Not Quite THE ONE

 Article first published as THE ONE Netflix Review on Seat42F.

One of Netflix’s newest series is THE ONE. A British sci-fi crime drama, THE ONE is set in the near future where a company has found a way to match someone with their soul mate using DNA testing. As presented, the test only gives each person a single perfect match. If both people submit to the test, then that match is shared with them. In this world, there has been a HUGE spike in divorce, causing political unrest. But the head of the company calls this only a slight adjustment, and says divorces will be almost nonexistent after society adapts. Who is right, and what other ramifications are there to this technology?

The description above seems idyllic. I certainly wished for such an easy way to find someone in my younger, single days. But since perfect worlds make bad stories, given the lack of drama, THE ONE of courses only uses that as an overlay. Seemingly perfect worlds with a lot of bad stuff going on under the surface are a more familiar genre, and this show is definitely an entry in that one.

What surprises me the most is how much of the plot isn’t really about the system of perfect matches itself. That’s certainly present, and the system is manipulated by the cynical and the guileless. However, much of the driving story is made up of other tensions that happen around the system but not as much because of the way the system works. Which is too bad because I really want to know why only one person matches with you in the entire world and what happens if that person is no longer around? Can’t there be a second tier for those whose match are dead? Are there not other great matches?

Rebecca Webb (Hannah Ware, Boss) currently runs the primary company in THE ONE. She touts the success of her own relationship as being a product of that system, though like much of what she says, that is a lie. Instead, she is concerned only with making her system prevalent throughout the world, no matter the cost. Whether this is because she really believes in it or because she’s greedy, it’s hard to say. Flashbacks reveal some personal drama and her connection to a dead body that threatens to derail everything.

Another lead in THE ONE is Kate Saunders (Zoë Tapper, Mr. Selfridge), a cop who is surprised that her own match is a woman. Although she has dated both men and women, she expected to be paired with a guy. She is absolutely delighted with her pairing, though, until things take a tragic turn. Might this motivate her in looking into Rebecca? It’s not a focus in the first three episodes I viewed, but it seems like a logical next step.

Rounding out the trio of central women is Hannah Bailey (Lois Chimimba, Trust Me). Lois feels insecure in her marriage to Mark (Eric Kofi-Abrefa, Harlots), and after watching her best friend’s union fall apart because of THE ONE’s system, decides to proactively protect herself. So she submits her husband’s DNA and tracks down his match. Which of course inadvertently brings her husband and the other woman into contact with one another. Are any problems after this Hannah’s own fault? Will her husband fall in love and leave an otherwise happy relationship? Are they really happy if she’s this insecure?

The questions posed in THE ONE are interesting and worth exploring. There are many ways to go with this, and I’m glad it stays relatively focused on three plot lines for the initial eight-episode run (or at least the three episodes I’ve seen). Yet, I don’t find it as compelling as I’d expect to. It’s more a feeling than a concrete set of gripes I can list. Tone or pacing may play a part, but it’s just an overall impression I’m left with. It seems a well enough made and acted show, and I’m somewhat interested. But there’s something about it that feels less the sum of its parts and keeps it from rising to a must-see series.

THE ONE is streaming now on Netflix.

BETRAYAL a Betrayal of Viewers With Taste

Article first published as BETRAYAL Review on Seat42F.

ABC continues its run of soapy dramas with one-word titles, the newest, following in the footsteps of Scandal, Revenge, and Deception, is BETRAYAL. The tale of cheating spouses, murderous sons, and backstabbing business deals, BETRAYAL attempts to cash in on what has become an ABC brand, developing a serial story of intrigue and salaciousness. Sadly, it seems destined to be among the lesser efforts, soon canceled.

The “Pilot” begins by showing us Sara Hanley (Hannah Ware, Boss) bleeding on the floor and being loaded into an ambulance. It’s the same trick Revenge likes to use, revealing a later disaster early in the year, and Sara is one of the two most primary characters, so this sequence not only feels stale, but without tension. Sure, we want to know how Sara has been hurt and who did it, but there’s little danger that she’s going to die.

