THE STRAIN Season 2 Preview

Article originally published as TV Preview: 'The Strain' - Season 2 on Blogcritics.

FX’s The Strain intrigued and confused audiences last summer. This weekend, it returns for a second round on FX and hopefully it will continue to do more of the former and less of the latter. The first episode back, “BK, N.Y.,” isn’t the best hour of television I’ve seen lately, but for fans of the brand of horror that the series presents, it will likely be pretty satisfying.

Events in “BK, N.Y.” pick up just after the end of season one. Abraham (David Bradley) goes looking for The Master (Robin Atkin Downes), while Vasiliy (Kevin Durand) reinforces their defenses, and Ephraim (Corey Stoll) lets alcohol interfere with choosing the right path forward. There’s action and movement on a number of subplots, a frightening encounter with the dark minions, the unexpected return of a recurring character, and a longer look at the scarred face, hooded one.

My problem with this hour, though, is that it does seem to be tossing a lot of ingredients in and they aren’t all necessary. “BK, N.Y.” follows a big encounter, so Abraham’s plot is solid, building upon past progress. Vasiliy’s makes a sort of sense if they’re digging in for the long haul, but do any of them think that’s the best course of action? Ephraim is pretty much off the rails, reminding us of his job, which seems silly to bring back up now, and without a solid hero’s thrust until the very end of the hour. It makes the whole thing feel a little meandering, rather than hitting the ground running after last season’s build up. 

The Strain is stalled further by an extended, ten-minute prologue before we even get back to the familiar. We see a young Abraham being told a story by an old woman, so there’s flashback within flashback. The tale is interesting and does inform on current events, but it’s quite long and there doesn’t seem to be an immediate need for it to be, confusing the situation even more. Perhaps it would have been better to tease this out over multiple weeks, or at least present it as fact instead of legend, telling the audience whether or not they can really trust this version of events, the way it is told calling into question its legitimacy, even as it matches up with the main plot.

Another thing The Strain has to deal with in its second season, considering there’s no time jump, and this is an issue many series have to tackle at one time or another, is the character of Zach Goodweather. Being a kid, viewers would notice a huge growth spurt over the mere hours between seasons. Whether because of this or for another reason, young actor Ben Hyland has been let go and replaced with Max Charles (The Neighbors). Max doesn’t really look that much like Ben unless you squint real hard, so perhaps the series is hoping the different look will make us forget about the quick aging. It does not.

Overall, I do enjoy The Strain. It gets one’s adrenaline pumping, and while some of the makeup is hokey, the general look and feel of the show is pretty cool. The acting isn’t bad and the story doesn’t seem like it’s been done a million times before, as many other shows do. However, there are some very, very good programs on right now (Hannibal, Humans, Mr. Robot), and by comparison, The Strain pales. As a genre series catering to a specific audience, I think it works well. But in the larger television landscape, it’s likely to fail to appeal to the masses and really take off like The Walking Dead or Game of Thrones has, lacking something vital and hard to quantify. I’ll probably keep watching it, but it won’t make my must-see-as-soon-as-it-airs list.

The Strain returns Sunday at 10 p.m. ET on FX.

HOMELAND Tries to Be "Queen" Again

Article first published as TV Review: 'Homeland' Season Four Premiere on Blogcritics.

Showtime’s Homeland has returned! The drama, which premiered to all kinds of critical love and adoration a few years back, has struggled to maintain both the attention and quality as time has gone on. To combat this malady (I assume), at the close of season three last year, the show basically hit the reset button. It killed one of its two central leads, Nicholas Brody (Damian Lewis), a character that was only supposed to stick around for one season, and dropped his family and friends from the cast, too. Now, fans finally get the chance to see what the new Homeland looks like in the two-part season opener, “The Drone Queen” and “Trylon and Perisphere,” premiering this week.

