway.

What is more concerning is the question, does SWEETBITTER know where it wants to go? The entire first episode is just Tess looking for employment, meeting all the other characters, and working through her first shift in the restaurant. The majority of the running time is spent on the last item of that list. So while we can see the type of person she is in a particular situation, we’re not sure what she hopes to accomplish or why she came, which means it isn’t clear where the story is heading. If the writers know this, great, but eventually they’re going to have to start showing it.

Instead, the series seems more concerned with the journey, which is a valid choice, if there were only a little bit better established structure around it. Tess takes moments in the chaos to savor an exotic food or talk to an old lady, and that’s fine. Those are interesting moments. But they would be all the more poignant if we understood the context or what they mean to her, rather than just taking at face value that these things are helping her to grow. How? And towards what?

SWEETBITTER seems to be all style and tone, without the depth of substance to support it. It’s enjoyable, but superficial. Given that it is based on a novel, presumably there’s a story set to emerge. But what works in the written world, a slow set up, may not be as satisfying in the television industry, where the end is less defined and there’s less certainty of a payoff, even a less than satisfying one. Hopefully, the next few installments will fill in the gaps, essential if the series wants to attract much of an audience.

SWEETBITTER airs Sundays on Starz.

MASTERS OF SEX Season 2 Review

Article originally published as MASTERS OF SEX Review Season 2 on Seat42F.

Showtime’s MASTERS OF SEX begins its second season this week with “Parallax.” A number of things happen in the first hour back, but mainly it is a reset. Months have passed since the finale, though we see flashbacks to the scene immediately following Masters (Michael Sheen) showing up on Virginia’s (Lizzy Caplan) doorstep. From there, the story begins moving forward again, catching us up with most of the primary cast and beginning their latest plot arcs.

When last we saw him, Masters had been fried from the university because of the scandalous nature of his study. Knowing who this man is and what he is known for, MASTERS OF SEX being based on real events, viewers are not expecting him to give up, and they will not be disappointed. Masters has trouble keeping his mouth shut, which often works against him, but he’s also dedicated and persistent, qualities that serve him well. And while his former employer may not have the stomach to support the exploration of human sexuality, not everyone is so squeamish. It doesn’t take too long for Masters to recruit a new benefactor (Danny Huston, Magic City).

Like many modern protagonists, Masters is not inherently likable. There is not ‘but’ coming here. He may be intelligent and able to eventually meet his career goals, but he lacks in other areas. For instance, he finds it a struggle to be a good father, now that Libby (Caitlin Fitzgerald) has had their baby. It’s odd that someone who works so well on the baby making process can handle the results of their efforts, but Masters is not kid-friendly, as you’ll see in “Parallax.” This begs the question, can he ever be happy with his family, and can they ever be happy with him?

Virginia does get another side of Masters, but even that isn’t his strongest side. Yes, he puts Virginia’s name on the study and certainly wants her to be included in future work. But it’s not like they’re out selling themselves as a package deal. Virginia is still in the employment of Dr. DePaul (Julianne Nicholson), which does not net her enough to support her family. Virginia is definitely adrift in this premiere, finding it hard to take a step back down after the heights she achieved with Masters, working to readjust to a more boring existence, something she’ll never be satisfied with, because he doesn’t show her his loyalty.

The pathos exhibited by Masters and Virginia, both complex, interesting individuals, are engaging on their own, but MASTERS OF SEX really gets humming when the two combine. While most television shows with a co-ed leading duo have sexual tension, and Masters and Virginia do, too, they are different. There is no foregone conclusion that they will end up together, and “Parallax” actually finds them pulling apart. This is done in an authentic way, lacking the usual television tropes that artificially drive a wedge to keep the story going, and it’s far from certain if the writers are done with them as a couple before they even get started, or if there could be a bit more personal stuff between them in the future. They work together well; they may or may not be able to sustain romantic interest.

My favorite recurring players on MASTERS OF SEX, and there are many good ones to choose from, are Barton Scully (Beau Bridges) and his wife, Margaret (Allison Janey). This season premiere continues to cover their problems, Barton seeking a ‘cure’ for his homosexuality and Margaret no longer willing to look the other way, but acting as supportive of Barton as she can be. I was a bit concerned they’d be dropped from the series as Masters and Virginia move away from them, but while neither has been upgraded to main cast member, so their time could be limited, at least MASTERS OF SEX seems likely to see their story through.

