THE TERROR

Article first published as TV Review: THE TERROR on Seat42F.

THE TERROR comes to television at a time when there are a great many “true story” dramas on television. Given that this show is about an actual boat, two boats really, called Terror and Erebus, that went missing in the Arctic Sea in the 1840s, it is a logical conclusion to make that the events portrayed actually happened, at least in part. Especially because quite a bit was found from these lost ships.

However, the AMC series is not claiming to be true, nor does it take many of its cues from real life. It is an adaptation of a novel, also called The Terror, by Dan Simmons, in which supernatural horror mixes with reality. This historical fiction is meant to be a good companion for The Walking Dead, still the network’s (and scripted television’s) most popular show. Whether it’s scary or gory enough to run in those circles, well, you can make that determination yourself.

The cast is headlined by some familiar faces. Ciaran Hinds (Game of Thrones) plays Captain John Franklin, the man in charge of the expedition, whose poor decision gets the ships stuck in ice before the first hour is over. He is assisted by a bunch of officers, primary first mate Francis Crozier (Jared Harris, The Crown) and second mate James Fitzjames (Tobias Menzies, Outlander). The show is slow to really distinguish many of the characters as individuals, but these three do lend it some heft that will buy the series some time to find its footing. Though I couldn’t tell you much else about anyone else in the cast.

The tone of the piece is pretty cool. The cold is well communicated in both design and performance, likely to give some in the audience chills just from watching. There’s also an underlying feeling of dread from start to finish of the first hour, giving you chills of a different sort. The isolated, dark, desolate locale the ships are traveling through effectively sets the right mood. It feels like there’s always something lurking around the corner, like death could occur at any time. And it occasionally does.

Without having read the novel, I do not know what is coming, other than that all hands were lost (going by historical events). Some people may be hesitant to get too attached to any of the characters, knowing their demise is certain. But without knowing who will go and when, THE TERROR is good at building tension, keeping you on the edge of your seat. Which is the point.

THE TERROR doesn’t seem to have much of a mission beyond that. Since it’s a fictional take, it doesn’t inform the viewer. The pacing is slow and character development seems minimal. The focus is less on building a fully realized world and cast of characters than having some highly qualified performers fill screen time until the series gets around to killing them off. The names at the top of the cast list (the three above) are likely to be some of the last ones just for that reason.

And that’s why I have trouble recommending THE TERROR. I enjoyed it, sure, and I may watch more of it simply because I like both history and the actors. But I don’t think the writers are really giving us a full story. It’s a valid choice to write for the situation, not the players, but it makes for a far less compelling narrative. Will anyone even care when any of the leads depart this life? I’m not sure. Other shows offer more, so that knocks this one down the priority list, even though it does expertly set a tone.

THE TERROR airs Mondays on AMC.

GAME OF THRONES Has "Come"

Article originally written for Seat42F.

Season five of HBO’s GAME OF THRONES begins with the various characters worried about “The Wars to Come.” Those with serious power in Westeros are now almost all dead, and the ones left behind fight for seats they are not worthy of holding. Across the sea, a new ruler struggles to find her own bearings, but some help is on the way that may just get her over the hump, if she can trust it.

The last sentence in the introduction paragraph refers, of course, to Tyrion Lannister (Peter Dinklage) and Daenerys Targaryen (Emilia Clarke). Unlike the rest of the both their families, these two have been the reasonable, strong fighters, who overcome the odds to succeed, and actually care about the people under them. Either would make a wise, just leader, but together, they could be unstoppable.

Tyrion starts “The Wars to Come” in a box, secreted across the sea by Varys (Conleth Hill), now also on the run. Varys believes Tyrion is the type of leader that the Seven Kingdoms need, and wants to introduce him to Daenerys. But they are still a long way away from her yet, and lots can happen on a journey. One thing I’ve learned about GAME OF THRONES is that plans made much in advance rarely come to fruition.