To be honest, the new Homeland looks much the same as the old, except with fresh stories and players, which reinvigorates it a bit. Carrie Mathison (Claire Danes) is still the mess at the center, ticking off authority while pursuing a righteous cause. Saul Berenson (Mandy Pantinkin) offers Carrie some sound advice, but has trouble keeping his life on track, which includes not giving his wife, Mira (Sarita Choudhury), enough consideration. There are terrorists and political issues and unconsidered actions and bombings and death. It’s pretty solid.

As “The Drone Queen” opens, Carrie is now a station chief in Pakistan, an interesting setting relevant to the larger story. This is only temporary, though, as it must be, considering that not only are most of the other characters back in the United States, but so is Brody’s baby that Carrie gave birth to, whom she’s foisted off on her sister, Maggie (Amy Hargreaves). We know Carrie should be stepping up and taking responsibility for the baby, but she is soon distracted by a conspiracy behind the death of a colleague, and as viewers know, Carrie will pursue leads on this issue doggedly, even while neglecting everything else in her life, infant included.

Saul has his own issues to deal with, though he takes the time to talk briefly to Carrie when they bump into one another. The pair had not kept in contact in the interim, an unfortunate turn of events. Saul isn’t taking well to the private sector and seems to chomp at the bit when working with the government again, even though not officially working for them. The problem is, going back to the feds would mean moving out of New York, and Saul promises Mira he will give the city and his new position a chance. Can he keep his promise, or is this new life just at odds with who Saul is?

Equally compelling, if not more so, is new character Ayaan Ibrahim (Suraj Sharma, who played the title character in Life of Pi), a young Middle Eastern man who seems poised to join Carrie as this season’s focus, though not listed on the show’s website as a main character. We meet Ayaan immediately after his family and friends are killed in a drone strike. While he agrees to release a video of the attack, he doesn’t initially demand blood for blood, being a reasoned individual, and many of his peers disapprove of this stance.

Ayaan is important because he not only gives a face to the other side of this story, but also is a very complex character. Not everyone in the Middle East hates America, but Homeland drives home the danger of drone strikes, a current hot-button political issue, and Ayaan’s story makes it personal. We see how things can go wrong, and the effect this has on people. We see, too, that not everyone is blinded by emotion, but it’s a struggle to go against the grain, especially under these circumstances. Ayaan is a chance to explore the debate from a new perspective, and I welcome it, certainly the strongest element of the season four opener.

Interestingly, Quinn’s (Rupert Friend) arc this season sort of parallels Ayaan’s, from an American position. He, too, is bothered by the drone strikes and the fallout from them, painting a stark contrast to Carrie’s coldness. I’m not sure what change Quinn may be able to affect, especially with the new CIA boss, Senator Andrew Lockhart (Tracy Letts, yes the same Letts who won a Tony and a Pulitzer for writing the play August: Osage County, which he later adapted into a movie), wanting to sweep any mistakes under the rug.

The title “The Drone Queen” is obvious, but what does the second hour’s moniker, “Trylon and Perisphere,” mean? The name refers to two buildings at the center of the 1939 New York World’s Fair, which inspired hope and thoughts of progress, but are no longer standing. Giving meaning to this title requires a bit of contortion, and I’m not exactly sure what the series has in mind here. If you think you know, please feel free to explain in the comments below.

Some random thoughts on guest characters in this premiere: Corey Stoll’s (House of Cards, The Strain) role is way too small for such a great actor, and it’s regrettable it won’t grow any larger, though he is a busy man. James Rebhorn, who sadly died last year, has not been written off the show, his character, Carrie’s father, is merely mentioned to be out of the room during a scene. Is killing his character off being saved for an emotional impact at a critical juncture, or will the show continue to skirt around it?

I do think season four of Homeland has the potential to be the best since the show’s first. What that will depend on is how long Ayaan is kept interesting and evolving and how unsympathetic Carrie is allowed to grow. It will also matter if the less-important subplots drag in the middle or steal too much focus, as sometimes happens on the series. The jury is out,  but there are promising signs.

