WAYWARD PINES a Murky Place

Article originally published as WAYWARD PINES Review at Seat42F.

Carla Gugino & Matt Dillon Wayward Pines

 

WAYWARD PINES, premiering this week on FOX, is the story of a Secret Service agent who, while looking into the appearance of two fellow agents, becomes trapped in a mystery-laden town. Produced by M. Night Shyamalan (The Sixth Sense) and based on the book series by Blake Crouch, it’s a dense thriller that poses far more questions than it answers, at least initially.

My first impression is that Wayward Pines is trying too hard. The pilot, “Where Paradise Is Home,” rips off the beginning of Lost; you’ll know immediately what I’m talking about when you see it. Except, instead of being set on an untethered island or trapped under a dome (like CBS’ Under The Dome, which it will compete with this summer), it takes place in the small town of Wayward Pines, Idaho – a place that is completely isolated in a valley, cut off from the rest of the world. So yeah, it’s just like those other two, at least in this one regard.

Our hero is Ethan Burke (Matt Dillon, Sunlight Jr., Wild Things), and “Where Paradise Is Home” revolves around him, telling a disjointed, nonlinear story. He’s married to a woman named Theresa (Shannyn Sossamon, Mistresses), but cheated on her with his former partner, Kate (Carla Gugino, Entourage, Watchmen), who shows up where you might not expect her. Almost immediately, he makes a connection with a bartender named Beverly (Juliette Lewis, Secrets and Lies, Christmas Vacation), so I guess perhaps hero is too strong a word. Let’s just call him the protagonist.

What does any of that have to do with the story? Well, something. There’s a Truman Show-esque twist that ties Ethan’s messy love life into the town, but to what end, I have no idea. Nor do I know why someone says Beverly isn’t really a bartender, nor why Nurse Pam (Melissa Leo, Treme, The Fighter) acts in such a sinister manner, nor why Sheriff Pope (Terrence Howard, Empire, Iron Man) won’t help, nor why Reed Diamond (Franklin & Bash, Moneyball) has been cast as a toymaker. The only thing that makes much sense is Toby Jones (Captain America) playing a psychiatrist, which seems perfectly natural.

I love dense, genre mystery shows. If you give me a solid cast and a well-thought out story, I couldn’t possibly be any happier watching television. I’m much more reticent to jump into WAYWARD PINES than others of its ilk, though. Part of it is that they are selling themselves as a “Twin Peaks-like” drama and stealing so much from other stories along the way. Now, some of that may come from the book; I haven’t read it so I don’t know. But the way the program is presented doesn’t even feel like those involved are trying to do something new.

It also concerns me to see the cast list. They’re almost universally strong performers, so that makes me think perhaps I should give the material a chance. But part of being so strong is that many of them have other jobs on currently running shows. Wayward Pines season one is announced to be only ten episodes, and presumably, subsequent seasons could be equally short to allow scheduling to work out. I just can’t see all of these people agreeing to stretch themselves so thin over any extended period of time, though.

WAYWARD PINES has a lot of good ingredients. The question will be, did the chefs take some liberty with the recipe, tossing in the unique spices that will make it a fresh and delicious dish (like Lost), or did they follow the book exactly, making something bland and derivative (like Under The Dome)? The answer to this will be what makes or breaks this show.

WAYWARD PINES premieres Thursday at 9 p.m. ET on FOX.

Political Animals need not be caged

The season finale of USA's limited series event, Political Animals, aired this week. The title of the episode is "Resignation Day." But to whom does this refer? Is it Elaine's (Sigourney Weaver) last day as Secretary of State, having promised President Garcetti (Adrian Pasdar) that she would step down? Or will Douglas (James Wolk) be the one quitting, having leaked sensitive information that will make him untrustworthy, and thus unemployable, in his chosen field? Or perhaps Susan (Carla Gugino) will be forced to leave the paper, having crossed more than one line in the pursuit of a story?

Thankfully, although a second season had yet to be ordered, none of these come to pass, so all of the characters can stay around and relevant. A shocking tragedy resets everyone's priorities, ending several arcs succinctly, and kicking off a couple of new possibilities for the future. Should another go-round be ordered, there is plenty more story to ell, and given the tease at the end, with Elaine smiling at Bud's (Ciarán Hinds) insistence she run for president herself, the writers already have some ideas mapped out.

