LOVECRAFT COUNTRY a Fantastical (and Scary) Place

Article first published as TV Review: LOVECRAFT COUNTRY on Seat42F.

HBO premiered LOVECRAFT COUNTRY this week. Based on the novel of the same name by Matt Ruff, it has been adapted to television by Misha Green (Underground) and produced by the likes of Jordan Peele and J. J. Abrams. The story follows a man named Atticus Freeman, his uncle George, and Atticus’ friend Letitita as they flee and fight murderous bigots on their way to find Atticus’ missing father. It’s a fantasy-horror-sci-fi adventure that tackles race head-on, and is set in 1954, when Jim Crowe ran rampant.

This show is excellent, and I mean that on every level. To start with, the style and production of LOVECRAFT COUNTRY look fantastic. It’s a grounded period piece, that also has fantasy elements in the style of author H.P. Lovecraft (obviously). Yet, these are blended in such a way that, even what shouldn’t be able to occur, feels like it fits into this world. It’s also a well-conceived universe, aided by actual history, that has layers beneath the surface and a lot going on.

For instance, one of the leads in LOVECRAFT COUNTRY, Uncle George Freeman (Courtney B. Vance, American Crime Story), is in a loving marriage with Hippolyta (Aunjanue Ellis, Quantico), living in a small town while pursuing travel and astronomy, respectively. George’s travel guides specifically tell African Americans where it is safe to stop on their troubles. Which means it makes perfect sense when George accompanies his nephew, Atticus (Jonathan Majors, When We Rise), on Atticus’ quest to find his father, given his unusual employment and the wanderlust he shares with his wife.

In contrast to this perfect-seeming family, Atticus’ own immediate clan is pretty messy. Atticus doesn’t have an easy relationship with his father, and there’s mystery surrounding Atticus’ mother. There is also tension between Atticus and George, so even within the happy abode, there is drama. The third lead, Leti Lewis (Jurnee Smollett-Bell, True Blood, Friday Night Nights), doesn’t get along well with her siblings (we see two in the pilot), so there are lots of juicy personal interactions to pick apart.

Which means when the danger hits in LOVECRAFT COUNTRY, there are already stakes. We care about Atticus, George, and Leti very quickly, and it would be a major blow to the story if any one of them didn’t make it. Which seems like a distinct possibility, given the monsters and creatures they face.

The monsters being the white people who don’t want the trio, or anyone that looks like them, around. By the time the multi-eyed animal forest dwellers attack, horror has already taken place, from a chase down a road, to guns in the woods. There is a very real feeling of danger, much in the style of Peele’s Get Out, as our protagonists stare into the empty eyes of people who want them dead for no reason more than the color of their skin. Sure, some will complain about the one-dimensionality of these antagonists. But I think we’ll get a little more complexity as things go along, and given the situations presented, it makes sense to simplify it in the way that it is.

All three of the lead actors are performing the hell out of the piece, and several of the supporting players make impressions, too, especially Ellis and Wunmi Mosaku (Fantastic Beasts and Where to Find Them) as Ruby Baptiste, Leti’s darker skinned half-sister with a killer singing voice and a strong will.

My only complaint about the first episode is I feel I don’t fully understand the scope of the story LOVERCRAFT COUNTRY seeks to tell. I really would have felt better with a second episode before I wrote my review. I can tell the show is great, I’m just not entirely sure what it is, as it seems like there’s more than presented in the first hour.

THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY

Article originally published as THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY Review on Seat42F.

American Horror Story is FX’s most popular program, so it’s no surprise that the network has doubled down on the creative team, ordering a second series by them, AMERICAN CRIME STORY. The official title of the first season, premiering tomorrow, is THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY, which is a bit longer than it probably should be. That’s not the only thing that’s different from the Horror franchise, though, which typically only allows one or two words beside its core moniker.

The biggest change is the level of quality present. While American Horror Story is extremely artistic and surreal, with the style and tone of the piece being as much of a draw as the story, AMERICAN CRIME STORY is much more grounded in reality, to its detriment. Though, Murphy and company managed to maintain an excellent product when delivering The Normal Heart for HBO, so pulling the new series away from the fantasy realm can’t fully excuse the jolting adjustment.

AMERICAN CRIME STORY, rather than being in the Murphy vein, is very much a true crime story. This is in vogue right now, with Serial being a hugely successful podcast and Making a Murderer getting lots of attention over at Netflix. The network’s own Fargo qualifies as one of these, too, though is more hyper-realistic, so doesn’t have the same limitations as this series, which has the added challenge of telling a story practically everyone is at least a little familiar with.

The crux of this series will be in showing the human side of the tale, getting into the emotional state of those involved and making a compelling character study, which is where it is best. There are a number of intriguing personalities involved in this case. It takes about a full hour of THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY for the audience to get used to this new format, and for the story to get to that all-important element. This means, perhaps coincidentally, perhaps not, that the series begins slow, then picks up quickly thereafter.