Homeland airs Sundays at 9 p.m. ET on Showtime.

THE STRAIN Is Contagious

Article originally published as THE STRAIN Review on Seat42F.

FX has done it again with THE STRAIN. What I mean by that is they’ve got yet another well-developed series full of fascinating characters, engaging stories, and an original premise. THE STRAIN does feel like many vampire movies of a certain vein (think: Blade), but there is absolutely nothing like it currently on TV, meaning there is no pattern for it to follow as it unfurls. This makes for a rich, unpredictable mix of ingredients which already feel special before they’re fully cooked.

THE STRAIN is based on a trilogy of novels co-written by Guillermo del Toro (Pan’s Labyrinth, Hellboy), who is working on the show, too, having directed the first episode and writing screenplays for it. His style, creepy and dark, is prevalent throughout the pilot, “Night Zero,” which takes place in a single night. There is definitely a clear voice behind the narrative, one infused with talent and flair, and that comes through right away. If this quality can be maintained, the series should easily find its audience.

THE STRAIN begins on a plane. Something is lurking in the cargo hold that should not be, and by the time the machine touches down on the tarmac, all is silent on board. The CDC, led by Dr. Ephraim Goodweather (Corey Stoll, House of Cards), among other agencies, swarm to investigate. What they find is a horrific situation that baffles their greatest minds and has no clear cause or prevention. Will they be able to start to unravel the mysteries before the situation spirals out of hand? Hard to tell, since the plot rockets away in the first hour, already moving quite rapidly.

They may get some help from a seasoned veteran of the ancient battle, Abraham Setrakian (David Bradley, Harry Potter, Broadchurch). Abraham appears to be a Holocaust survivor who has known his war isn’t over, but has been satisfied with the long cease-fire. He is compelled to come out of retirement when he senses the game is once more afoot, but since he is a grizzled old man with a thick accent, it might be hard for him to get the attention of anyone that cares.

Ephraim and Abraham seem to be our two primary heroes, and they could not be any more different, making it unlikely they’ll become fast partners, but that’s OK. This isn’t your typical two-people-stop-a-baddie formula. Instead, it appears a massive war is being teed up in the heart of New York City, a very populous place, making Abraham and Ephraim but two players in a larger plot, the focus in a vast scope. They may not even spend all that much time together, though both will probably be needed in whatever solution emerges in the end.

Both men are introduced in very telling scenes, showing different sides of their personas. We first see Ephraim rushing, perpetually late, to a custody meeting with his wife, Kelly (Natalie Brown, Bitten), whom he doesn’t want to let go, but whom he’s already lost. Abraham, meanwhile, takes down two thugs (one of whom is played by Veronica Mars’ Francis Capra, a recurring player here) who seek to rob him. Both of these show the men in ways we probably won’t always see them throughout the series, but tell us something inherent to their personalities, so is a cool way to begin with them.

The villains are complex, too, though less fleshed out from the start. Eldritch Palmer (Jonathan Hyde, Titanic) is the wealthy benefactor who lures the danger towards the Big Apple. He is assisted by the cold Thomas Eichhorst (Richard Sammel, Inglorious Basterds) and, strangely enough, a Latino street gang. They have a plan and have had time to carefully enact it, meaning the good guys are starting a few steps behind, so it may just be too late to stop Palmer.

With a terrific cast that also includes Sean Astin (The Lord of the Rings), Mia Maestro (Alias), Kevin Durand (Lost), Ben Hyland (House of Cards), Jack Kesy (Morgan), and Miguel Gomez, it’s one of the most intriguing pilots I’ve seen this summer. The mythology is obviously carefully mapped out and it is genuinely scary, with major characters and countless extras sure to die in the coming weeks in this incredibly dangerous world. Watching THE STRAIN feels like viewing a grand film, rather than a TV show, with great visual effects and a large sense of purpose and drive. The story is finite and it’s going somewhere. I’m excited to see what that destination is.

