New Series INVINCIBLE

 Article first published as Amazon Prime's INVINCIBLE Review on Seat42F.

Amazon Prime has a new hour-long animated series coming next week called INVINCIBLE. Based on the comics of the same name by Robert Kirkman, the story follows a teen boy who begins to exhibit superpowers like his dad. This in a world filled with supers, both heroes and villains, with teams of powered people everywhere you look. But this particular boy is soon drawn into drama between several of them, and some dark secrets make things messy, indeed.

In preparing for this review, I not only watched the three episodes Amazon made available, but also read the first dozen or so issues of the comic. INVINCIBLE is a compelling tale that starts out looking like one thing but then becomes something almost completely different, yet at the same time holding onto a steady core. There are differences in the adaptation from page to screen, with some characters changing ethnicity and gender, and events are rearranged. Also, the comic seems to have more roles that are direct copies or parodies of existing properties from other publishers. But the changes seem to be good ones, mostly made to deepen the story and fit the episodic format length. If you were already a fan of the book, I suspect you’ll like this adaptation.

I can’t think of another hour-long animated show. The episodes, without commercials, come in at forty-some minutes, about as long as a broadcast drama, and double the length of most cartoons. The material in INVINCIBLE justifies it, though. Like Robert Kirkman’s other famous property, The Walking Dead, the story is complex and disturbing, at times graphically violent (as teased in the trailer). Yet, INVINCIBLE also has a cheery optimism because of its lead, Mark Grayson (Steven Yeun, The Walking Dead), that keeps things entertaining.

The voice cast is stacked with huge talent. Yeun stars, and the other two leads listed in the credits are Mark’s superhero dad, Nolan Grayson (J.K. Simmons, Whiplash, Spider-Man), and ‘normal’ mom, Debbie Grayson (Sandra Oh, Grey’s Anatomy, Killing Eve). There’s a shady government type, Cecil Stedman, voiced by Walton Goggins (Justified). And among those playing other supers are Gillian Jacobs (Community), Jason Mantzoukas (The Good Place), Zachary Quinto (Star Trek), Seth Rogen (Pineapple Express), Mahershala Ali (House of Cards), Michael Dorn (Star Trek: The Next Generation), Clancy Brown (Lost), Melise (The Vampire Diaries), Lennie James (The Walking Dead), Michael Cudlitz (The Walking Dead), Chad L. Coleman (The Walking Dead), Ross Marquand (The Walking Dead), Khary Payton (The Walking Dead), Lauren Cohan (The Walking Dead), and Sonequa Martin-Green (The Walk-, er, Star Trek: Discovery). Not to mention other characters voiced by Jon Hamm (Mad Men), Chris Diamantopoulos (Silicon Valley), Andrew Rannells (Girls), Zazie Beetz (Atlanta), Jonathan Groff (Mindhunter) and Mark Hamill (Star Wars). Believe it or not, this is not a complete list of recognizable names, and this list should give you an idea of how good the show is that so many pros wanted to be involved.

The world of superpowers has been done to death, and yet INVINCIBLE feels fresh. Partly because it leans on the tropes and familiar archetypes you already know and subverts them. Partly because it sometimes feels like its making fun of the genre it portrays, even while the characters feel grounded. This is a new take, and one worth watching.

As far as the story goes, I can’t say much. There are locks on spoilers, and I wouldn’t want to give anything away if I could because the shocks hit hard and fast. What I can say is this. The pilot starts out looking very much like a late 80s / early 90s cartoon of my youth, and that style never changes, lending an immediate comfort. But by the end of the first hour, this is disrupted, and each subsequent installment only continues the transformation. It is an artistically interesting production with an intriguing mystery and plenty of emotional-moving scenes. I both laughed and cried already. I definitely recommend it.

INVINCIBLE drops its first three episodes on Friday, March 26th, with weekly episodes streaming after that, only on Amazon Prime.

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.

Part / COUNTERPART

Article first published as TV Review: COUNTERPART on Seat42F.

COUNTERPART is a new drama premiering on Starz tonight (though fans of Outlander might have already seen the pilot, which aired ‘sneak preview’ style after the recent series finale). The story follows a mild-mannered man who has spent his career in an unsatisfyingly low-level job within a secretive part of the UN. Said man, Howard Silk, has his life suddenly disrupted when he finds out that his employer is actually guarding a gateway to a parallel reality. And he learns this because a tough, commanding version of himself crosses over to defect and help them stop a serial killer.