Hour two is what hooks me. Featuring remarkable performances by both Cuba Gooding Jr. (Jerry Maguire) as O.J. Simpson and David Schwimmer (Friends) as Robert Kadashian, this is where THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY figures out what it needs to be. Sure, there’s the spectacle of the case, and that does come through. But taking us behind the spectacle, to the parts at-home watchers weren’t privy to the first time around, it is where things really soar.

There is no shortage of performers poised to follow up those brilliant moments of the second installment, giving me hope that the rest of the season will be just as good. From Sarah Paulson (American Horror Story) as Marcia Clark, to Bruce Greenwood (Star Trek) as Gil Garcetti, to Christopher Darden (Army Wives) as Sterling K. Brown, to Christian Clemenson (Boston Legal) as Bill Hodgman, and, of course, Courtney B. Vance (Law & Order: Criminal Intent) as Johnnie Cochran, the casting is terrific. And I haven’t even seen the great Nathan Lane (The Producers), credited as a main player, yet! Plus, there are a host of terrific guest stars lining up, a few of which already appear early on.

The one possible weak link is John Travolta (Grease, Hairspray), who is playing Robert Shapiro. I say possible because, quickly reviewing some clips of the actual Shaprio, I’m not sure Travolta’s choices are all that far off from who he’s supposed to be. And yet, there’s something so plastic about his Shapiro that I’m not convinced he’s doing his best. Travolta has oodles of talent, but it’s been awhile since he’s really shone. It will be interesting to see if he rises to the level of his co-stars, or continues is professional descent.

The second thing, besides character, that AMERICAN CRIME STORY does well is to tell the story in context. No, I’m not talking about how this trial gave birth to the Kadashian infestation in the public spotlight, though that certainly is a regrettable consequence. Instead, I’m speaking of race relations in Los Angeles at the time, which plays a very big role in what motivates a number of character decisions. Some of the early mistakes made by the prosecution and law enforcement seem to be related to combating negative images brought about after the Rodney King riots, making context very relevant.

So, even if Travolta never really steps up, there verdict is likely to be positive on THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY. There is so much going right here that it can likely overcome a few minor missteps with ease. Just give it an hour to get its footing first.

THE PEOPLE V. O.J. SIMPSON: AMERICAN CRIME STORY premieres Tuesday at 10 p.m. on FX.

Welcome to GRACELAND

Article first published as GRACELAND Review on Seat42F.

Grade: 94%

In keeping with the trend begun by Suits and Political Animals, USA’s latest drama, GRACELAND, features fully-fleshed out characters in complex, compelling situations. Created by White Collar brain Jeff Eastin, and based on a true story, this show follows FBI, DEA, and Customs agents living together in a government-seized beach house.

The setting is very pretty. The house is impressive, with great views, and letting the characters spend time in the sand and waves is fun for the viewer, too. It’s a good time based solely on this, even if the series didn’t have much else going for it. But it has plenty more.

There’s a dark edge to this location, knowing that it was once the site of some bad dealings, and this tone lives on today, underneath the surface of the friendly banter. While the housemates seem to get along well enough, there are some secrets that could unravel the whole thing. Perhaps keeping the name GRACELAND, which came about because of the previous owner’s Elvis obsession, is an intentional, constant reminder that everything is not as peaceful as it seems.

The lead is Mike Warren (Aaron Tveit, Gossip Girl), a recent graduate from Quantico who requested an assignment in D.C., but was ordered to GRACELAND instead. The reason for this is not immediately obvious, but is revealed by the end of the “Pilot,” and should prove a driving force of the freshman year. Whatever ulterior motives his bosses might have, though, it takes Mike no time at all to prove he can hold his own against the veterans that he is now living among.

Mike’s roommates include: Paul Briggs (Daniel Sunjata, Rescue Me, Grey’s Anatomy), the leader of the dwelling and grizzled FBI veteran, who is highly intelligent like Mike, but for some unknown reason has been skewing outside the lines of late; Johnny (Manny Montana, East L.A.), the class clown and friend to everyone, who puts Mike through some affectionate hazing; Charlie (Vanessa Ferlito, CSI: NY), who has been undercover as a junkie, and is good with the makeup; and Dale (Brandon Jay McLaren, Falling Skies, The Killing), the territorial customs agent.

This cast makes for quite a strong ensemble. Dale isn’t really a part of the group, since he is the lone person in the list that isn’t with the F.B.I., but the at-home scenes are as entertaining as the crime fighting, providing a light-hearted comic relief in between activities, much as a real home does, and he is invaluable in that section. GRACELAND is where the characters can mostly relax, and it’s refreshing for us and them to take a break from being heroes from time to time.