Daenerys could really use the assistance about now. Having spent four seasons rising in power, she has stalled in her current land. Apart from her dragons, whose trust she has lost, her closest advisor sent away, and the nobility she displaced rebelling against her, she is not doing well. Fans love Daenerys and know she can be a good queen, but Daenerys isn’t yet ready for the challenge peace brings. She can wage campaigns and battles fine enough, but like many in history, she has a hard time adapting in the aftermath of war.

Tyrion has proven himself capable in both situations, so hopefully they find and help one another.

Back in King’s Landing, a conflict is brewing between Cersei Lannister (Lena Headey) and Margaery Tyrell (Natalie Dormer). Both seek to control Tommen (Dean-Charles Chapman), the current boy on the Iron Throne. Cersei is starting at a disadvantage, though. Drunk and sick with anger and grief over the loss of her father and her brother, Jaime’s (Nikolaj Coster-Waldau), betrayal at setting free Tyrion, she is not thinking clearly. It seems that a prophecy she is told as a little girl in the opening scene of “The Wars to Come” may very well come true, since Margaery doesn’t seem hampered by either thing. But I can’t help but think neither of these women are going to matter in the end, not strong enough to hold two kingdoms, let alone seven.

Lastly, Jon Snow (Kit Harington) is having a hard time of it up on The Wall. Caught between Stannis Baratheon (Stephen Dillane) and Mance Rayder (Ciaran Hinds), both stubborn men, he tries to broker a compromise that lets both walk away. That fails, and Stannis publically executes Mance. Rather than watch a great leader he respects suffer, Jon puts Mance out of his misery with an arrow through the heart.

Will Stannis let Jon’s actions stand? Technically Stannis has no control over the Night’s Watch, an independent body that Jon is a part of. But when has the exact rule of law ever stopped Stannis? He is a bitter man with a chip on his shoulder and something to prove. Surely, he cannot be happy at all with Jon’s decision. Stannis thinks he knows the type of man Jon is, but “The Wars to Come” proves that not to be the case. Stannis and Jon are not going to be friends.

As usual in GAME OF THRONES, there are more than three threads in “The Wars to Come.” I only choose these three, though, because they seem the most important, and the ones likely to have the biggest effect on the next few hours. It’s a very full show with a lot going on, beautifully balanced. It serves these grand stories well, while giving us meaningful bits with Sansa (Sophie Turner) and Tormund (Kristofer Hivju) and Brienne (Gwendoline Christie) and Missandei (Nathalie Emmanuel) and others. It may actually be hard to predict which of those minor moments will be important later. Thankfully, the show has done a fine enough job defining the characters and situations that it is no longer hard to follow along in this complex web, and if they do matter, many will remember them.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

"The Children" Play the GAME OF THRONES, Too

Article first published as TV Review: 'Game of Thrones' - 'The Children' at Blogcritics.

Last night’s season four finale of HBO’s Game of Thrones, titled “The Children,” is very character-heavy. Each of the many players in the cast get to show depth and growth from time to time, but the latest installment seems to be all about that, crystallizing characteristics we’ve seen within their personalities before and taking them to the next level. There is still action, of course, but the pathos are very strong, making for an excellent end, and leaving us to ponder the direction some of the people are heading in.

To many Game of Thrones viewers, the most important face in the series is Tyrion Lannister (Peter Dinklage). Sentenced to die, things look dire for the imp until Tyrion’s brother, Jaime (Nikolaj Coster-Waldau), sets him free. These two siblings have a loving bond, evident in their brief goodbye hug that transcends blood. They come from a very messed up family, with a sister, Cersei (Lena Headey), who hates one of them, and sleeps with the other to manipulate him. Yet, the boys’ connection is pure and loyal. Jaime cannot sit by and watch Tyrion executed, and so he intervenes.