After dispensing with that bit of nonsense, which the plot won’t catch up to until at least mid-season, the real episode begins. At a party, Sara meets Jack McAllister (Stuart Townsend, XIII: The Series) and falls in love. These two are definitely soul mates, as every bit of their electric chemistry hints at, and even though Jack professes not to be interested in art, he even buys one of Sara’s works. Yes, Sara is an artist, and one who has kept her last name, perpetuating the idea that this is a common lifestyle one can aspire to, and that she’s not one of the lucky few.

There is just one little snag with Jack and Sara being together: both are married with a kid or two at home.

Sara’s husband, Drew Stafford (Chris Johnson, Against the Wall), is a bit preoccupied with work, trying to turn a legal career into political office. But he’s not a bad guy. He loves his wife, is supportive of her work, and seeks to celebrate his victories with her. Still, for some reason, Sara isn’t satisfied.

Jack is in a similar situation, happily working for Thatcher Karsten (James Cromwell, American Horror Story: Asylum), his father-in-law. His wife, Elaine (Wendy Moniz, Damages), is shown to be less joyful, not really approving of her daddy, and seemingly a bit jealous of Jack’s relationship with their twin teenagers (Men of a Certain Age’s Braeden Lemasters and First Day’s Elizabeth McLaughlin). But again, no obvious tension that would lead either spouse to stray.

Which is why Sara and Jack’s tryst doesn’t make any sense. Maybe they do have a magnetism that they can’t ignore. But they know it’s wrong, both saying so out loud, and both have a lot to lose. Why would they risk the entire lives they’ve built for themselves on a bit of sex with a near-stranger?

Of course, BETRAYAL isn’t satisfied with just infidelity. Tossing all realism out the window, the death of Thatcher’s brother-in-law not only has this family scrambling to protect Thatcher’s mentally challenged son T.J. (Henry Thomas, Gangs of New York), who is suspected, but also ends up putting Sara in a compromising position. I won’t get into the details, in case you plan on watching the show and don’t want spoiled, but it all feels extremely staged and forced.

Now, it’s true that a show such as this can’t just have a single arc, and with a limited number of characters, lots of drama must be built in to give it legs. However, other series have managed to balance a lot of twists, developments, and players with ease, so when it’s done this clumsily, it doesn’t feel right. Plus, there’s not a single character that really resonates and makes viewers want to get behind them. BETRAYAL may not be the worst show out there, but it puts itself up automatically against its peers on the same network, and it falters by comparison.

By the way, I don’t think Thomas does a convincing performance of a character with his condition. I know there is a spectrum, and not every person with mental disabilities acts the same, but this one just doesn’t feel authentic to me.

Overall, I could be wrong, and BETRAYAL may find a way to capture viewers. But I don’t see anything worth championing from it in the “Pilot.”

BETRAYAL premieres Sunday, September 29^th at 10 p.m. ET.

Boss is "Louder Than Words"

Grade: 87%

Starz’s BOSS returns for a second season with “Louder Than Words.” What words is this title referencing? Each episode title of season one was a single word. Perhaps this title is supposed to represent something more? Something bigger?

If so, I wouldn’t say that’s exactly accurate. “Louder Than Words” continues the story of Tom Kane (Kelsey Grammer), picking up soon after it left off. While there are some important differences, mostly concerning power vacuums that must be filled, I would not say that this season two begins in a dramatically different way than season one played out. It maintains the same quality and suspense, pleasing the fans who are already addicted to the heady drama.

Or, as many season one titles do, it could refer to a specific moment within the episode that stands out. In this case, the climatic finale when (SPOILER!) someone decides it is time to take action to bring Tom down, shots ringing out at an important event, the groundbreaking ceremony for the O’Hare project. Tom escapes unharmed, but might his wife, Meredith (Connie Nielsen), have been hit?

Who shot at Tom? The obvious answer is Darius (Rotimi Akinosho). After all, Darius is angry that Tom put his own daughter, Darius’s girlfriend, Emma (Hannah Ware), behind bars. Darius is also shown looking at a gun. There is motive, opportunity, and foreshadowing of such an event. Which is probably why it wasn’t him, because this answer is too obvious.

Interestingly, “Louder Than Words” ends with a shot of Mayor Rutledge (Anthony Mockus Sr.) watching events on the news. This could be a very important clue. Earlier in “Louder Than Words,” Meredith made sure that the news was turned on for her father. Might she be trying to take out Tom, and got caught in the crossfire herself? Or Tom figured out the move and circumvented it? It is unlikely Tom is trying to send Rutledge a message, as Rutledge is in no position to do anything, and Tom’s visits to his father-in-law appear to be done with fondness. But Meredith has reason to believe that Rutledge might feel wronged by Tom, so this could be her way of delivering her dad his revenge. Though if it is, she failed.

