CBS All Access take THE STAND.

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

This week, CBS All Access rebooted Stephen King’s THE STAND with a brand-new, nine-episode miniseries that will be released weekly. The story is one of two powerful beings, one good and one evil, fighting in a post-apocalyptic landscape. It reportedly contains additional material and a fresh ending and coda by the author himself, so even if you’ve read or watched the 90s miniseries, there’s something new here. Also, this version is on a streaming service, so it is not bound by episode running times or broadcast television standards.

THE STAND starts after a pandemic wipes out the vast majority of the world’s population, then flashes back to show us briefly how the early days played out. It doesn’t waste much time going through the illness, just giving us enough of a glimpse of some corpses to let us know the impact of what happened. The big difference between this and a network broadcast seems to be letting the production get really gross with the bodies. This was also made before the recent real pandemic, and it’s unsettling to watch this alternate, much more dire outcome. Though I do worry too many will see this and take it as a sign that ours isn’t so bad, which is not the lesson that should be taken away at all.

Judging from the pilot of THE STAND, titled “The End,” there appears to be three lead characters. Stu Redman (James Marsden, Westworld) is a simple guy who somehow becomes the only one in his friend group, and then in a much larger circle, that is immune to the virus, surviving in a government facility while everyone else dies around him. At the same time, Harold Lauder (Owen Teague, It, Bloodline) is left alone in his neighborhood with his former babysitter, Frannie Goldsmith (Odessa Young, Assassination Nation). Unlike Frannie, who is grief-stricken by her circumstances, Harold seems gleeful for the chance to get close to Frannie, who he has been stalking for a while.

Harold gets the most focus in “The End,” seen both during the crisis and after, when a bunch of survivors (including all three leads) gather. But that doesn’t mean viewers will root for him. He’s an unlikeable creep, and every moment he’s with Frannie is a moment that I fear for her safety. And that’s even before Harold reveals his chilling manifesto, which surely means dark times are coming.

Without having read the book or seen the earlier version, I didn’t realize from this initial installment that THE STAND was actually about a supernatural battle. The good Mother Abagail (Whoopi Goldberg, Sister Act, Ghost) and the evil Randall Flagg (Alexander Skarsgård, Big Little Lies) are barely glimpsed in the first episode, and not explained in the slightest. Before reviewing materials on the series, I had no idea they were of much importance at all. Though I like both performers very much and look forward to seeing more of them.

Teague is a fine performer, perfect for the part, as unsettling as it may be. But spending time with his character is tiresome, and that’s why I was disappointed THE STAND took out several others I liked in short order. “The End” offers us Hamish Linklater (Legion) as kindly Dr. Ellis, whose passing was incredibly sad. J.K. Simmons (Spiderman) appears in a single scene, and as impactful as he is, he feels wasted. I’m glad Eion Bailey (Once Upon a Time) is sticking around, but I wonder how many other great actors will blow through in little more than cameos, presumably attracted by the King name.

I liked THE STAND, I didn’t love it. I didn’t get as much of the performers that I wanted to see, and got a lot of one who made me very uncomfortable (albeit, well-acted for the role). Its parallels to modern events are scary, but the pacing is a little slow, and it doesn’t substantially reveal major elements of its own story in the only episode released so far. Without exterior motivation, I don’t think this hour alone would make me want to watch.

THE STAND’s first episode is available now on CBS All Access, and will release new installments every Thursday.

New LEGION Of Powers

Article first published as LEGION Review on Seat42F.

As the Marvel universe, including Sony and Fox-produced products, as well as their own-made ones, continue to expand, some of the more obscure, weird characters are being brought into the fold. To that end, FX presents LEGION this week, one of the X-Men related properties still controlled by FX’s parent, Fox. Like Deadpool, he’s not a household name, and also like Deadpool, this series does not feel like any of the other programs in the genre out right now.

If you’re not familiar with the character of Legion, he is someone who has some serious mental issues along with his powers. The son of Professor Xavier, Legion absorbs others within himself, sort of, and often can’t tell what is real and what isn’t. To build a television series around such an unstable character is bold; to make it from his perspective, where viewers don’t know what is actually happening at any given time because he doesn’t know, is even bolder. LEGION chooses the latter route, making a confusing, stimulating series that is as exciting as it is odd.