In general, while nothing huge really happens until the very end of the hour, “Parallax” is a solid start to a sophomore season, serving its purpose and providing enough hooks to keep the audience returning. There are some very moving moments between players and it continues at the quality level fans expect. Plus, it ends with a very big development that will have fans talking.

MASTERS OF SEX returns July 13^th and airs Sundays at 10 p.m. ET.

MASTERS OF SEX "Manhigh" : Season Finale Review

Article first published as MASTERS OF SEX "Manhigh" : Season Finale Review on TheTVKing.

Showtime's excellent Masters of Sex completed its freshman run this week with "Manhigh." Bill Masters (Michael Sheen) prepares to present his findings of the past year of study to the hospital at large. Anticipation among the staff is high, and everyone eagerly packs the auditorium to hear Masters speak. But without Virginia Johnson (Lizzy Caplan) by his side, Masters overreaches and finds himself facing steep consequences.

Masters needs Virginia as much as any great partnership only works with both partners. He's brilliant, but bad at handling people. Virginia is smart, too, but her interpersonal skills are what balances him out so well. Masters would never have gotten as far as he did in his work without her to smooth his rough edges and communicate with their participants, calming anxieties. Now, her absence costs him dearly.

Masters realizes Virginia's importance, as evidenced by his inclusion of Virginia's name on the work product. He doesn't have to, with Virginia now working for Dr. DePaul (Julianne Nicholson) instead of him, but he does it out of appreciation for all that she has done. He isn't arrogant enough to minimize her contribution, and gives her the credit she has earned, even though she's a woman and women didn't get credit as freely at the time this story takes place.

Not that Masters is without assistance. His new helper, Jane (Helene Yorke), believes in him, as do cameraman Lester (Kevin Christy) and Bill's wife, Libby (Caitlin FitzGerald). But none of those three have Bill's ear or his professional respect the way that Virginia does. He likely appreciates them in some small way, but he doesn't consider them on the same level, and thus there is no one to tell him to temper himself.

Which is why the presentation is a disaster. Doctors and board members are shocked to see the inside of a vagina and the body of a woman masturbating, especially with women present in the room. They leave angrily, ignoring the statistics and invalidating Masters' work. In this instance, his data may be solid, but no one is going to pay attention to it because he screws up the initial conversation. He's his own worst enemy. Can he salvage anything from his efforts?

"Manhigh" ends with Bill standing on Virginia's door step in the rain telling Virginia that he needs her. This, more than her name on the work, leaves him bare and vulnerable, admitting something he didn't want to say out loud for the longest time. He swallows his pride and asks her to come back to him. This may be unhealthy, as he's missing the birth of his child, and he shows an obsession towards her with the use of footage of Virginia's body in the presentation. Knowing Bill is married and liking his wife, Virginia may be hesitant to return to the man who has few boundaries. But will she?

Virginia has a choice to make. She can stay in her home and work with Dr. DePaul and / or Masters. Or she can marry Ethan (Nicholas D'Agosto) and move away. This isn't as simple a decision as it may appear. Yes, Virginia loves her work, and with Dr. DePaul sick and Masters fired, both need extra help. But Ethan is really good to her kids, and they matter quite a bit to her, too, so she may want to put their needs ahead of hers.

Let's be honest, although "Manhigh" doesn't reveal Virginia's choice, she has to work with Bill. Otherwise, there's no show. Masters of Sex hinges on the relationship between the two of them, and as much as I enjoy the other characters, the rest are expendable. Thus, somehow, Bill and Virginia will end up working together again.

Besides this central plot, there are a lot of great supporting moments in "Manhigh." I love Barton's (Beau Bridges) struggle with his homosexuality, and his wife, Martha (Allison Janney), asking him not to undergo aversion therapy when she sees how bad it is. They are a couple I can't get enough of. I love Barton standing up for Masters, and Masters doing Barton a favor by saving the elder man's job. I love Lester and Jane's kiss. I love the masturbation conversation between Lester and Masters. I love seeing Libby hold her baby, someone that will surely bring her the joy her husband can't give her.