From here, many expect Tyrion to take the easy path, knocking on Varys’ (Conleth Hill) door and sailing away. But this Tyrion has been betrayed and has turned cold. Before the trial, in which he watches his love, Shae (Sibel Kekilli), betray him and his father, Tywin (Charles Dance), let his innocent son be sentenced to death, Tyrion could have walked away. But at this point, he is just too far wronged, frustrated with injustice, and cannot stop himself from a final showdown with daddy.

What follows is tragic. I don’t think Tyrion means to kill Shae, even after her words at court, but he has to in self-defense, she being convinced Tyrion is evil enough to hurt her. And who can blame her, after the way Tyrion speaks to her when last together, Shae not realizing Tyrion acts like he doesn’t love her for her own good? Tywin’s death at Tyrion’s hands is much more deserved, Tyrion finally proving to his father that he’s a man, standing up for himself against the cruel tyrant that raised him.

It’s interesting to observe Tywin in his final days on Game of Thrones. Not only does he underestimate Tyrion, not expecting his son will kill him no matter what he’s done, but he also is shown to be living in denial about Jaime and Cersei’s incestuous relationship and its products. This is a man that has a single-minded vision for his family. He is cunning and savvy in battle, but lacks warmth with his offspring, which leads to him not understanding them. This is Tywin’s downfall, his hubris and ignorance of his children. He reaps what he has sewn.

As one leader falls, another rises. Jon Snow (Kit Harington) meets with Mance Raydar (Ciarán Hinds), intending to kill the Wildling leader, until they are interrupted by Stannis (Stephen Dillane) and his army, who essentially save The Wall. Before and after this interruption, though, we see just how seasoned Jon has become. He has the wisdom that men will follow, and shows mercy when it is warranted. He understands loyalty, and exhibits such on his own. He’s willing to sacrifice himself for the greater good. He has grown into a man to respect and obey.


He also still has his heart. Jon’s conversation with Tormund (Kristofer Hivju) about Ygritte (Rose Leslie) is moving, as is Jon’s subsequent burning of Ygritte north of the wall. Jon has to put aside romantic notions because of his vow so closing this chapter is a necessary step for him. Yet, seeing how he handles said closing tells us a lot about Jon, too, making him worthy of the admiration being cast his way.

Is Jon now in charge of the Night’s Watch? We don’t see the acting lord commander, last seen injured and being pulled away from the battle, this week. Whether the men have fallen in line behind Jon or not, Mance and Stannis are dealing with Jon as if he speaks for the group, and his behavior and presence support that role. Will Jon’s brothers take this as a sign to fall in line behind him, or will Jon find assuming the mantle of command a lot harder than it’s been for him so far?

Daenerys (Emilia Clarke), who usually seems a natural queen in this Game of Thrones, is having much trouble ruling a city. Her dragons are killing children, forcing her to lock up the two she can find in a dark dungeon. The former slaves want to go back to being slaves, their lives worse as freed men. She has cast out her top adviser. This leaves the poor girl crying and lost. This is not the powerful woman the past few seasons have ended with, triumphant in victory. Tasked with day-to-day management, Daenerys is coming up short, presumably an element to explore more in depth next year.

What about Bran (Isaac Hempstead Wright)? Will he be a leader, too? He fulfills his vision quest and finds the three-eyed crow, deep underground, beneath the giant Weirdwood tree. There is a looming sense of destiny here, and after seeing how Bran can warg into Hodor (Kristian Nairn) and use him in a fight, there’s also a sense of power behind Bran now. It’s uncertain what Bran will be doing at this strange place, but he certainly seems poised to be someone important, and is finally ready to assume that mantle.

In a scene that never happens in the Game of Thrones books, Brienne (Gwendoline Christie) finds Arya (Maisie Williams) and two swordswomen bond over their weapons. It’s a touching scene for the girls, so much alike, and one I’m glad they include here. Arya is given a glimpse that will reinforce her belief that she doesn’t have to adhere to traditional gender roles, and Brienne sees a kindred spirit that should make her feel less of a freak.