J.K. Simmons (Whiplash, Spiderman) is brilliant as both versions of Silk, the leading role he deserves. Simmons is one of those performers who got the supporting player and character roles for far too long, but can totally handle headlining. It almost seems like COUNTERPART is making it up to him by giving him two such roles at once, and complex ones at that. For Simmons alone, I would like to watch this show.

He is joined by a brilliant supporting cast. Harry Lloyd (Manhattan) plays his boss, Peter Quayle. Olivia Williams (Manhattan) is Silk’s wife, Emily, who seems to have quite a different relationship with the protagonist on each side. Jamie Bamber (Battlestar Galactica) is Emily’s tool of a brother. Sara Serraiocco (Worldly Girl) is the enigmatic, gender-fluid assassin. There are quite a few more characters, too, but these are the ones that stand out the most in the pilot.

In terms of genre, COUNTERPART crosses a couple of them. Its narrative structure is that of a spy thriller. There’s a cat-and-mouse aspect to the espionage, and real danger. Violence is a tool, not the point of it all, and there is plenty of mystery. There is a Cold War feel to the hunt, two sides who could cause great damage to one another, staring across the abyss, full-fledged conflict threatening to erupt. And, of course, one cannot deny the strong science fiction aspect.

Speaking to the sci-fi, there is a promising premise here to be explored. It’s interesting that they establish these two realities used to be one, splitting off at a defined point. Given how different things have gone on each side, one really wonders about specific events and their importance. I think it would behoove the show to explore the past as well as the present as the tale unfolds, as viewers will be curious at how some of the divergences happened. Plus, we don’t yet know all the rules of the separation and what might be done, nor much about the code work Silk was doing, which definitely seems to have larger meaning than we see in episode one.

In short, I really, really dig COUNTERPART. While it shares some familiar elements with other series, it also appears to have its own, strong identity, and a rich world to explore. I have no idea where things are going, which is a big plus on a show like this, but I can’t wait to see them play out. With the stellar cast, especially Simmons, it seems likely that even weaker moments will play well. Though, the pilot seemingly lacked those weak moments, which hopefully keeps up as the show goes on (always an iffy prospect for high-concept sci-fi, which often stumbles when forced to explain everything).

Starz has a great series here. I only wonder why they didn’t keep it paired with Outlander. I feel like there is enough common DNA, though the two shows are very different, that it could keep some of the same audience. True, Starz might want to maintain the viewers when Outlander isn’t on, but they seem like such a natural pairing, it looks to be a missed opportunity to air them in different seasons.

COUNTERPART premieres tonight at 9/8c on Starz.

GROWING UP FISHER Nice Way to Grow Up

Article first published as GROWING UP FISHER Review on Seat42F.

Sunday night, after the Olympics, NBC will be previewing its new sitcom GROWING UP FISHER, which will regularly air on Tuesday nights. It’s the (based-on-a-true) story of Henry Fisher (Eli Baker) and the changes his family goes through when his parents divorce. They don’t have a good marriage, but living separately brings them closer together than ever, as both parents are dedicated to their children.

GROWING UP FISHER reminds me a lot of The Goldbergs. Both tell the tale of an actual family and have voice-over narration, with FISHER’s provided by Jason Bateman (Arrested Development). But FISHER is set in the modern era, adapting the details of the episode to today, rather than recreating an older period, as The Goldbergs do. Still, they both share the same sweet emotional bonds and feeling of authenticity, remixed for laughs.

The Fisher parents are played by Jenna Elfman (1600 Penn, Dharma & Greg) and J.K. Simmons (The Closer, Spiderman), two wonderful comedic actors. Both have been in failed sitcoms lately; it’s about time they get something that works. GROWING UP FISHER has the potential to be that vehicle, even though it’s not that original, because the charm and the love oozing from it are very enticing.

Elfman plays Joyce, a woman who lost out on her young, carefree days by getting pregnant with daughter Katie (Ava Deluca-Verley) on her second date with Mel (Simmons). Joyce is now suffering a mid-life crisis, and so wants to recapture those glory days, buying the same pants that her daughter has, and generally acting immature. It’s this behavior that instigates the divorce, or so it seems, as the series avoids placing blame on anyone, presumably to protect the real people that inspired the show.

The one glaring problem with GROWING UP FISHER stems from Joyce’s arc, though. Elfman is in her 40s, meaning she’s a bit too old to be playing someone who got pregnant too young and whose daughter is now only sixteen. Even if one sets that aside and decides to see Elfman as ten years younger than she is, there’s still the ick factor when one considers Simmons is fifteen years her senior, meaning he would have to have been a creepy old guy preying on a teenager. So this math simply does not work. But I’m willing to ignore that because I really like the performers, and they do do a great job building these parts.