Legion is David Haller (Dan Stevens, Downton Abbey), and as the show begins, he is locked in a mental institution and has been for some time. Meeting the beautiful Syd Barrett (Rachel Keller, Fargo), who agrees to date David but won’t allow him to touch her, David seems to be getting along all right, despite everything. But when something big and tragic happens, things change. And whether the event is David’s fault or Syd’s remains to be seen, though doesn’t feel particularly important. What is important is that David’s life is set on a new course that pulls him away from what he knows and will likely lead to self exploration.

Stevens is excellent, as is Keller. Both have inhabited very specific characters, far from the roles they’re known for, whom viewers can latch onto, despite the insanity. There is something very essential to them that is relatable and familiar. They’re fully realized individuals, and whole they may not be like people we know, it’s easy to recognizable the humanity in them, no matter the craziness occurring.

The pair are joined by an excellent supporting cast, including fellow patient Lenny Busker (Aubrey Plaza, Parks and Recreation), David’s sunny sister, Amy (Katie Aselton, The League), a benevolent (?) doctor, Melanie Bird (Jean Smart, 24, Fargo), a shady interrogator (Hamish Linklater, The Crazy Ones), and more. It’s a really strong group playing characters that even most comic book fans aren’t too familiar with, so plenty of new ground to break.

The show itself is visually stunning. It’s like the Doctor Strange of television, with trippy sequences and worlds that could never exist. Guided expertly by the hand of Noah Hawley (FX’s Fargo), it explores concepts that are hard to show, and yet, manages to convey them in unconventional ways. At times, the soundtrack, which matches the rest nicely, almost feels like that of Stranger Things, and the look touches on a Wes Anderson picture. The concept of unreliable narrator feels a bit like Mr. Robot. Despite the many favorable comparisons, LEGION is all its own thing, appealing to fans of the above, but also standing plenty firm on its own.

The world presented in is hyperreality, bold colors and retro designs, music that is both old and timeless. The total package is a cool production design, fantastically meshing conflicted parts into the whole, much the way in which the characters are put together. There is a unique-ish quality, that is still relatable to the X-Men First Class movies, but is also outside of them.

I cannot recommend LEGION enough. It premieres tonight at 10/9c on FX.

THE CRAZY ONES Much "Improved"

Article first published as THE CRAZY ONES Much "Improved" on TheTVKing.

CBS's freshman comedy The Crazy Ones was funny from the start, but somewhere along the way, it has become so much more. It has found the perfect blend of heart and humor, often dwelling into deep pathos to find the laughs. This seems a natural direction for series star Robin Williams to go in, and the perfect ensemble surrounding him has tapped into the same vein.

This week's episode, "Dead and Improved," has a great illustration of a laugh out loud scene that will make you cry. A jingle writer that works for Simon (Williams) has died and his daughter, Melora (Missi Pyle, Big Fish), begs Simon to send him off right. The problem is, no one, Simon included, liked the man, making it super difficult to strike the 'wow' note in a eulogy that Melora seeks.

The story is so much more than this simple plot, though. Simon begins to look at his own legacy when faced with mortality. There is raw doubt in his eyes as he wonders if he's all show, no substance. His daughter, Sydney (Sarah Michelle Gellar) assures him that he's a good man who has had a lasting effect on the world. Through Sydney, Simon begins to see what Melora saw in her own dad, which allows him to find his speech, one that will make everyone laugh and cry at the same time.

It's very hard to serve a plot like this and to do it well. The Crazy Ones nails it. We have Williams, Gellar, and Pyle delivering knock-out performances with a brilliant script. It's full of nuance and meaning, one sure to ring true to many a viewer out there. Anyone who has parents or children can relate to this, making an excellent scene on its own mean something personal to those watching at home, providing connection for the audience.

"Dead and Improved" takes the idea of legacy a step further by tying the B plot into it, too. A Charmin rep, Mitchell (Kurt Fuller, Psych), is disowned by his company as he becomes unstable after his wife leaves him. Zach (James Wolk), Andrew (Hamish Linklater), and Lauren (Amanda Setton) feel obligated to set Mitchell right again, not to just turn him out on the street. Their sympathy continues even after he strips naked in their lobby.