THE STRAIN airs Sundays at 10 p.m. ET on FX beginning July 13^th.

THE NORMAL HEART Beats Strong

Article first published as THE NORMAL HEART Review on Seat42F.

HBO’s THE NORMAL HEART is not only a great TV movie, one of the best the pay-cable network has made in years, and that’s a high bar, it’s also an important story that everyone should know about. This moving, frustrating, beautiful film tells the based-on-truth tale of gay rights activists in the 1980s fighting an epidemic that the government doesn’t want to acknowledge or investigate. It’s a dark chapter in our history, and only by remembering it can we try to prevent such a thing from happening again.

The picture of the gay community in New York City at the time is an interesting one, certainly something I never learned about growing up, and sex means something different to them than to most people. They fought hard for the right to love whoever they want, even if they don’t have legal protections that straight people do, and they see giving up this right as taking a step backward. Even when it becomes likely the virus is spread through sexual contact, many wonder if that’s a lie spread to tear them down. These are people who won a war but still justifiably feel persecuted, and can’t bear the thought that they might be pushed back into the past.

Because of this, they work against their own interests. As Dr. Emma Brookner (Julia Roberts, August: Osage County) pleads with them to stop screwing, many use the meetings to raise awareness as hookup spots. It’s a very slow crawl to even convince those affected that they must do something, let alone the powers in charge. If the gays won’t help themselves, what chance do they have of anyone else helping them?

The main character is Ned Weeks (Mark Ruffalo, The Avengers), an asshole writer who can’t keep his big mouth shut. He has earned the ire of many of his fellow homosexuals by complaining about how their rampant sexual activity prevents them from finding love, the one thing he desperately wants. But he also has friends, and once they begin falling ill to the mysterious “gay cancer,” he is convinced something must be done and begins a crusade to do so.

Along the way, Ned meets and falls in love with a New York Times reporter named Felix Turner (Matt Bomer, White Collar). Felix is supportive, but not part of the campaign, giving Ned a much-needed life apart from his work. As Ned’s colleagues, including good-looking, amiable Bruce Niles (Taylor Kitsch, Friday Night Lights), abrasive and inquisitive Tommy Boatwright (Jim Parsons, The Big Bang Theory, reprising his role from the stage production), and government employee who doesn’t want to make waves Mickey Marcus (Joe Mantello, who played Ned on Broadway), grow exhausted with Ned’s public rants, Felix is the only chance Ned has to calm down.

Which is why it probably won’t surprise you when Felix catches the disease.

THE NORMAL HEART, based on the Tony-winning play by Larry Kramer and directed by American Horror Story’s Ryan Murphy, is a very personal telling of the crisis. Through Ned, we see loved ones hurt and dying, feel the fear that overtakes him, and the desperation that he has to stop the virus. We experience his pain when his brother, Ben (Alfred Molina, Spider-Man 2), tries to help, but just can’t accept Ned as his equal. We connect with the horror and compassion, loving Ned even through his abrasiveness. Anyone not emotionally affected lacks a soul.

The sprawling cast, which also includes Jonathan Groff (Looking), Denis O’Hare (True Blood), Corey Stoll (House of Cards), Stephen Spinella (Milk), BD Wong (Law & Order: SVU), Finn Wittrock (Masters of Sex), Adam B. Shapiro, Danielle Ferland, and more, shows us many different individuals, and how each copes in a different way with the events. Some have small roles, but Murphy deftly lets the actors shine through, each conveying a lot in a limited amount of time, showing us many varying individuals. Not everyone agrees, but the variety of opinions and personalities are why THE NORMAL HEART feels so authentic.