Another suspect is Alderman Ross (James Vincent Meredith), who has dropped out of public life. After learning that his wife cheated on him, then punching Tom out in public, Ross has fallen from grace. Rather than persevere, he skips council meetings and hides from sight. The one scene Ross gets in “Louder Than Words” is supremely creepy, and shows a man on the edge. He is certainly capable or heinous acts.

There is also motive for Ross, or one of the other council members. Tom is trying to push through a legislative bill that is very divisive. Ross would not want this bill to pass, even if it seems like he cares about nothing. Or another Alderman could be trying to stop the bill, taking matters into their own hands, since the men previously pulling the strings in the chamber all seem to be suddenly gone.

The only certainty about the shooting is that there is a mystery, and one that might take awhile to play out.

Will Tom be shaken by the near miss on his life? It’s hard to say. He is already facing imminent death, so it seems unlikely that being shot at would bother him that much more. He knows that these are his final days, and does what he can to leave a great legacy, pushing pet projects through, rather than being content to wait around and let them play out, as he has in the past. He may only redouble his efforts, lending even more urgency to his mission.

Unfortunately, Tom is running out of time. Dr. Harris (Karen Aldridge) tells him the disease is progressing rapidly. Mona Fredericks (Sanaa Lathan) is assuming Ross’s mantle and gunning for him. Debra (Jennifer Mudge) is still alive and could expose Tom’s attempt to strangle her. Zajac (Jeff Hephner) is getting restless about the lack of support from Tom. Cullen (Francis Guinan) still holds a grudge, as evidenced by his treatment of Zajac. Kitty (Kathleen Robertson), a jaded employee, may agree to conspire with the persistent newsman Sam Miller (Troy Garity), to expose Tom’s dark secrets. Add these threats to the list of likely shooters, and Tom’s enemy list is long, indeed.

However, as Meredith tells Zajac in season one, do not underestimate Tom Kane. The challenges to his position are numerous and frequent, and yet Tom continues to stay on top. As season one ended, it looked certain he would crumble, but he still stands. No matter how many angles they come at him, he weathers it all.

The question is, how long can Tom continue to do so, given his declining health? His hallucinations of Ezra (Martin Donovan) and continuing bumbling speech patterns betray his weakness. For now, Meredith is the only one alive in the inner circle that knows about Tom’s illness, having finally gotten it out of Emma. But it won’t stay buried forever. Whether Tom does himself in, or his foes finally find that chink in his armor, he will come tumbling down. This is not underestimation; this is reality. The draw of BOSS is watching to see just how long it takes for that day to arrive.

BOSS airs Fridays at 9 p.m. ET on Starz.

"Listen" to the Boss

     Starz's newest drama tackles politics in Chicago. In the first episode of Boss, called "Listen," Mayor Tom Kane (Kelsey Grammer, Frasier, Back to You) speaks heroically of fighting corruption. Yet, he has a debilitating disease that will soon leave him incapable of doing his job, and he is hiding it. Not only that, but Kane is setting up Ben Zajac (Jeff Hephner, Hellcats) to run for governor against the current one, McCall Cullen (Francis Guinan, Hannibal), whom Kane is publicly supporting. So Kane talks the talk, but fails to walk the walk.

     Chicago is known for corrupt politics. Throughout American history, many an elected official in the city and state has faced charges, and spent time behind bars. These are not just ancient tales; a number of governors from the past few decades have continued the tradition. And while Chicago is not the capital city where the governor is based, it is sometimes blamed for the system that allows such bad behavior, if for no other reason than it's easy to lump things together. Thus, the Windy City is the perfect setting for a story like Boss, and Tom Kane is a familiar figure. While not based specifically on any real person, with a fictional story unfolding, Boss does uphold a realistic spirit, and is easily believable. That is not to say that all politicians from Chicago are corrupt, of course. There are probably plenty of good, even great, ones. But there is a reputation that Chicago has in the minds of many people, and this series plays into that stereotype.