The Mitchell thread weaves seamlessly into the A story, ending with Mitchell looking satisfied at the funeral, and doesn't even feel like a segregated tale. This cohesion is a strong selling factor for The Crazy Ones. Though it's an ensemble cast and each individual does have their own motivations and side stuff, the characters are very much part of a team, and it always feels like that. Simon and Syndey have moments with Mitchell, and Zach, Andrew, and Lauren are involved with Melora and the funeral. It's all inter-connected, and they all help one another out.

I also like how The Crazy Ones ties in enough reality so that it doesn't just feel like a cartoonish parody of the world. The excellent rendering of the Rice Krispie theme song at the beginning and Mitchell working for Charmin, with a bit of a real Charmin commercial played in the episode, really make the firm feel authentic. Not to mention, voice actor Fred Melamed gamely recurs as himself, including a couple of scenes in "Dead and Improved."

Most of this year's batch of new comedies has failed to resonate with viewers. While The Crazy Ones' ratings are modest, there is a special spark present that is lacking in most of its peers. The relationship between Simon and Sydney alone is worth watching for, and if you haven't had the opportunity to check this show out yet, please do, in case it soon becomes too late to do so.

The Crazy Ones airs Thursdays at 9 p.m. ET on CBS.

Crazy for THE CRAZY ONES

Article first published as THE CRAZY ONES Review on Seat42F.

THE CRAZY ONES is the new CBS sitcom starring Robin Williams and Sarah Michelle Gellar. Given the caliber of talent on the project, as well as the fact that Williams tends to go big or go home, it seems like the project will either be absolutely terrible, or terribly terrific. After viewing the “Pilot,” I am leaning towards the latter.

Williams (Good Will Hunting, Night at the Museum) plays Simon Roberts, an advertising executive who runs his own firm along with his daughter, Sydney Roberts (Gellar, Buffy the Vampire Slayer). He is going off the rails, losing his edge, but still prone to jumping off a cliff without a net, taking the big risks that made him successful. She, on the other hand, is sensible, and often able to clean up her father’s messes, but soon sees that sometimes his method is the one that’s needed.

The characters kind of are THE CRAZY ONES compared to everyone else, but that doesn’t make this show just a zany version of Mad Men. Instead, the title refers to an old Apple commercial, in which brilliant minds are highlighted as having been considered crazy by their peers. Are Simon and Sydney creative and smart enough to be included in this group? Perhaps not, but it’s who they aspire to be, and influences their attitudes towards work and life, informing on their personalities.

Williams is allowed to do what he does best, launching from manic bit to manic bit, swiftly rolling through his impression index. However, he isn’t doing it only to be silly. It’s a symptom of the insecurity he feels and the control he is losing. It actually exposes a layer of vulnerability that nicely shows through, and makes the character not only funny, but highly sympathetic.

We do feel Sydney’s frustration with her father, worrying he is losing his marbles or his touch almost as much as he is, but also putting on a brave face. She covers for him when she has to, speaks her mind in private when she can, and basically tries to roll with his punches, respecting who he is and what he has accomplished, while still supporting him in her own way. It’s a great complement to the other role.

Gellar and Williams have an unexpectedly natural chemistry. Their every line radiates a shared history, both loving and bumpy. They seem very familiar with one another, and while they are quite a bit different in temperament, there is still a family resemblance that bleeds through in the best, subtle ways.

Interestingly, THE CRAZY ONES feels more like a drama or cable half hour than your typical network sitcom. This may be the darker style, largely avoiding the slapstick except when it’s couched in deep feeling. There’s a serious undercurrent. Unfortunately, this may make it a little less accessible to some viewers, though this makes it a better series.

Williams and Gellar are buoyed by a strong supporting cast. James Wolk (Mad Men) stands out as Zach Cropper, a buddy to Simon, perhaps being similar to Simon in his heyday. Zach is smooth and magnetic, something needed in the world of advertising, charming most and actually backing that up with a good work ethic. Wolk is sure to become a fan-favorite here, the way he has in other efforts. There’s also Hamish Linklater (The Newsroom) as a grumpy guy who works closely with Sydney and Amanda Setton (The Mindy Project) as an enthusiastic, though perhaps not overly bright, assistant.

