THE KILLING Returns From the Dead... Again

Article first published as THE KILLING Review Season 4 on Seat42F.

THE KILLING, which ran for three seasons on AMC and has been canceled twice before, returns for an abbreviated fourth, and most likely (though one can never say for sure with this show) final, season this week on Netflix. Picking up moments after season three left off, the six hour-long episodes remaining seek to both solve a new case and deal with the aftermath of the previous year’s cliffhanger.

Lest you have forgotten, as year three concludes, Linden (Mireille Enos) shoots her boss and former lover / partner, James Skinner (Elias Koteas), who ends up being the serial killer she is hunting, twice, despite the fact that he is unarmed and kneeling before her. Holder (Joel Kinnaman), a witness to at least the second bullet, freaks out, knowing there is no way for Linden to claim self-defense. Fearing she is about to be locked up, season four’s premiere has Holder scrambling to cover for Linden, who is still in shock, and thus not protecting herself as she should be.

This begins with our characters in a precarious position. As the day after unfolds, it becomes clear very quickly that there are loose ends the detectives might miss. Try as they might to hide the truth, it seems likely that Skinner’s murder will eventually come out. We’re left wondering if both Linden and Holder will go down, as well as what punishment they might face. Could their actions be justified, given the circumstances, or could fate intervene and protect them, even as the body surfaces?

 

My instinct is to say that yes, things will work out all right. THE KILLING is a dark, depressing show, and not everyone makes it out alive. However, Linden and Holder are the glue between the seasons. They are also the good guys who give up everything in order to find justice. They deserve to get away with this. Fans will root for them to stay hidden.

That being said, I could see a twist at the end of the series where Linden dies in a blaze of glory, her son living far away, and she really having nothing left to lose. She’s always had a bit of a martyr complex, so why not make it official? I suspect a better prediction can be made after meeting Linden’s mother (Frances Fisher, Resurrection), though, whom abandoned her as a child, as that will surely help set Linden’s momentum.

Holder, on the other hand, has plenty to live for. He has his romance with Caroline (Jewel Staite). He also gets some surprising news in the season four premiere that will make it even harder to see him go down. Plus, now that the air has been cleared between them, on even footing since both got a punch in, Holder’s friendship with Reddick (Gregg Henry, promoted to full-time) seems to be sticking. So I think Holder is safe, successfully having turned his life around and found his purpose, even without Linden around. But we’ll see.

I don’t think Holder and Linden will end THE KILLING as a romantic couple. There is a moment in season three where it could happen between them and it doesn’t. There really hasn’t been anything else to point them in that direction since, nor is there in the first episode back, so it would feel forced to go there at this point. That’s fine. Too many shows led by an opposite sex pairing feel obligated to turn the emotional bond into something involving sex. Sometimes, it’s fine if it doesn’t, especially if one or the other can find happiness with someone else.

Now, despite all the character development and furthering of existing arcs, season four has its own case to investigate. Our duo are led to a crime scene where a family has been brutally slaughtered and the evidence points to the surviving son (Tyler Ross, Zombieland), whom a bullet grazed in the head, and who is suffering memory loss. There are a number of pieces of evidence that don’t add up, including some strangely severed piano wires, so it’s uncertain if the kid is guilty, making for another juicy mystery.

Does season four need this sort of murder to look into? After all, the show has always been best when dwelling on the pathos of the players, and this could be done with Linden’s deed. But instead, the writers decide to squeeze one more bit of police work out of our leads. On one hand, they do have a job to do so it makes sense for them to keep doing it. On the other, with a scant six hours left (granted, all six installments are likely to be ten to fifteen minutes longer than in previous seasons), one might wish for a focus on the principals more than new stars, with Joan Allen (Luck), Sterling Beaumon (Red Widow), and Levi Meaden (The 100) joining Ross among the fresh cast. Ah, well. The decision has been made, so no sense dwelling on it now.

In all, THE KILLING delivers a relatively intense, very compelling fourth season premiere. It’ll be interesting to see how creator Veena Sud chooses to wrap it up.

All six episodes of THE KILLING’s final season will be available on Netflix beginning this Friday, August 1^st.

RESURRECTION Maybe Should Have Stayed Dead

Article first published as RESURRECTION Review on Seat42F.

ABC’s latest high-concept sci-fi series is called RESURRECTION. Like so many failed shows before it, such as FlashForward, The Event, and The River, RESURRECTION tries to tell an intriguing mystery with a large cast, each drawn into the mythology in different ways. An unexplained phenomenon is at the heart of the show, and viewers are asked to ponder who is behind it and what it means.

After viewing the pilot, “The Returned,” I just can’t decide if I like RESURRECTION or not. Tonally and stylistically, it feels a lot like those quickly canceled shows I just mentioned, so maybe there’s an emotional resistance against getting too attached to a show that won’t last. Or maybe the cast, as capable as they seem, just aren’t compelling enough to really hook fans. Or it could be the writing, so vague that the mystery begins to feel like it’s laid out just for the sake of mystery, not with any real, complex plan behind it. Whatever the reason, I’m not sold.

RESURRECTION begins with a young boy named Jacob (Landon Gimenez) waking up in a rice patty in China. He is brought back to the United States, clearly being American, and placed in the custody of Agent J. Martin Bellamy (Omar Epps, House). Instead of turning Jacob over to child services, though, his description not matching any missing persons reported, Marty decides to take Jacob to where he claims home is – Arcadia, Missouri.