Mel is immature, too, but in a different way. Completely blind since age twelve, Mel fakes his way through the world of people with vision. For years, he manages to trick many into thinking he can see, often with the help of his son, Henry, and he doesn’t let his disability stop him from doing anything, including cutting down trees and parallel parking. He’s inspiring, but also down to earth enough to let his flaws show, making him likeable, not ridiculous.

Some might say that Mel is not a realistic character because of the things he does. It’s true, the outrageous acts he commits make him seem like a cartoon. However, sometimes the least believable story is the most likely to have occurred, and even if the part if exaggerated, Simmons definitely communicates effectively the spirit of the man he is portraying.

Much of the first episode’s story stems from Henry feeling replaced when Mel gets a seeing-eye dog named Elvis. Mel couldn’t have Elvis before because Joyce is allergic to dogs, but now, the dog is guiding Mel in the way that Henry used to. It makes sense for Mel to get Elvis, since Henry won’t be around his dad full-time any more, but it also causes friction, which Mel finds a really neat way to solve, totally in keeping with his character.

I don’t know how many more installments can be built off of this established premise, but family sitcoms seem to have a way of working over time, and given the development that these characters are begging for from the start, GROWING UP FISHER has plenty of room to grow. The writing is witty and the players are entertaining. The end of the premiere even brought a few tears to my eyes. What more can you ask for in a family sitcom?

Punch in the Family Tools

Article first published as Punch in the Family Tools on TheTVKing.

I absolutely love Kyle Bornheimer and hope that some day he is a big sitcom star. But I've become pessimistic about the chances of that happening. His first big series, Worst Week, was funny, but didn't last. His second chance, Perfect Couples, was near perfect, especially given his chemistry opposite Christine Woods (Go On), but again, died before its time. Now, we get Family Tools on ABC which is, going by last night's series premiere, by far the least of the efforts.

Bornheimer stars as Jack, the son of fix-it man Tony (J.K. Simmons, Spider-Man, The Closer), who returns home to take over the family business when Tony suffers a heart attack. The business comes with a slacker assistant, Darren (Edi Gathegi, House, X-Men: First Class), and a van. Jack's digs are in the basement of his Aunt Terry's (Leah Remini, King of Queens) house, which he is forced to share with his weird younger cousin, Mason (Johnny Pemberton, 21 Jump Street). Needless to say, it is not a smooth transition.

The biggest issue is that the cast is not used well. Bornheimer is best at playing an earnest, loving man who devotes himself to pleasing others, which is what Jack is and works his hardest to earn their approval. However, Jack is also a directionless loser who was washed out of lots of careers. This takes what Bornheimer does to the goofy, unrealistic extreme, stripping away the layers that make him sympathetic.

Darren is little more than a stereotype, and one wonders how he possibly has worked well with Tony all these years. Tony is just as poorly written and developed, constantly ignoring orders to rest as he spies on Jack, with no consequences. And Mason is just completely unfunny.

The exception to this mess is the relationship between Tony and Jack, which actually does come across as authentic. Not every father can talk to his son, and I really liked the scene in the ambulance where Tony admits he doesn't know why he's harder on Jack than Darren. There could be something here, but the rest of the half hour squanders it.

I wish Family Tools was a solid comedy series. The cast is good, and deserves a win, but the writing doesn't gel. The heart that should sneak into emotional scenes is ruined when, for instance, Terry won't let the paramedics in to help Tony during his heart attack until he promises to take it easy. What kind of sister is that cruel? Are we really supposed to like her after that? And how do we root for Jack when we see just how big a screw-up he is? Or believe that Stitch (Danielle Nicolet, The Starter Wife), who seems like she has her life together, could be interested in him?

I found few entry points to access this material at all. I really want Bornheimer to get a great vehicle a lot of people watch. I firmly believe this is not the ticket.

Family Tools airs Wednesdays at 8:30 p.m. ET on ABC.

Closing out The Closer

TNT's The Closer ended much the same way as the show lived. In "The Last Word," Brenda (Kyra Sedgwick) investigates a murder that she is sure Phillip Stroh (Billy Burke, Twilight) is behind. She is reminded of her restraining order, but is allowed to pursue Stroh based on legitimate evidence. Brenda crosses the line a bit, maybe more so here than before, and then the bad guy is caught.

But a few things are a bit different about "The Last Word." Brenda is fired / retires, depending on who is telling the tale. She has crossed the line many times. In fact, she's kind of known for it. But attacking Stroh in an elevator because of some verbal bait is just one instance too many. She knows she won't have a job heading Major Crimes anymore because she's stepped out one time too many. So she accepts a career change when the offer comes along.