Let's back up a second. As Political Animals' freshman run plays out, Elaine considers taking on Garcetti, worried he isn't sticking to his guns the way he should be. But Garcetti comes 'round when Elaine calls him on the carpet, and ends up offering her the Vice President position in his challenge for a second term. However, before she can make the decision about whether to accept, Garcetti is seemingly killed in a plane crash, and sleazy V.P. Fred Collier (Dylan Baker) is put in charge instead, necessitating Elaine's own run, rather than leave a cad like Collier in power.

Had Garcetti survived, and as his body had not been found yet, he still could be alive, Elaine would surely have stood by him. Political Animals has done a good job making politics neither black nor white, and at the end of the day, Garcetti was the man Elaine hoped he would be. Yet, Collier is much more a villain, providing a delicious antagonist for season two, which points to Garcetti most likely being deceased. After all, the more drama a series can muster up, the better, right? Though a last minute reveal of finding Garcetti alive after Elaine and Collier battle it out, while stretching reality to the breaking point, could be even juicier.

Thankfully, Political Animals does not thrive on unnecessary drama, delivering a good story without venturing too far into that television trope of forcing antagonism. Yes, Douglas does cheat on Anne (Brittany Ishibashi) with Susan, but that's the only real misstep I can find in this first batch of episodes. There is upheaval and scandal, to be sure, but it almost always stops before going too far, keeping true to the characters, as they have been established.

One moment from "Resignation Day" really stands out, and crystallizes something this show does very well. Susan tells Douglas that, despite cheating on his fiance and betraying his mother, he is still a good guy. And somehow, as hard as it is to accept on paper, she's right! Not only that, but after writing Bud off as a womanizer who can't keep his mouth shut, Political Animals goes out of its way to prove he also loves his (ex-, for now) wife, and has willingly sacrificed himself for her career. This is the mark of a compelling character, who, likes the others on this show, lives in the fuzzy gray world of reality, rather than being shelved as either hero or villain. Very cool.

Another sweet point in "Resignation Day" is when Elaine tells Susan the truth of the whole power struggle. The friendship between these women is a real highlight of Political Animals, and what keeps the political world from coming across as too slimy. Providing a relationship both hang on tight to amidst the turmoil givens each a strong foundation they can stand on, and provides viewers with ways to root for them. Who needs mean girls when nice works so much better?

I would be remiss if I didn't praise the fantastic Ellen Burstyn, who plays Elaine's mother, Margaret. Whether making her daughter consider what her decisions do to the family, or confronting Anne and T.J. (Sebastian Stan) about their demons without judgment while struggling with her own, she is a powerful force on the series, and one that drives along a number of stories that could stall out without her assistance. She is doing some seriously brilliant work here.

Then there's the scene where Barry (Roger Bart) comes to make up with Elaine, his priorities put in order by what happens to Garcetti. These kind of pathos help the show thrive, and thrive it does. The cast has been signed for multiple seasons. Let's hope Political Animals gets that chance.

First posted on TheTVKing

You can't cage these Political Animals

Grade: 86%

USA decided to take a risk with its new show, POLITICAL ANIMALS. The network has actually taken several risks in the last few years, each progressively braver than the one before it. There’s nothing wrong with how the network made its name, with a number of similar shows, each using the trademark formula. Still, it’s nice to see something new, and this show resembles its peers not at all.

POLITICAL ANIMALS is easily the biggest departure from USA’s tried and true formula yet, and it’s a big success, at least creatively. The writing is very smart, the acting is fantastic, and the scope is much broader than the average basic cable drama. The “Pilot,” which aired last night, is a superb story, wonderfully setting up each character, as well as telling a tale or two or three.

Created by Greg Berlanti (Brothers & Sisters, Everwood), many will immediately assume he is a fan of Hilary Clinton. That’s because the central character of POLITICAL ANIMALS, Elaine Barrish (Sigourney Weaver, Alien, Avatar), is a former first lady of the popular, two-term 42nd president, who, after losing a presidential race to a charismatic newcomer (Adrian Pasdar, Heroes, The Lying Game), accepts the position of Secretary of State. Elaine is bold, principled, and suddenly more popular than ever, hugely successful as the nation’s top diplomat.