Masters of Sex is wonderful because of all of this. The two leads are fantastic, but the other players are terrific, too. The stories are well structured, with appropriate story for recurring parts without taking away from the whole, and layered, developed, authentic characters. There's commentary on the time and culture that doesn't feel preachy, and real questions that can't be quickly and easily answered are posed. It's definitely my new favorite Showtime series.

Masters of Sex has been renewed and will return next year to Showtime.

MASTERS OF SEX Masters of Drama

Review first published as MASTERS OF SEX Review on Seat42F.

Showtime knows what it’s doing by calling their new series MASTERS OF SEX. Clearly, that title will draw a crowd, if for nothing else than to check out what scandalous things will be in it. What’s better, though, is that there is an actual story behind this moniker, that of Dr. William Masters (Michael Sheen, Frost/Nixon) and Virginia Johnson (Lizzy Caplan, New Girl), who revolutionized the study of human sexuality in the 1950s.

MASTERS OF SEX is based on a true tale, though like most dramas that can claim that, there is likely quite a bit of creative license taken. It’s hard to believe that only a few scant decades ago, science hadn’t even begun to look into the orgasm, let alone recognize the difference between sex drives in men and women. As such, this is a gripping story about an important moment in our country and the world.

It’s far from boring. Great performers like Sheen, Caplan, Beau Bridges (The Descendants) as the reluctant boss, and Margo Martindale (Justified, The Americans) as an uptight secretary, make these characters come alive, more interesting than most real people, roles you want to tune in and watch. They exude charisma, while keeping the parts grounded, playing the subtleties and layers, even in the smallest of scenes.

A lot happens in the “Pilot.” Masters comes up with the study and tries to convince Barton Scully (Bridges) to approve it. He finds and hires Virginia to help him. She recruits him subjects, and they begin the study. The pace is quite quick, though not so much so that it feels rushed.

But there are moments, too, that sparkle and linger and make the series special. One in particular, near the end of the episode, in which Masters proposes a new element to the study to Johnson very matter-of-factly, and her charged reaction, is memorable. As is a physical fight between a man and a woman, a pivotal moment in which one characters goes from likeable but slightly annoying to detestable. And the pain Johnson feels at keeping secrets from Master’s wife, Libby (Caitlin FitzGerald, It’s Complicated). Each of these hold the promise that MASTERS OF SEX will be much more than just a provocative concept.

A primary theme of the show is the difference between males and females, and between individuals. In the first hour alone, we get a wide spectrum view of this comparison. We see a woman who thinks sex in a marriage should be romantic and lovely, and a man who considers it pretty much solely for making babies. We meet a woman who has sex with men for money, but prefers relations with women for pleasure. One man is promiscuous, seeing sex as a fun way to pass the time, and a woman feels the same. Another woman thinks sex should not even be discussed among civilized people.

Then there’s Virginia Johnson. She is fine with a friends-with-benefits arrangement, already having been married and having children. This is what we traditionally consider a male attitude, purely engaging in intercourse as a pleasurable, recreational activity. Yet, we also see how she cares about the friend she hooks up with, Dr. Ethan Haas (Nicholas D’Agosto, Heroes), on a non-romantic level. And we see her shock at being asked to engage in clinical sex for study, something she may consider, but it certainly isn’t her idea. She’s a complex bundle of competing desires in a single body.

This may just highlight how little men know about women’s drives, even in the modern era. As a man, I did not expect the complexity of the warring emotions Virginia has, and cannot imagine a having a similar mindset myself. Then again, sex is a very personal thing, everyone having their own views and preferences, and it may be more about the individual than the gender. I guess that’s what MASTERS OF SEX will explore.

Besides the science stuff, there is the tale of a crumbling marriage in the Masters household. William has a very low sperm count, but won’t share that information with Libby, even as she worries over her own inability to bear children. This is a sad picture, and while it informs the character, it also feels very cold, an unhappy portrait of matrimony. Refraining from reading up on the real-life people, I’m not sure where this is going, but assume it will tie into the larger fabric being unfolded.

Plus, MASTERS OF SEX is a period piece, with wonderfully designed sets and clothing. It’s not so long ago that it will feel unfamiliar, but it definitely has a dated style, even as the topic itself is still a relevant one. Society and tastes change, but people stay the same. At least, I hope the people involved in this show stay the same, because I am definitely setting a season pass on my TiVo.

MASTERS OF SEX premieres Sunday, September 29^th at 10 p.m. ET.