Were the “Pilot” left up to only this ensemble, I think I would have found it even more enjoyable than I did. Unfortunately, the story soon veers into wooing Kelly Clarkson (herself) for a McDonald’s commercial. This is where things falter, as Kelly does not come across as a likable individual and engages in odd activities that don’t quite match the other scenes. I’m not sure it’s Kelly fault, but her part of the half hour just doesn’t rise up to the rest of it, and isn’t in sync.

Of course, this is only a “Pilot.” If THE CRAZY ONES can build upon its positive elements, which are definitely plenty, it could end up being a serious contender on the fall schedule. Hopefully, that’s what will happen.

THE CRAZY ONES premieres Thursday, September 26^th and 9 p.m. ET.

THE NEWSROOM - "Election Night: Part II" Review

Article first published as THE NEWSROOM - "Election Night: Part II" Review on TheTVKing.

With the fate of HBO's The Newsroom officially still undecided, despite what star Jeff Daniels tweets, this week's season two finale, "Election Night: Part II," may very well serve as a series finale for the Aaron Sorkin drama. If it does, it will be a great loss for television, a medium that is bettered by such intelligent writing, bold characters, and inspiring stories, showing the media how they should be reporting. But in terms of closure, the episode satisfies pretty well.

"Election Night: Part II" has the team covering the results of the 2012 election, while waiting for the hammer to drop after the Genoa fiasco. Will (Daniels), MacKenzie (Emily Mortimer) and Charlie (Sam Waterston) are trying to resign to spare their colleagues' careers. Yet, the rest of the senior staff plans on leaving, too, showing their solidarity. This angers Will, but insults the others when he insists they not do this folly. They stick together and do the right thing; he taught them that.

One fantastic element of The Newsroom is the cohesion of the gang who work at ACN. These are not just co-workers, these are friends. They are united in a noble mission, and without the heads of the organization, the mission would fail, making the job not worth having. It is essential for everyone to stay together, and even after losing all credibility for Genoa, they can only recover by remaining on the job, working to build themselves back up.

This is the decision both Leona (Jane Fonda) and Reese (Chris Messina) come to, too. The heads of the company will not accept any resignations because they've studied the evidence and know that even though Genoa was false, the newsroom did as thorough job as possible given what they had. The snake Jerry Dantana (Hamish Linklater) screwed them; they didn't screw themselves.

I don't know why Charlie can't be gracious with Reese when Reese decides not to accept their resignations. Yes, Charlie has already decided that they will withdrawal their offers to quit, but he and Reese so rarely see eye to eye, he should celebrate, not fight, when this occurs. Yet, perhaps emotions are just running unusually high, as Charlie spends much of the episode yelling, faced with losing the profession he loves deeply, and so he can't bring himself to make nice with someone he considers so despicable.

It's funny how Reese and Leon have changed sides this year, now supporting those they tried to fire not so far in the past. I think crisis have a way of bringing people together, and also ACN being disgraced personally shames the Lansings, so they want to fight back, for their names as well as the network's. Even if their motivations are selfish, it's sure nice to see the pair of them in the room at the end, joining our beloved heroes.

We know The Newsroom's crew is righteous because even the lawyer who takes their depositions, Rebecca Halliday (Marcia Gay Harden), thinks so, and she seems a tough one to win over. She vows to defend them and argues against settlement. I hope she sticks around for a possible third season, as she will be needed to help with the major hanging thread of the Dantana plot, Don's (Thomas Sadoski) defamation lawsuit.

The Newsroom can never just do one thing at a time, though, so "Election Night: Part II" is about more than just the decision of who should stay and who should go. They also get to cover the 2012 election results, which is done in a very entertaining way. From Will constantly cutting off Sloan (Olivia Munn), to Neal (Dev Patel) being tasked with helping Sloan and MacKenzie with trivial things, to the bickering with the D.C. anchor, to Will gleefully sparring with Taylor Warren (Constance Zimmer), there's a lot to watch, and all of it very, very fun.

Taylor is another familiar face I'd like to see return. She ingrains herself in several characters, and her inquiry about having Jim (John Gallagher Jr.) work for her appears to be sincere. She's a sassy, combative type who unintentionally causes trouble, but her heart is in the right place, and she's a fair judge of character, even amongst people she disagrees with. She makes quite the impression this season, and the show could use more of her in the future.