Of course, The Hound (Rory McCann) interferes. Seeing Lannister gold on Brienne’s hilt, he justly assumes, even if he’s wrong, that Brienne means Arya harm. Whether The Hound is a protector or not has always been up for debate, many believing he sticks with Arya just for the reward money. But “The Children” shows us something different, a side of The Hound that leans toward nobility. The Hound hates himself, as we’ve seen before. Perhaps he thinks that taking care of Arya will buy him a bit of redemption?

Arya repays this loyalty with dispassion. Seeing The Hound injured and slowly, painfully dying, she takes his money and walks away from him. She has good reason to, always remembering the monster he was. However, this is ignoring what he has done for her in the meantime. It means Arya is stone cold, which will serve her well on her own and in Braavos, which she is last seen sailing towards, but it doesn’t bode well for her heart. This Arya has become someone who will have trouble caring for anyone, and that is troubling, even if it makes her more likely to survive.

I do feel sorry for Brienne, coming so close to (half) her goal, who then eludes her after delivering some biting semi-truths about Brienne’s short-comings. This will be a major setback for the female knight, and she will definitely be wracked with guilt and regret over it. Brienne deserves better. She is true and strives to keep her promises, a good person. Arya just isn’t ready to trust anyone else, especially not someone connected to the Lannisters, and so Brienne must continue to search out Arya again, as well as her sister.

It’s impressive that Game of Thrones finds the time for so many compelling character stories in its final hour of the season. This is a show that is big on action, epic battles and tragic deaths, but it’s also very much about the people that populate its world. Without such rich personalities, I can’t imagine that the show would be half as successful and popular as it is, transcending its genre. “The Children” illustrates beautifully some of the best features of the show, and certainly leaves one excited for next season, this one passing by far too quickly.

It’s also worth mentioning, at least in passing, that this season has really departed from the books in a lot of ways, not just the scene mentioned above. A major character that many readers expected in the finale is totally absent, and a death occurs on screen this week that did not happen in the pages. While major arcs are continuing to follow the book, I doubt the TV series wants to add the many new characters that crop up at this point, with sidelines in different parts of the world, and so it seems like we do need to finally let the books go once and for all and just embrace the show, seeing them as two separate bodies of work.

Game of Thrones has been renewed for two more seasons and will return to HBO in 2015.

"The Watchers on the Wall" Play the GAME OF THRONES Solo

Article first published as TV Review: 'Game of Thrones' - 'The Watchers on the Wall' on Blogcritics.

HBO’s Game of Thrones mades an unprecedented move in last night’s penultimate episode of the season, “The Watchers on the Wall,” by setting the entire hour in and around Castle Black. With a sprawling cast and multitude of settings, its rare that one group gets a large chunk of a single episode, let alone the full installment. Yet by lingering during a very important time, it allows some great character development and an easier way to get lost in the world. It’s a bloody, moving episode, memorable even in a season that’s already had so many major moments.

At the start, an Alamo-esque situation presents itself. There are barely more than 100 men of the Night’s Watch at Castle Black as the enemy approaches from both sides. It may be true that there’s a giant Wall between the soldiers and Mance Rayder’s (Ciarán Hinds) 100,000 men, but fierce Ygritte (Rose Leslie), brave Tormund Giantsbane (Kristofer Hivju), and the brutal Thenns are on the south side, where the fort is lightly defended. They must be held off while keeping the giants and others who would break into the tunnel at bay.

Game of Thrones has departed more from the books in the past few weeks than in the last few years combined, but most of the differing choices make good sense. For instance, Tormund and his crew attack separately, before the vast army, in the novels. However, a coordination is good battle strategy, and it allows for a very big battle. Tormund and his ilk are the more immediate threat, and so most of the recognizable faces spar with them, rather than the larger army, but there will surely be more combat to come.