I do think the opening of THE NORMAL HEART may hurt the film’s impact, immediately turning off conservatives by the open displays of gay love and promiscuity. These are the people who most need to watch, to begin to see the humanity and suffering they’ve ignored or ignorantly been disgusted by. But it also succeeds in dropping us into a world and mood that is merely the starting point of the story, giving the script a foundation to start from before it turns dark. Stick with the movie for ten minutes, and you’ll start to have your eyes opened.

THE NORMAL HEART is a moving masterpiece, a triumph for HBO and all involved, and one that will not soon be forgotten by any who witness it. 

If you missed last night’s premiere, please make sure to catch a rerun, as the network should be playing it often for some time to come.

House of Cards - "Chapter 7"

Article first posted as House of Cards - "Chapter 7" on TheTVKing.

"Chapter 7" marks the halfway point of the first season for Netflix's House of Cards. All thirteen episodes dropped on February 1st, and I thought now would be a good time to check in, before finishing out the season. Expect my next review of the series to post next weekend, covering the season finale.

By "Chapter 7," one of Frank's (Kevin Spacey) biggest missions in the early episodes has been completed. President Walker (Michael Gill) signs Frank's education bill into law. Frank stands behind him, proud as can be, knowing that he has earned himself more of the power that he craves so much, and the trust and respect of the POTUS. Considering that a few short episodes ago Walker stole away Frank's promised Secretary of State position, it's quite a feat.

Not that Frank's intentions are noble; they never are. The education bill is just one more stepping stone on the way to amassing the influence that he really wants, which will likely end with the highest office in the land. Walker may be president now, but he won't be forever, and he's far from the only player in the game. Frank holds many of the cards, and he is biding his time, waiting for the ideal time to make a move. For now, having Walker trust and rely on him is enough. But that won't make up for the betrayal that Frank feels.

Frank is such a complex character, using people as pawns in his game. As he's said, he doesn't crave money, he craves power because it means more and goes further. Getting to stand behind the president for the photo ops helps him achieve that, and it goes a long way towards furthering his other goals.

Of course, one doesn't reach such lofty heights without acquiring a few enemies. Walker's chief-of-staff, Vasquez (Sakina Jaffrey) has no love lost for Frank, and the better he looks, the more it discredits her in front of the commander she serves so loyally. She won't allow him to keep running an end game around her, and a showdown between Frank and Vasquez will surely rear its head soon enough.

Of more immediate concern could be Vice President Matthews (Dan Ziskie, Treme). They try to push Matthews aside at the bill signing, he doesn't get a cherished pen (Frank just gives his away, a trinket, rather than something meaningful), and he isn't consulted about the Democratic replacement for Governor of Pennsylvania, his old office. This makes him feel useless, which is a dangerous thing.

Most people don't consider the Vice President's position all that important. If something happens to the president, then the office matters. Other than that, Vice Presidents often don't get a lot to do. Matthews clearly isn't OK with that, and at least wants the tokens of the job, such as choice photo positioning and ceremonial writing implements. If he isn't paid off with these things, he could stir up trouble.

It's not immediately apparent if Matthews blames Frank for any of any of his slights. Frank plays nice and offers some kind words. This may enough to satisfy Matthews, should others do the same. Or it may make Matthews feel like a fool when he realizes that he has even less say than he thinks he has, played like a fiddle by a master musician, which, make no mistake about it, Frank is.

Frank's choice for the governor's office is Peter Russo (Corey Stoll, Law & Order: LA), an inexperienced Congressmen who has a weakness for drugs and prostitutes. On paper, that may seem like a recipe for disaster, but to Frank, Russo represents an opportunity. After all, if Frank can turn Russo's track around and build him into a great leader, Russo will not only be in Frank's debt, but may even be a puppet Frank can play with at his will. That is, as long as Frank doesn't make him too great.

So far, Russo has fallen right into Frank's trap. Frank manipulates him into getting sober and doing the campaign Frank's way, the whole time letting Russo think things are his idea, and that he has some control over his own race. Instead, it's Frank behind the scenes, pulling the strings, that is making Russo something, and Frank can just as easily undo all this hard work. Should Russo get too big for his britches, Frank can take him down. Frank is just betting that he won't.

