Amazon Goes to the CARNIVAL

Article first published as CARNIVAL ROW Review on Seat42F.

WARNING: This review contains spoilers for the pilot, but only the pilot.

With Game of Thrones over, a slew of fantasy shows will surely be trying to capture that audience. Amazon’s entry into the race is CARNIVAL ROW, a dark drama that merges magic and the real world into a steampunk, war-torn, fictional version of Britain. While Game of Thrones, it is not, CARNIVAL ROW does have some intriguing elements.

The story begins with fae Vignette Stonemoss (Cara Delevingne, Suicide Squad) fleeing her home. With her brethren strung up or shot down around her, she somehow dodges bullets and barely makes it to a sailing ship off the coast. But that is only the beginning of her troubles as she makes her way to the heart of the Burge, a stand-in for London, England.

The other lead is Vignette’s missing lover whom she assumes dead, human Rycroft “Philo” Philostrate (Orlando Bloom, Pirates of the Caribbean, Lord of the Rings). Philo is working as an inspector for the local constabulary, trying to find whoever is beating up the fairy folk refugees, also called Pix. Philo, having fought alongside them in the war with the mysterious Pact, feels respect and decency towards the fairies who have had to flee their home, which is not a sentiment shared by all of his kinfolk.

The political and racial themes are many and central. In a city populated mostly by humans, but with a decent among of fairies and Pucks, the tensions are rife. This should be familiar territory for showrunner Rene Echevarria, one of the writers for former series Star Trek: Deep Space 9, who is used to handling such stories. The relationships between the races at large and the individuals specifically are complex and dense, something only glimpsed at as the show begins, and with plenty of room to delve deeper. They feel familiar to the real world, but also appear to be pretty solidly laid out in their fictional version.

Design is one of the strongest elements of the series, aside from a small handful of weak spots in the CGI. It’s easy to see the influence of Guillermo del Toro, who was involved in the development, but also is more grounded than some of his work. The steampunk sensibility is in vogue, rightly so, but the production also has enough originality in the details to avoid just ripping off an existing style. Mixing something akin to magic into this sensibility is pleasing and feels natural.

Bloom is excellent, as one might expect, and Delevingne is coming along as an actress, not quite matching his level, but close enough for a starting point. I expect she’ll improve the series progresses, and she does project a tone that fits the world well. They are joined by Jared Harris (Mad Men), Indira Varma (Game of Thrones), Tamzin Merchant (The Tudors), David Gyasi (Interstellar), Simon McBurney (The Borgias), Andrew Gower (Outlander), and many lesser known, but talented, performers. I have no complaints about the cast, many of whom have fine experience in genre programs.

Great production design, a good cast, and thorough world building are all terrific elements to have, but don’t guarantee an overall success. CARNIVAL ROW feels very near to a great series, but there’s something just a little off to keep it from getting up to that top tier. It’s hard to put a finger on just why that is. Perhaps it’s a little slow, and isn’t quite as compelling as it needs to be to pull that off. Or maybe it’s just a hair darker than necessary. It’s fine, to be sure, but lacking some ineffable quality at the moment. It may gain this in time, but just doesn’t quite have it yet. It’s good enough to give it a chance, but I’m not sure at present if it’ll be worth seeing through.

To judge for yourself, check out all eight episodes of CARNIVAL ROW, now available on Amazon Prime.

THE TERROR

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

THE TERROR comes to television at a time when there are a great many “true story” dramas on television. Given that this show is about an actual boat, two boats really, called Terror and Erebus, that went missing in the Arctic Sea in the 1840s, it is a logical conclusion to make that the events portrayed actually happened, at least in part. Especially because quite a bit was found from these lost ships.

However, the AMC series is not claiming to be true, nor does it take many of its cues from real life. It is an adaptation of a novel, also called The Terror, by Dan Simmons, in which supernatural horror mixes with reality. This historical fiction is meant to be a good companion for The Walking Dead, still the network’s (and scripted television’s) most popular show. Whether it’s scary or gory enough to run in those circles, well, you can make that determination yourself.

The cast is headlined by some familiar faces. Ciaran Hinds (Game of Thrones) plays Captain John Franklin, the man in charge of the expedition, whose poor decision gets the ships stuck in ice before the first hour is over. He is assisted by a bunch of officers, primary first mate Francis Crozier (Jared Harris, The Crown) and second mate James Fitzjames (Tobias Menzies, Outlander). The show is slow to really distinguish many of the characters as individuals, but these three do lend it some heft that will buy the series some time to find its footing. Though I couldn’t tell you much else about anyone else in the cast.

The tone of the piece is pretty cool. The cold is well communicated in both design and performance, likely to give some in the audience chills just from watching. There’s also an underlying feeling of dread from start to finish of the first hour, giving you chills of a different sort. The isolated, dark, desolate locale the ships are traveling through effectively sets the right mood. It feels like there’s always something lurking around the corner, like death could occur at any time. And it occasionally does.