But as the “Pilot” unfolds, it is clear that Hilary may just have been a starting point. There are definite differences. Some are cosmetic, such as the fact that Elaine has twin sons instead of a daughter, while others, including divorcing her husband, Bud (Ciaran Hinds, Rome, Munich), are perhaps wishful thinking. But what it really boils down to is that Hilary is a public figure, and none of us will ever know what goes inside of her head. Ellen is a television character, who will do things to keep the show interesting, such as sleeping with her ex-spouse. Not only that, but Elaine must be fully fleshed out, filling in those details missing from the general consciousness about Hilary. As such, a lot of creative license is taken, and the character will quickly stand apart from her inspiration.

A number of things happen in the “Pilot.” Firstly, the family celebrates the engagement of Elaine’s son, who happens to also be her chief of staff, Douglas (James Wolk, Happy Endings, You Again), to Anne Ogami (Brittany Ishibashi, Ghostfacers, Eagle Eye). It looks like the perfect pairing, and they do seem to get along pretty well, despite the family tensions. But Anne is secretly bulimic. Is this condition a result of the pressures of marrying into such a powerful family? What kind of girl chooses this kind of life? These are questions only barely begun to be explored.

Other son, Thomas James, or TJ (Sebastian Stan, Gossip Girl, Kings), is a homosexual with a drug problem. Having previously attempted suicide, he is not well suited to this particular family, finding the spotlight painful and grating. He is still loved, at least by his mother, but that isn’t enough to keep him in line. What kind of trouble will he cause her and the others?

In fact, TJ sets up the other major thread of POLITICAL ANIMALS. In the “Pilot,” Elaine is being followed around by a reporter named Susan Berg (Carla Gugino, Watchmen, Californication, Entourage) who made her name by exposing Bud’s cheating ways, and is now using the story of TJ’s screw up to blackmail her way into an interview. Of course, this being TV, Susan’s life is just as messed up, as her boyfriend / boss betrays her in more ways than one, and she begins to feel Elaine’s pain.

There is a very nice parallel between Elaine and Susan. They are similar types of women, to paraphrase the episodes, bitches who don’t like being called bitches. They are driven, intelligent, sexy, and get what they want through hard work and tenacity. Sometimes they may be shamed by others, but there is a lot to be admired in both women. And by the end of the “Pilot,” they begin to see that in each other, too.

In the first episode, amid all of this other stuff, there is also a hostage crisis in Iran, a great example of how POLITICAL ANIMALS mixes the big picture and the intimate family moments. This is a winning formula, showing how the people in charge cope with everything thrust upon them, a look that most people don’t generally get into their lives. Sure, the episodes will be trumped up for dramatic effect, but they also feel fairly real because the series gets the details right.

There are lots of things going on, but none of it feels rushed, especially in the hands of a terrific cast. These include supporting actors like Ellen Burstyn (Big Love, The Exorcist) as Elaine’s drunken mother, Dylan Baker (Damages, The Good Wife) as the Vice President, and Roger Bart (Desperate Housewives, The Producers) as the president’s chief of staff. All of this combines to make a fantastic show.

This is definitely a can’t-miss series of the summer, and presented as a limited run, it won’t be a major time commitment to check it out. POLITICAL ANIMALS airs Sundays at 10 p.m. ET on USA.

Californication delivers "And Justice For All"

     Showtime's Californication season four finale: It starts with a surreal courtroom scene. Hank (David Duchovny) is read the verdict after being charged with statutory rape, a plot arc that started way back in the pilot, more than four years ago.

     For a startling few moments, it appears that Hank is going to prison to be locked up and kept away from friends and family. Hank is not a bad man, and it seems gigantically unfair. After all, he had been tricked, believing the young girl seducing him was a college student, with no idea she is actually the daughter of Hank's ex-wife's fiance. However, that becomes open for debate once it is revealed that Hank has met her once before that night, albeit when he was plastered.