The wild card here is Christina Gallagher (Kristen Connolly, The Cabin in the Woods), Russo's former assistant and lover, whom Frank brings back into the circle. The idea could be that Christina will keep Russo in line, convincing him not to call on hookers anymore, and provide him the emotional support that he needs to find his confidence and win. It works in the short term, but given Russo's appetites, there is no telling if she will be enough in the long-term. She wasn't before Frank came along, so it is a shaky gamble.

I am curious as to whether  Doug (Michael Kelly, The Adjustment Bureau) is actually a recovering alcoholic, or if he attends meetings just to keep an eye on Russo. Doug seems to speaking directly to Russo at their most recent gathering, and reports back to Frank on what transpires at the "anonymous" event. Frank trusts Doug explicitly. Is that because Frank rebuilt Doug the way he is doing with Russo, or because Doug is willing to do anything, even act like he has a substance abuse problem, or hide a prostitute, for that matter, to keep their situation status quo.

I love that House of Cards doesn't lay all this out explicitly. It makes viewers think for themselves, and allows guesses and leaps of logic. Even when Frank mugs to the camera, breaking the fourth wall and revealing something of his thoughts, he is still putting on a show, only telling what he wants to tell. He's trying to manipulate us, the audience, as well as the characters that surround him. It makes for an intriguing drama.

As Frank muses about Zoe (Kate Mara), the young reporter he is sleeping with, people only show others what they want them to see. Everyone has a persona. Zoe wants Frank to think that she only wants sex and information from him, and that she's a game player like he is. She is, to an extent. But despite her protestations that she get some meaningful benefit from him, such as a big scoop, she also seems smitten, and her romantic feelings could ruin things for both of them.

I worry about Zoe going forward. Frank thinks he has her under control, and that's what he assures his wife, Claire (Robin Wright). And yet, Zoe isn't always predictable, and she thinks a bit too much for herself to just be a stooge. Her heart guides her sometimes, leading her to decisions she probably shouldn't make, but that's not all she is. Should she begin feeling cast aside by Frank, she could seek revenge, and she has the smarts and tenacity that she could prove a threat in the way others have not.

Frank has kept her, and most everyone else in line, for a long time. But he has a lot of irons in the fire, and there are bound to be slips.

I'd like to take a moment to touch on Frank and Claire's marriage, even though it really isn't featured in "Chapter 7." It's one of the most surprising unions presented on television, an open arrangement, with both allowed to take lovers that are discussed freely with their spouse. They use each other for political gain, and are a powerful team in D.C. But there is also real affection there, with both putting the other first when they need to. It's an odd arrangement, certainly unconventional, but it seems like it's been working for them for a long time. Even when cracks show, it's likely that it will keep working, since they have honest communication, at least, what passes for such for people like them.

In Zoe's arena, the unstable element is Janine (Constance Zimmer). I think that Zoe is sincere about wanting to work with Janine again, and not just because it's a boon to her online employer. But I also think Frank asks Zoe to do the profile on Russo as a favor, and Zoe passing it to Janine isn't what Frank had in mind. Janine is too seasoned to buy Russo's falsehoods, and if she digs deeper, she could cause a few headaches. I see things potentially becoming awkward if Frank comes down hard on Zoe to kill the profile, and Zoe has to ruin what she's rebuilt with Janine, or worse yet, their mutual boss.

There are even more characters and plot arcs I could go into, but this article has gotten long enough. House of Cards is a very intricate web of a political drama, with amazing acting and brilliant writing. Each installment only gets better as we're drawn further into Frank's world. In his position, he has to keep a lot of balls in the air, and even though we only see a portion of them it's a hell of a spectacle to watch and keep track of. This should run for ten seasons, the creative team and cast willing.

House of Cards season one is available in its entirety to Netflix streaming subscribers.

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.