Those disappointed that we only get a few establishing shots of the huge fighting force and then a handful of close ups of a couple of giants should take comfort in the fact that this war is far from over. While the Night’s Watch defeats the Thenns, capturing Tormund, stopping a single giant in the tunnel and knocking a bunch of climbers off the Wall is hardly enough to send the army fleeing for good. The Wildlings are disorganized and break when the going gets tough, but their survival is on the line and they remain near by. “The Watchers on the Wall” is merely the first night of the fight, unless budgetary concerns prevent a truly epic showdown.

More important, though, are the personal stories in this episode. Sam (John Bradley) finds what it takes to be a man. He tells Pyp (Josef Altin) that he isn’t himself when killing a Walker, but in “The Watchers on the Wall,” Sam is fully cognizant of what he’s doing. He doesn’t hide away with Gilly (Hannah Murray) and her baby, as does the traitorous Janos Slynt (Dominic Carter), who is supposed to be a seasoned soldier. Sam doesn’t give up when Ygritte shoots Pyp and Pyp dies in Sam’s arms. Instead, he rises to the occasion, proving himself a worthy member of the sacred order.

It will be interesting to see if Sam stays in the Watch, though. He takes his vows seriously, but he also looks for a loophole in order to be with Gilly. Seeking love advice from Jon Snow (Kit Harrington) and Maester Aemon (Peter Vaughan) reveals Sam’s desires. And while Gilly claims Sam is abandoning her when he joins the fight, surely she will respect him for his bravery and commitment now that he has survived.

Jon has an even better-defined emotional journey. Taking command by default after Alliser Thorne (Owen Teale) is wounded and Slynt hides, Jon has to rally the troops. It’s telling how quickly the men around Jon fall in line to his orders, even if no one is sure Jon has the power to back them up. He’s a born leader and can make the hard decisions. Even his choice at the end, to go beyond the wall and deal with Mance one-on-one, is not an abandonment of his position, but rather, the difficult choice that must be made in desperate times.

Amidst all this, Jon does get one last encounter with the woman he loves, Ygritte, as she pulls her bow on him again. This time, she doesn’t shoot, and for a second, it looks like there could be a reconciliation, or at least a peaceful parting of ways, even though Ygritte has killed Jon’s friends. Then, one of those clever Game of Thrones twists reveals itself and the very boy whose life Ygritte spared a few weeks ago kills her, giving her a moving death scene in Jon’s arms, far more powerful than her demise in the books.

This actually sets up Jon well for the continuation of the story. He now doesn’t have any romantic ties, freeing him up to be the leader he must be. At this point (ignoring what I already know from reading the books), it’s not clear whether Jon will command the Night’s Watch or not. But it is certain he has a role to play in the direction of the group, having proven himself in battle, in front of the other men. Jon has a destiny to fulfill, and as much as I and most viewers like Ygritte, she stood in the way of that.

As regrettable as it is to lose a few familiar faces in “The Watchers on the Wall,” including Grenn (Mark Stanley), this is only a precursor for next week’s season finale, which will likely see a higher body count, and with more prominent characters. Part of the draw of the series is seeing who will die next, but couched in a compelling tale with high stakes and well-developed characters, Game of Thrones is much more than that, an excellent series newly defining a genre. “The Watchers on the Wall” may be a ‘very special episode,’ but it furthers the groundwork already established in new and interesting ways, keeping the spirit and tone of the show and hammering it home more than ever. Great job, all involved.

Game of Thrones concludes its fourth season next Sunday at 9 p.m. ET on HBO.

Unpaused Game of Thrones

Article first published as GAME OF THRONES Review Season 1 Episode 1 Valar Dohaeris on Seat42F.

Grade: 96%

There are many fans of HBO’s GAME OF THRONES out there, eagerly awaiting the start of the series’ third season this weekend. Having viewed the premiere, “Valar Dohaeris, I can report that it is back in the fine form we are accustomed to seeing, and those holding their breaths can finally let them out. Without spoiling anything important, here are my thoughts on the latest installment.