Alas, any episode of The Newsroom would not be complete without some romantic stuff. Sloan and Don finally share a kiss in a spectacular, public fashion. This has been simmering all year, even if it usually is a very minor part of the subplot, and it's gratifying to see them get together, especially if this is it for the show.

Will and MacKenzie have an even better story, getting their feelings and secrets out in the open. MacKenzie is able to get the chance to explain her actions, with Will actually paying attention, and Will admits to wrongdoing, too. The viewers get to understand where both have been coming from, which leads to even more of an urge to see them put the past behind and get this couple together. They do, as Will produces the ring he lied about returning and proposes!

I don't think the dynamic of The Newsroom will change at all with Mac and Will married. They will still disagree and do all the things they normally do because they are passionate about their jobs and have always been united on that front. This doesn't change that. Unlike other shows where adjustments must be made for such a development, the only thing different will be them not pining over one another. Very cool.

The third couple fans root for is Jim and Maggie (Alison Pill), but they are not in a good place to be together, and any union at this point would seem false. That's probably why "Election Night: Part II" just has them bonding as friends over a screwed up call, and has Jim working to fix things between Maggie and her estranged roommate, Lisa (Kelen Coleman). Besides, Jim is happy with Hallie (Grace Gummer), as he should be, as it is a healthy relationship. Maybe, seasons down the line, this could change, but for now, they are where they should be.

Is The Newsroom the perfect show? Of course not. Characters frequently deliver parables instead of answering questions. The succeed as heroes when realistically they would fail. Personal moments happen most often in their place of business. And sometimes people devolve into caricatures. Yet, these aren't complaints because they are done so well, and are part of the charm of the fabric. The things that make it schmaltzy also make it awesome, and so while it isn't perfect, it is pretty darn good, and I sincerely hope it comes back, as it ranks among my favorite shows on the air right now. Even if Charlie acts a little too one-note in this episode, and I disliked knowing Genoa was a bomb from the start of the season.

HBO will likely announce the fate of The Newsroom soon.

THE NEWSROOM Declares "Let's Kill All The Lawyers"

Article first published as THE NEWSROOM Review Season 2 Premiere on Seat42F.

Grade: 91%

HBO’s THE NEWSROOM is back for a second season with “First Thing We Do, Let’s Kill All the Lawyers.” The main part of the story takes place two weeks after the events of last year’s finale, and the various characters must deal with the consequences of their actions, both professional and personal. If you have not yet watched the episode, I recommend viewing it before reading this review, to avoid anything being spoiled, as the various story points will be discussed below.

Will McAvoy (Jeff Daniels) is a subdued man in “First Thing We Do, Let’s Kill All the Lawyers.” Although he is fired up and passionate when dubbing the Tea Party ‘The American Taliban,’ he now must pay the price for doing so, namely, being pulled off of the network’s 9/11 tenth anniversary coverage. He deals with this by drinking and smoking and becoming a wimp on-air again.

While it is absolutely in keeping with his character to go back and forth between fearless crusader and appeasing ratings-whore, one must wonder how long the see-saw can continue. Will’s spirits are already bolstered multiple times in the first year alone, and it would suck if none of those efforts have lasting effects, always returning him to the same sad state in their aftermath. Will must find a way to break this cycle, committing to the persona he wants most.

It is my opinion that the way for him to do this is to be with Mackenzie McHale (Emily Mortimer). She still doesn’t know what is in the voice mail Will leaves her while high, but it’s obvious that she is sensing his anger towards her cooling, and is intending to reform as much of a bond with him as he will let her. She calls him in the middle of the night, and shares a drink with him at the bar. It can’t possibly be much longer before they are a couple again, and in that relationship, Will might finally stabilize.

Though where is Lonny (Terry Crews) during this installment? Why do we not see him guarding Will in the bar? Hopefully, Lonny’s absence is temporary, just an oversight caused by not needing the actor enough to warrant an appearance in this particular episode.