     Luckily for Hank, and for us, Hank had simply fainted before hearing a key word - probation. A hefty fine and large amount of community service is something Hank can handle as we go into season five.

     Prison, however, would have left him a changed man, one likely unrecognizable to longtime fans. It's not a place that would suit Hank. And so it is with a sigh of relief, and copious sex with his attorney, Abby (Carla Gugino), that Hank is let off the hook. Has he learned a lesson? I don't know. He does need to clean up a few things, but most of Hank's problems are circumstantial. He drinks too much, but only engages in consensual behavior after open dialogue, nothing shady or malicious. Things just keep happening to him.

     The large middle section of this episode takes place at a dinner party that is just pure fun, plain and simple. It's a launch party thrown by Stu (Stephen Tobolowky) to celebrate the start of production on the movie Fucking and Punching. Hank goes with Abby, while Karen (Natascha McElhone) brings Ben (Michael Ealy). Marcy (Pamela Aldon) is living with Stu, and Charlie's (Evan Handler) plus one is his psycho realtor, Peggy (Melissa Stephens). Sasha (Addison Timlin) and Eddie (Rob Lowe) are there, too, of course, as the stars of the movie. Such an eclectic mix of personalities, many with shared romantic history, is just asking for trouble. So, of course, there is plenty of that, mostly instigated by Eddie, who asks probing, intrusive questions.

     I am most excited that Charlie now knows Marcy's baby is his. While Hank and Karen cannot commit themselves fully back to each other until their story is over, and the series is leaving the air for good, Marcy and Charlie need to work things out sooner. Their separation has been hard on both of them. While they are from from perfect, they have a chemistry that is unique and special. At times, Marcy's pulling away has felt uneven and insincere. I keep waiting for Charlie to wake up and do whatever it is she is waiting for him to do. I don't think either one will be happy without the other. Surely Charlie will not, as he admitted to the gathered assembly.


     I love Abby, and hope we have not seen the last of her. As things stand, she has not closed herself off to Hank, but she does ask him to make a choice. While this could be a chance to start anew for the troubled writer, he will never be able to move on from Karen. He has had opportunities to build a future with any number of wonderful women; Abby is just the latest, and possibly the best. But Hank never even appears to consider serious monogamy with anyone but Karen. It's not that he's a cheater, but rather he is having fun and biding time until he can end up in the arms of his one true love. Why must Hank stumble through life so lost? Why can't he just settle for someone else? I would actually support that choice, at this point, and it would not preclude him eventually wandering back to Karen in the long-term.

     This episode is not only a fitting ending for a terrific season, one in which Hank faces his past far more than at any time before, but it could also have made a fitting ending for the series. Hank can finally put the whole incident with Mia (Madeline Zima) behind him, though he still has the therapy of making a movie about the experience. As the episode draws to a close, Hank is walking the sets, seeing the real life people he knows in place of the actors standing in for them. Making a decision, Hank takes to the road, presumably to find his love, Karen, and daughter, Becca (Madeleine Martin), who have left for a road trip with Karen's new boyfriend, Ben. They, too, are thinking of him.

     Should this have been the way Hank went out? Having lost the two girls he cares more about than anyone in the world, but having found professional success, he heads off into the world to find them? I, for one, am gratified that there is more story left to tell about the characters. Yet, it is a moment so perfect, it makes me a little sad to see it come so early. One can only hope that Hank's journey will end on as uplifting a note as this season did.

     One question I am left with: why did the writers choose to have Ben save Hank? At first, I thought it is so Hank will like Ben and back off. But by the end of the episode, he is yearning for Karen again. The scene has the feeling of more than mere coincidence. I guess we shall see.

     Since there will be a season five, what will it involve? I am really hoping that Fucking and Punching will still be filming, for one. While each season has its own mix of fun characters, I am not done with Eddie, Sasha, or especially Stu. They need to stick around a bit longer. I can see where Eddie, especially, may be problematic, as Rob Lowe is already a series regular on NBC's Parks and Recreation. Any way we can keep these people coming back, I'm good. I also really like the possibility of Hank dating the actress playing Karen in the movie. I think perhaps Hank should turn around and go home, unsuccessful in his search, and then Karen can return to find him dating essentially her double. That would be interesting indeed!