The Closer is, by and large, a crime procedural. Even the finale episode focused on the case of the week quite a bit. One might wish for a series finale to stray away from that formula, and it does, a little. But as a fan of story and character, spending even this much time on some random crime seems a waste of a good actress, Sedgwick's swan song being almost every-day mundane, rather than a super special episode.

Yes, there was some personal meaning to Brenda, as the suspect had been in two other episodes, establishing him as a character in this world before now. She is also at a crossroads and takes a witness's words to heart. But Brenda has been so close to having to leave before that it doesn't seem that spectacular or different that this is the time that she flames out. The rest of the world will go on, but she will no longer be a part of this corner of it.

It's kind of a shame she takes a job so close by, then. Viewers are going to anticipate each Sedgwick drop by, and it doesn't feel like she will do many, if at all. Moving her into the job they do leaves the door open, but when the actress is made it clear she doesn't want to continue the character, why tease people like that? Maybe it's to allow Fritz (Jon Tenney), her husband, to appear in Major Crimes on a recurring basis, but it's still kind of a jerk move.

The thing is, with the sets staying up, and most of the cast continuing in Major Crimes, there isn't too much of a sense of closure here. Sure, Brenda is given a purse by her men to replace the one she shoots Stroh through. It's a touching moment for her. But then they all go back to work the next day, as we soon see in the first episode of the new show, airing right after this. In such, it's only a goodbye to one character, and does not feel the end of much of anything.

Well, technically it is a goodbye for three characters. Pope (J.K. Simmons) moves into a new position that, like Brenda, should come into the department's circle from time to time. Unlike Brenda, he may actually pop in periodically. And Brenda takes Gabriel (Corey Reynolds) with her, so he, too, could show up once in awhile, but won't continue on as a main character.

Will Brenda be missed? Of course. Many tuned in for her. But that's the thing about crime procedurals. You can lose a character and continue on just fine. The main point of these kinds of shows are the cases that flit in an out in an hour, never really taking the time to go deep into the characters. That's why Major Crimes will just feel like The Closer continues on. And why neither are really worthy watching on a regular basis.

If you like my reviews, please follow me on Twitter! Check out my new website, JeromeWetzel.com! Article first posted at TheTVKing

The Closer closes fifth season

     I am not a fan of Kyra Sedgwick, and as such, have never given The Closer a chance.  This, despite the fact that it is the highest watched cable series ever, and the number of viewers has grown every season.  So when I received the screener DVD for tonight's season five finale, I decided to give it a shot.  After all, I can't stand Sarah Jessica Parker, but I liked Sex and the City.  I thought that maybe this would be the same.  I soon confirmed my suspicion, though, that this was a procedural show, not serial, and so while I may like an episode, it is not something I would probably watch regularly.  The following review does contain some slight spoilers, but does not ruin any big twists or the ending of the episode, which airs tonight on TNT.

     This was a great episode.  Sedgwick's Brenda Leigh Johnson is a tad annoying, but she is surrounded by a strong supporting cast, especially J.K. Simmons (Spiderman trilogy) as Chief Pope.  He is grumbling, but lovable, and this week, he has a major beef with Johnson that goes beyond the current case.  If only she knew what it was, she might also discover why her live-in boyfriend Fritz (Jon Tenney, who recently did an arc on Brothers & Sisters) seems irritated with her as well.  The answer to that question may throw quite a wrench into her relationships with both men.  Or maybe not.  You'll find out if you watch the episode.

     The rest of the police team really gelled.  I don't know if they've been fleshed out as individuals, as they all sort of blurred together this week, aside from Taylor (Robert Gossett), who's tough demeanor with the warm center, played apart from the stereotypical, would make a welcome addition to any show, crime related or not.

     This week's main case revolved around the suspected abuse of an officer under the command of Captain Raydor (Mary McDonnell, Battlestar Galactica), returning as a nemesis to Johnson.  Raydor wants Johnson to investigate if one of her women is being beat by her husband, but wants Johnson to tread lightly, though the officer refuses to cooperate.  Of course, things do get ratcheted up a notch, and while the conclusion was predictable, (I knew what really happened as soon as Johnson arrived at the crime scene) watching Sedgwick and McDonnell spar was massively entertaining.  It was a great dynamic, and were McDonnell to return to the show, I'd certainly be interested in watching again.

     Even if you have never watched The Closer, I do recommend turning it on.  You might be pleasantly surprised by what you see.  No prior knowledge needed.