In the “Pilot,” the plot involves Donnie (Clayne Crawford, Rectify), a DEA agent who makes a mistake and blows his cover, and his partner, Lauren (Scottie Thompson, NCIS). Mike takes Donnie’s room, and Laura isn’t happy about it. But then Lauren’s quest for revenge against the bad guys that shot Donnie ends up providing the fodder for the FBI’s mission, tying the two organizations together.

It’s a shame that Donnie and Lauren aren’t sticking around. Unlike Dale, they are central to this opening story, and provide an example of how the different agencies work together in GRACELAND. They have good chemistry with the others, and it would be funny to see Mike have to find someplace else to sleep if Donnie reclaims his room.

Instead, they will be replaced by DEA operative Paige (Serinda Swan, Breakout Kings), whom we have not yet been introduced to, and so it’s hard to know what she’ll bring to the dynamic. Swan also replaced a lead from the “Pilot” in her previous serious engagement, and so seems to be carving out her niche in the genre.

Also of note are Gerry Silvo (Jay Karnes, The Shield), the FBI agent in charge on the ground, though he doesn’t live in the house, and Sam Campbell (Courtney B. Vance, Law & Order: Criminal Intent), Mike’s boss from the East. These guys aren’t as involved as the others, but will be pulling their strings, and because they are played by fantastic actors who should be sticking around for at least a bit, are worth noting.

But all of these people aside, and as much as I like a terrific ensemble, GRACELAND’s success and draw lies mainly in the relationship between Paul and Mike. There are lots of layers to the interactions, and they are the two given the most backstory. They both keep this first hour very interesting, and I’m curious to see how this latest starring duo grows, which seems likely have a similar vibe to Mike and Harvey on Suits.

The main action does feel a lot like other USA shows, especially in the vein of Burn Notice. The main players encounter someone they can’t help but feel sorry for, Felix (Mark Adair-Rios, Love That Girl!), even though their job would be easier if they didn’t assist him, and they probably aren’t strictly under an obligation to do so. It’s the kind of thing designed to instantly endear characters to viewers, and even though the attempt is transparent, it’s done well and tied into larger arcs, and so works. The show also boasts a more serious version of Psych’s humor, especially when a movie cover story comes up.

GRACELAND has a lot going for it, from sharp writing to terrific acting to an impressive production. It is the total package, combining the best elements of other shows on the network, so it still feels like a USA series, but also providing its own spices to make it unique. I can tell after only a single hour that this is a series to set a season pass for.

GRACELAND airs Thursdays at 10 p.m. ET on USA.

FlashForward fizzles out

     ABC tried a bold experiment this year with FlashForward, a show we were told would be wrapped up in one season, should it be canceled, though I am having trouble locating the interview where that was promised now, and I've wasted too much time already on the show to keep looking.  The season, and series, finale, "Future Shock", did anything but tie it all together.  Part of that could be because it was not known at the time to filming if the show would be coming to an end, or getting another season.  However, since the ratings weren't strong, it should have been assumed.  It would have been easy enough, with a few different scenes at the end, to finish it nicely, but the producers chose not to.  And so anyone that invested twenty-two hours into the show has had their time wasted.

     The entire season was uneven, walking a fine line between cheesy and brilliant, but frequently teetering onto the former side.  The cast was packed with wonderful actors - John Cho, Sonya Walger, Jack Davenport, Dominic Monaghan, Courtney B. Vance, Christine Woods.  It was almost worth watching the whole series to see Battlestar Galactica's James Callis deliver his newest crazy-man, and prove that he has even more range than has been known.  But the writing was frequently weak, and did not do justice to the talent involved.

     The the last episode, for instance.  Much of this season has been about choices, and if fate is more powerful than free will.  So far, every time, free will has won out.  And then, each character, one by one, made it to the place they saw in their vision way back at the beginning of the season.  Sure, there were differences.  Lloyd (Davenport) and Olivia (Walger) didn't sleep together.  Janis (Woods) was pregnant with a boy instead of a girl.  But the basics were all there.  The only one who seemed to have twarted fate, for now anyway, was Demetri (Cho), because he was alive at all.  But in the episodes leading up to the finale, it seems fairly likely that he will soon be shot to death anyway, as fate has a way of catching up.  It's like Final Destination the series.

     The ending of it all was the most disappointing.  First, it was established that December 2016 would be the end of the world.  Did a show that had such a hard time catching on really think it would get more seasons than the far more intelligent Lost that it was trying to replace?  The bad guys who caused the flash forwards were never caught, and so remain at large to stir up more trouble.  In this case, they caused another flash forward to end the series on.  This time, though, it appeared that different people flashed to different times, all between 2010 and 2016.  I say this because I freeze framed through the various images and caught at least three different dates.  What does it all mean?  We'll never know.

     I don't have a problem taking a chance on something complicated and involved.  I loved Lost.  But when the show promises not to leave you hanging if they're canceled, it looks likely they are going to be canceled, and yet, they film a cliffhanger anyway, I am not please.  Sadly, it will make me much less likely to trust ABC on the future.