Article first published as TV Review: Californication - "And Justice For All" on Blogcritics.

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Californication - "The Recused"

     Why does Hank (David Duchovny) have to be such a womanizing screw up? Things take a much darker turn this season on Showtime's Californication when Hank faces both assault and underage sex allegations, the latter of which leads to Karen (Natascha McElhone) finding out about Hank's one night stand with step-daughter Mia (Madeline Zima), which happened all the way back in the first episode. Hank's teenage daughter, Becca (Madeleine Martin), who usually stands by her father and overlooks his flaws, doesn't even want anything to do with him. Losing his family and facing jail time, one would think that Hank has been given a much needed wake up call. Sadly, that does not seem to be the case.

     The newest flub? Hank is now sleeping with his lawyer, Abby (Carla Gugino, Watchmen, Entourage). She attempts to recuse herself by passing Hank off on her boss, Lloyd (Alan Dale, Ugly Betty, Lost), but of course, Hank can't mind his manners for one day on the golf course with Lloyd. They erupt into fisticuffs, only to laugh and bond as soon as Abby agrees to take back Hank's case. Later, she has sex him one last time before telling him he is cut off from that pleasure until after the trial. Not only that, but by the end of the day, Hank has Karen smiling at him, too. How long does anyone seriously believe either women will stay out of his pants this time?

     What charm does Hank have to allow him to get away with all of this? I mean, I get it, having watched the show. Hank is just such an open, honest, likable guy. He may sleep with lots of women, but he'd happily commit to one, especially if that one was Karen. He has proven he can be faithful. Hank's ability to win Lloyd over post-fight is a little more confusing, both of them being dudes, but I think the same things that women find attractive in Hank, men find endearing in a different way. Hank doesn't hold grudges, his emotions are out there for all to see, and once Hank and another man get into it, they have taken out their anger and can move on from it. Even Karen's new love interest, Ben (Michael Ealy, The Good Wife, FlashForward), despite Hank's rotten behavior towards him upon their first meeting, is willing to befriend him.

     However, some things are above even Hank's charms. Despite his unknowingly bedding Mia, and Karen knowing that it was ignorance, neither she nor Becca can bring themselves to move past it. I think this is a case of both of them trying to bridge a disconnect between the Hank that they know and the man who can sleep with an underage girl, who was Karen's then-boyfriend's daughter, to boot. Yes, the facts support Hank, but it is still such a depraved act that it's hard to reconcile it with the Hank who would never knowingly do such a thing. Which he didn't knowingly do. They will eventually wrap their heads around it, but I don't think that might be such a good thing for Hank, in the long run. He has been forgiven a lot, and while I'd like to see him have a happily ever after with his family, he needs to make a few changes first.

     In the B plot, I am hoping that Charlie (Evan Handler) and Marcy (Pamela Adlon) are finally coming back together. Sure, Charlie is still continuing his conquest to bed one hundred women (he's up to twenty one), and Marcy is dating Stu (Stephen Tobolowsky, Glee, Heroes), but they make a great team, as evidenced by their pitch to Showtime this week. I wonder that they can't bring themselves to move past the past yet, as they clearly both see each other in that old, rosy light during the pitch meeting. Once Marcy admits to him that she is pregnant with his baby, which looks likely, I think it will come together. I guess some things just have to run their course, and Charlie and Marcy haven't finished the current track yet.

     Californication airs Sunday nights at 9 p.m. on Showtime.

Article first published as TV Review: Californication - "The Recused" on Blogcritics.

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Californication - "Exile on Main St."

     Showtime's Californication began its fourth season last night with "Exile on Main St." Picking up three days after Hank (David Duchovny) was hauled away in handcuffs for assault in front of his family, it set the stage for brand new stories. Which is both good and bad. I mean, Hank's three love interests from season three stuck around long after he tried to end it with them. Why are they suddenly gone as season four begins, only three days later? I also wonder about the time line, as each season seems to progress naturally right into the next, without huge delays, and yet the young characters age one year per season. The seasons certainly don't feel like they cover an entire year.