In keeping on the romantic track, Jim (John Gallagher Jr.) is unwilling to be friends with Maggie (Alison Pill) after she chooses to move in with Don (Thomas Sadoski), and so takes an assignment following the Romney campaign, where he is shunned for Will’s Taliban comment. This doesn’t seem like the environment where wounded Jim can heal, certainly not a comforting, supporting one, but maybe concentrating on work is what he needs. And if he finds victory in reporting the story, that could help. Running may seem cowardly to some, but Maggie has made her choice, so it’s understandable why Jim would find it hard to be around her, and perhaps he’s wise to get himself out of that environment.

Except, Jim may actually still have a chance with Maggie, as Don finds a YouTube video of her rant about Jim, and promptly decides they are over as a couple. I am very dissatisfied with this quick evaporation of their romance. Don and Maggie have plenty of ups and downs, but two weeks is all they can make it? Maggie chooses Don; that should count for something. And it seemed so fresh and realistic that Jim and Maggie weren’t going to ever be together because Maggie would be with Don, no matter what viewers thought should happen, and this has been ruined. Though, Maggie clearly won’t just have a happy ending with Jim, given her appearance in future scenes, which I’ll get to shortly.

This does leave open the possibility of a Don / Sloan (Olivia Munn) pairing now. Things are plenty awkward between the two, since Sloan confesses her feelings for him, even though Don isn’t holding it over her in any way. But now that he’s single, maybe after a short, respectful pause, he may pursue Sloan, thus solving at least one rocky dynamic in the workplace. Although is Don gets with Sloan too quickly, that could screw up Maggie even more.

Because of Jim’s absence, a producer out of Washington D.C., Jerry Dantana (Hamish Linklater, The New Adventures of Old Christine), is tapped to fill in for him. Jerry is immediately a hindrance, vaguely appearing to be a team player, but also having his own ambitions. We don’t know all of the details yet, but Jerry and the guest that he brings onto a panel will definitely set off a huge mistake involving Genoa.

Genoa is a secret military that has landed the staff in very hot water, as evidenced by the fourteen-months-later framing scenes in “First Thing We Do, Let’s Kill All the Lawyers” in which Will, Mackenzie, and Maggie are seen with a team of lawyers led by Rebecca Halliday (Marcia Gay Harden, Damages). Our beloved characters are in trouble after a string of unfortunate events, one of which leads Maggie to Africa and a terrible hair cut and coloring. Bringing in Jerry is a huge mistake they will all regret. Too bad, he seems so nice-ish.

I’m a little tired of television shows doing the flashback to death. THE NEWSROOM is only the latest in a long line of series using that technique lately, and it’s been being done way too often. I’d rather see the Genoa disaster unfold slowly, not realizing that there’s trouble until it’s too late, like the characters do, rather than getting a puzzle piece by piece. I know this trope can be implemented effectively when done right, and THE NEWSROOM is brilliantly written, but in this case, I feel it is a big, easily avoidable misstep.

There are two smaller plots unfolding, too, that may have some big impact. In the first, Neal (Dev Patel) gets involved with Occupy Wall Street. For Neal, this story is both a far-out, unlikely movement, and something playing to his prowess with social media, so it straddles the two interests we’ve known him to have. Those who remember the protests know that they get lots of attention for a short time, but don’t go anywhere, so this is both an opportunity for Neal, professionally, and another dead end for him to pursue, the perfect plot for the character.

In the second, Charlie (Sam Waterson) chooses to pull Will off of the 9/11 special. This is something very uncharacteristic, in that he chooses to bench Will with nearly zero pressure from Leona (Jane Fonda) and Reese (Chris Messina) to do so. Weird; Charlie always defends Will. Did Reese getting kicked out of SOPA scare Charlie that much? It doesn’t seem like it should, in keeping with Charlie’s established personality. I wonder what’s going on there?

THE NEWSROOM is a fantastic series that deftly balances character-driven drama with real-world events and a commentary on the state of journalism. It takes the big stories we’re familiar with, and makes them personal to people we watch on screen and care about. There are a number of new arcs introduced in this season premiere which promise a great season, even if the episode itself lacks any of the stellar, inspiring moments that were a hallmark of the first year. Once we get past the weird flashbacks, I think that will sort itself out.

THE NEWSROOM airs Sundays at 10 p.m. ET on HBO.