Arriving at the house Jacob directs Marty to, they meet Henry (Kurtwood Smith, That ‘70s Show) and Lucille Langston (Frances Fisher, Touch), whom Jacob calls ‘mommy’ and ‘daddy.’ The catch? Henry and Lucille’s eight-year-old son Jacob died more than three decades ago. How can this be him?

Thus, we’re launched into the story. A town still haunted by the death of Jacob and his aunt come face to face with the boy they thought lost, a miracle. All are affected by Jacob’s appearance including his uncle, Sherriff Fred Langston (Matt Craven, Justified), widower of the woman who died with Jacob, Jacob’s cousin, Maggie (Devin Kelley, Covert Affairs), a medical professional, and his childhood best friend, Pastor Tom Hale (Mark Hildreth, V). Another local woman, Elaine Richards (Samaire Armstrong, Dirty Sexy Money), is also part of the cast, but isn’t tied into things until the end of the hour.

The themes explored in “The Returned” include religion and belief, asking viewers to suspend reality in favor of a higher power. Since this is a TV show, the faith is likely only a cover for something more sinister, as other secrets, such as an affair, begin to be exposed, too. So I don’t think RESURRECTION is really going to commit to a god angle for their story.

The problem is, this all feels just a little forced, and motivations aren’t explored fully enough. Why does Marty go against the law and his job description to take Jacob home? It’s easy to see why Marty gets obsessed with the situation after arrival, but hard to understand why his boss might let him continue down this path. Some twists, such as the aforementioned affair, don’t really fit well enough to seem needed, bringing unnecessary drama to the proceedings.

How much of RESURRECTION will come across as phony and how much will follow the rules of the world they establish remains to be seen, “The Returned” being too murky in plot and characters to give us a clear understanding. Yet, the fact that the series does hesitate to explain itself in even the simplest terms makes it feel like there might be no explanation mapped out, meaning the show will meander and play with concepts it doesn’t have a goal of getting deep into. This is just a first impression, and few pilots are outstanding right out of the gate, so I will give it more than one chance.

The challenge RESURRECTION faces, though, is shows like this just don’t seem to work on the broadcast networks. Lost was a fluke and every new effort to recapture its magic falls flat. What’s to stop RESURRECTION from joining that junk heap? I haven’t seen many positive signs yet.

RESURRECTION premieres Sunday at 9 p.m. ET on ABC.

Out of Touch

Article first published as Out of Touch on TheTVKing.

FOX's Touch completed its two-season run with the series finale "Leviathan" last week. Aster Corps kidnaps Jake (David Mazouz) and Amelia (Saxon Sharbino), hoping to use them to finish the sequence before a financial report ruins the company. Unfortunately, with time being limited, Farington (Frances Fisher) orders a dangerous method to extract those digits from their brains that could kill them.

Jack Bauer Martin (Kiefer Sutherland) goes a bit crazy in trying to track down the children, torturing Tanner (D.B. Sweeney) for a lead. We know Martin's overriding motivation has always been protecting Jake, but we've never seen him like this before. He's violent and irrational, getting the job done, but at cost to both his soul and his ability to stay within the limits of the law.

Thankfully, not only do Martin's efforts pay off, but he's made a friend in the police force, Detective Lang (Mykelti Williamson), who is able to protect Martin from the ramifications. It's not exactly realistic, but it is satisfying that Martin gets off without trouble, while making the villains pay. This is the episode where Touch ventures into 24 territory.

Which seems to be exactly what FOX wants. Shortly after cancelling Touch, it was announced that 24 will be returning next spring for a twelve-hour season, solving the difficulty of making a feature film. Kiefer fills the role of Jack very well, and it's funny that Touch works best when he is allowed to revert to that part. I look forward to Jack Bauer's return, even if that means the end of Touch, which was a decently enjoyable series.

Touch season two is quite a bit different from the first year, containing a large, compelling arc in the battle between our heroes and the evil corporation, which fits more into the action genre, something Touch did not start out in. Over the course of thirteen episodes, the back and forth between the two sides keeps escalating, until is ends in a climatic showdown. As that run-in concludes this week, "Leviathan" serves as a pretty neat series-ender.

That's not to say that there aren't more stories that could be told, of course. While season one shows us the numeric patterns in the world, and season two seeks to protect abuse of those patterns, there are still a number of directions this story could go in. Sadly, it will not get the chance.

We also get the conclusion of a couple of other hanging tales in "Leviathan." First, Calvin (Lukas Haas) has to pick a side, staying loyal to Aster Corps or saving the kids' lives. He chooses correctly, but only after influence by others. It makes him a weak character who hasn't earned a reprieve from his wrong-doings, and thus does not get one. I like that his decision is not simple, and that his earlier actions have consequences, even if that makes his redemption incomplete.

We also find out what has happened to Avram (Bodhi Elfman). His story isn't nearly so exciting, having been abducted by his own people, who hope to set him back on the right path. But because Avram's boss is Ron Rifkin from Alias, it not only makes a cool couple of scenes, but there's also a level of possible evilness lurking just below the surface of the organization. This could have made a wonderful season three plot.

In the end, I'm glad Touch was able to bring their story to a close, with no huge, hanging threads, even if it didn't feel like it got enough time to explore the possibilities. It's a series I probably won't think about enough to really miss, but enjoyed it while it was around.