     Is disease a personal issue, or does the general population deserve to know about it, when, like Kane, the ill person is a public servant? After all, the people elect him to do a job, and the symptoms of the disease will soon begin negatively impacting his abilities. Kane is destined to begin hallucinating and lose intellectual function. These are not trivial matters for a high ranking public official. In this case, it is unethical to hide the condition. In this case, the stakes are much more than just personal.

     Not only is Kane hiding the disease, but he is going to great lengths to do so, further betraying the public trust. Using a close confidant named Ezra Stone (Martin Donovan, Weeds, Insomnia), Kane asks that his doctor (Karen Aldridge, well known in the Chicago theater world) be reminded of her obligations to stay silent on the matter. One of Stone's connections does this by drugging and threatening her. This, despite the fact that the good doc blew off reporter Sam Miller (Troy Garity,The Playboy Club), who is digging around. Will the scare tactic make her more determined to stay silent, or will it backfire, as she wants to get the story out?

     One has to wonder how Kane chooses Zajac as his man in the race for Illinois governor. Kane seems to have a working relationship with Cullen already. And Kane stages a photo with Zajac to leak to Cullen instead of keeping it a secret. But perhaps Kane wants more power, and thinks that Zajac is the right patsy to get him that? Not that Kane will be able to wield such influence for long, considering his condition. More importantly, Kane's assistant, Kitty O'Neil (Kathleen Robertson, Tin Man, Beverly Hills, 90210), is sleeping with Zajac. Did she bring Zajac to Kane's attention? Is Kane having her sleep with Zajac to further control him? Or did they just meet because of the new arrangement? This relationship bears further scrutiny.

     Not everyone is in the dark about Kane, even though he works hard at his noble public image. In "Listen," a Native American burial ground is found near the airport. So as to not interfere with his plans to expand O'Hare, Kane has control of the sacred soil put on a trash service bill as an addendum. Suddenly, the city council, who do not seem surprised, is angrily forced to hand Kane power without oversight, or risk alienating constituents for voting down a popular and necessary measure. While this is not resolved by the end of the episode, it's fairly clear that Kane will get his way.

     Kane seems like one tough cookie. Besides the way he handles his political opponents, and the derisive way he treats his staff, even coldly telling Kitty to never ask if he's OK, there's something in "Listen" that demonstrates Kane's character even better. It's true that the real measure of a man is what he does when he is alone. At a fundraiser, Kane is given a box. Opening it later in his kitchen, he finds severed human ears, presumably belonging to the guy that gives him the box, whose head is bandaged. Kane nonchalantly picks them up and drops them in the garbage disposal. This means Kane is calculating, hard to frighten, and has little compassion for his fellow human beings. The casual manner in which he handles the whole thing is chilling.

     Sadly, Kane's family likes him about as much as his enemies do. His wife, Meredith (Connie Nielsen, Gladiator, Law & Order: SVU), has her own bedroom, when Kane even returns to his house, which apparently is not a daily occurrence. She barely talks to him, only as necessary, and does public functions just to maintain an image. Why even stay married then? Well, Meredith may be the one who wants to keep the union intact. As the mayor's wife, she controls education funding, and is an important figure. Take away who her husband is, and that evaporates. This could point to Meredith being nearly as cold as her husband.

     Daughter Emma (Hannah Ware, Shame) works at a health clinic for the poor, and is also a minister. So she's probably a lot more warm and caring than her parents. She doesn't have much interest in speaking with her father when he calls, though, so she knows who he is, and is soured on him. That's not surprising. What is, is that despite all of her good deeds, Emma goes out of her way to bond with a drug dealer named Darius (Rotimi Akinosho). She does throw away the drugs he gives her, but is that because she is an addict trying not to relapse? Is she trying to expose Darius and stop his activities? It's just not clear yet.

     When faced with one's mortality, one wants their loved ones around for comfort and support. In "Listen," Kane begins to show signs of this. He calls his daughter, and he tries to strike up a chat with his wife, both of whom are less than receptive. Is it too late for Kane to find peace before death? Should he focus on a political legacy, or his family? He probably doesn't have time left for both, and if he tries to balance, he could accomplish neither. Which sets up Boss as a very neat, gripping drama, starring a fantastic actor at the top of his game.


     Watch Boss Fridays at 10 p.m. ET on Starz.


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Article first published as TV Review: Boss - "Listen" on Blogcritics.