“Valar Dohaeris” is very accessible. I really wanted to refresh my memory with a reviewing of season two’s finale, remembering how dense season one was, and having re-watched the entire first season to prepare for the second, but didn’t have time. However, this episode, without quite recapping, doesn’t take long to get you back up to speed. There are enough references and callbacks to last year’s finale to connect the threads, yet not so much that they slow down the pacing of the return. This is much appreciated.

There isn’t a sense of urgency in this week’s episode. It takes its time, showing us one or two characters at a time, and very few get a second glimpse. In this way, we get to check in, be reminded of the trajectories, delight in a few extended dialogue exchanges, and don’t have to struggle to keep up. There’s a whole season ahead of us, and “Valar Dohaeris” doesn’t push anything too big forward, letting fans get back into the swing of things before trying to drop a huge shocker.

Among those mentioned exchanges, one of the best is between Tyrion (Peter Dinklage) and Tywin (Charles Dance). The relationship between these two is definitely one of my favorite parts of GAME OF THRONES. We’re familiar with their past beef, and Tywin’s ongoing disappointment in his halfling son. The scene between them this week is not exactly a rehash of their previous conflict, but it definitely lets us know where they stand now, and how things may or may not move forward between them.

Dinklage and Dance slay this bit. Dinklage’s awards for the role are well deserved, and I would argue that he comes across as the most intelligent and compassionate character on the series. This shines through here, in stark contrast to Dance’s icy father, likely a deliberate choice on Dance’s part that serves the chemistry well. I do think, at some point, things will come to a head between the two. But it’s interesting to see Dinklage mix a need to win his father’s approval with a strong spirit that is willing to stand up to Dad, played with masterful nuance.

Tyrion also gets a tense scene with Cersei (Lena Headey). The siblings have a complicated relationship, to say the least, and the events of last year’s finale have left them on shaky ground with one another. “Valar Dohaeris” addresses this, and reminds me that Headey may be one of the more underrated performers on GAME OF THRONES.

The MVP of this episode, for once, may not be Dinklage, though, instead going to Natalie Dormer. Margaery Tyrell has little to do in the second season, but that will definitely not be the case in the near future. She immediately establishes herself as a very familiar political sort, and her public persona is deliciously crafted. I cannot wait for a true power struggle between her and Cersei, as Joffrey (Jack Gleeson) now has two women who seek to manipulate him for their own purposes and gains.

I also like the introduction of Mance Rayder (Ciaran Hinds, Political Animals, Munich), the King Behind the Wall. We don’t know a lot about him yet, but his early interaction with Jon Snow (Kit Harington) is layered and intriguing, setting up yet another ruler in a land already crowded with them. The casting choice here is inspired.

Among the other treats of the episode, we see more of the aftermath of the loss in Stannis’s (Stephen Dillane) camp, Robb’s (Richard Madden) anger at his mother, Catelyn (Michelle Fairley), is unabated, Daenerys (Emilia Clarke) has at least three tantalizing bits, Ghost saves a life, and Littlefinger (Aidan Gillen) makes an uncharacteristic generous offer (or does he?).

Sadly, the slower pace and lingering conversations means that not every fan favorite character shows up in “Valar Dohaeris.” Several of the most central players are completely absent, which leaves one very much wanting more at the end of the hour. However, this is understandable with such a large cast, not unprecedented in past entries, and it’s not like any minute within the episode is wasted, so it’s more a testament to how beloved these people have become, and how much we want to see them, rather than a complaint about the storytelling.

The effects are also quite excellent this week. From a creepy little girl who is more than she appears, to the fast-growing dragons, there are quite a few CGI elements present, all seamlessly incorporated into the fabric of the show. Clearly, much care and expense has gone into making these feel like everything else in this world, and they are remarkable for how well they blend with the actors and scenery, rather than stick out like a sore thumb.

Overall, I am left incredibly satisfied with the premiere, and stoked to watch more episodes. GAME OF THRONES’ third season airs Sundays at 9 p.m. ET on HBO beginning this week.

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.