     All that aside, Californication is a great show. It's hard to rate an episode as being particularly good or bad, as the series relies on long arcs to define itself. Rarely does one week deliver a self contained story. As such, I cannot say if the season premiere last night was particularly good or bad. What I can say is that it felt like a good, solid episode that fit beautifully into the established series.

     The overall story of the show revolves around Hank trying to win back Karen (Natascha McElhone) and forget his inappropriate one night stand with Mia (Madeline Zima, who sadly did not return full-time this year, or at all last night). These two arcs have been kept separate for three years, but the decision was made for them to collide spectacularly at the end of last season. I certainly don't blame the writers; it was time. What has resulted is Hank in the absolute worst place in his life yet. He faces legal consequences for sleeping with an underage girl, and Karen is more hurt than ever, wanting nothing to do with him. Which sends Hank back into another downward spiral, from which he never manages to crawl all the way back up from.

     I like the new character of Abby (Carla Gugino, Entourage), Hank's lawyer. From past experience, I'd say Hank will be sleeping with by next week, two weeks at the latest. Hank has already fallen into bed with the young starlet playing Mia in the movie version of his indiscretion, Sasha Bingham (Addison Timlin). Hank coaching Sasha in practicing the punch scene was one of the most moving moments of the series. Hank has never been a masochist, and it illustrated just how much pain he is in. It was a raw, moving scene, entirely satisfying. Paired with the dream sequences of his family, there was some powerful stuff.

     What is so entirely frustrating about Californication is that Hank is a good guy. His problems with Karen seem to me to be as much her fault as his. He is truly caring and sweet, and loves Karen completely. Yet, he can't bring himself to behave in a way that will win her back. If she's not fully committed, he has to be having sex with someone, and that's a problem. If he could just keep it in his pants, he'd be OK. Granted, the Mia situation was not his fault, and I feel terrible that Karen hates him so much for it. I understand her pain, but the anger she's emoting is not warranted. However, it's also easy to see why she wouldn't know the detailed truth, and so absolve Hank. It's the realism of their feelings and their chemistry that makes this show so great. And that fact that full understanding of Hank's biggest mistake really places no blame on him solidifies his role as a likable main character.

     Sadly, we saw very little of Becca's (Madeleine Martin) reaction to the Mia revelation last night. Her limited role was necessary, because Hank is the main character, and he has some heavy stuff to go through. I do believe it is within Becca's character to forgive him soon, but not immediately. Becca has always been understanding of her father, accepting him for who he is in a way that Karen probably never will, unfortunately. I am more curious about what Becca will say to Hank than what Karen will. Hank and Becca have the true father-daughter love, and the most lasting, stable connection of any two characters on the show.

     Elsewhere, Charlie (Evan Handler) is on the verge of putting himself back to where he was professionally in season one. With the outing of Fucking and Punching as Hank's, he has new success for his number one client. It looks like Charlie will be returning to his old agency, which may open up the return of old characters like Dani (Rachel Miner), who was last seen still working there. That's fine with me, as long as Charlie and Dani don't get involved again inappropriately, which I don't see happening. I will be most joyful, though, if Sue (Kathleen Turner) somehow figures into this year's arcs, as she was truly the most enjoyable addition in season three.

     Charlie's personal life isn't so together, which is a shame. Marcy (Pamela Adlon) seemed so close to taking him back, but I guess she was just having nostalgic fun. The two are clearly meant to be together. They've had a rough few years, but I wish the writers would allow them to work it out. Sure, drama must be kept going until the end of the series, but at this point, Hank has enough domestic strife to carry that banner on his own. A happy Charlie and Marcy would lighten the tone a bit. Does anyone really want to see Charlie bang eighty-eight more girls? I certainly don't.

     Californication continues its most enjoyable slog, continuing plots as season four opens. Hank never begins a new story; rather his entire life is one big novel or memoir. I say novel because of the wonderfully trippy dream sequences, which were back in evidence last night. How many more years the show will go on, I do not know. My hope is that they are given a fitting conclusion. I think the series is probably closer to an end than a beginning, but no rush. In my opinion, five seasons may be the perfect numbers.

     Check out Californication Sunday nights at 9 p.m. on Showtime.

Article first published as TV Review: Californication - "Exile on Main St." on Blogcritics.

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.