Without having read the novel, I do not know what is coming, other than that all hands were lost (going by historical events). Some people may be hesitant to get too attached to any of the characters, knowing their demise is certain. But without knowing who will go and when, THE TERROR is good at building tension, keeping you on the edge of your seat. Which is the point.

THE TERROR doesn’t seem to have much of a mission beyond that. Since it’s a fictional take, it doesn’t inform the viewer. The pacing is slow and character development seems minimal. The focus is less on building a fully realized world and cast of characters than having some highly qualified performers fill screen time until the series gets around to killing them off. The names at the top of the cast list (the three above) are likely to be some of the last ones just for that reason.

And that’s why I have trouble recommending THE TERROR. I enjoyed it, sure, and I may watch more of it simply because I like both history and the actors. But I don’t think the writers are really giving us a full story. It’s a valid choice to write for the situation, not the players, but it makes for a far less compelling narrative. Will anyone even care when any of the leads depart this life? I’m not sure. Other shows offer more, so that knocks this one down the priority list, even though it does expertly set a tone.

THE TERROR airs Mondays on AMC.

Mad Men continues evolution as another year comes to an end

AMC's Mad Men characters have undergone quite a bit of change throughout the fifth season. Society around them continues to evolve at a rapid pace, and as one era ends, another moves forward. This can be unsettling to many, as the series embraces this new world order, as well as the differing reactions the characters have to it, with realism and skill. "The Phantom," this week's season finale, is a superb example of this, enhanced by the artistic, beautiful image of the five partners in their new, empty office space.

Lane's (Jared Harris) suicide still haunts, but the firm moves on without him. He helped them get the ball rolling, but is not necessary for the future of the company. The things he tries to promote, not always successfully, such as financial stability and caution, fall to the wayside as the other partners think about expanding their offices. And why not? They've made a lot of money, and things are looking up. Plus, Lane's insurance policy provides an influx of cash.

How long will this last? Only Joan (Christina Hendricks) voices any concern, but this quickly falls to the wayside. Everything is fleeting, and they've all lived through the volatility of their industry. They would do well to remember those lessons, and the hardships of the lean times, as they move forward.

Sterling Cooper Draper Pryce is not remotely the same company it is when season five begins. A lot happens. They are now integrated. They have a female partner. Said partner, Joan, sells her morality and her body to satisfy her ambition and to prove her loyalty. Roger (John Slatterly) tries to find inner peace, and does briefly, before collapses in on himself again. Bert (Robert Morse) shows signs of his aging, and the loss of his firmly held beliefs. Don (Jon Hamm) deals with the absence of his drive and talent. Employees come and go. Old friends are looked in on. And the business grows, but at what cost?

Does Don feel guilty for his role in Lane's passing? After all, it is not long after Don confronts and fires Lane for his embezzlement that Lane ends his life. There is definitely a connection, and Don realizes this. However, not being pulled down too much by grief and regret is not something for Don to be ashamed of. After all, Don is kinder than he has to be to Lane, and he does not expose Lane's wrongdoing to the other partners. Whatever Lane's wife (Embeth Davidtz) may say, Don shouldn't take the blame personally, and I don't think that he does.

Instead, Don has his toothache to worry about. Yes, the physical ailment is real, and may even be the reason that Don hallucinates his departed brother (Jay Paulson). But the underlying cause of the uneasy feelings stem from the rocky place his marriage with Megan (Jessica Paré) currently is in. Megan wants to be an actress, but Don is afraid that Megan's professional life may drive a wedge between them, taking her far away. These feelings are not without merit, but that doesn't mean that Don should hold her back. He realizes this, and is willing to let her go so that she can follow her dreams.

Will Megan keep returning to Don's arms as she promises, now that she is building a life apart from him? The question as to whether the character will return next season remains unanswered, and it seems like Don is contemplating life without her as "The Phantom" comes to an end. It could honestly go either way, as Mad Men has proven unpredictable. What is certain is that Megan isn't content to be a housewife, and Don truly loves her enough to want what is best for her, irregardless of the cost to himself. That alone shows major positive development for him. He may lose her, but he has a better self to compensate.

It is Peggy (Elisabeth Moss) that helps Don make this decision in "The Phantom." Peggy has long been Don's protege, and he does not take the news of her striking out on her own very well. But encountering her in a movie theater, things are good between them. Don is proud of the successful woman that she has become, and she is grateful for his help, though determined to now spread her wings outside of his influence, a logical next step.

If Peggy returns to the firm, and hopefully she will, the dynamic will be drastically different. They may even have to make her a partner to entice her back into the fold. It's also possible that Peggy will return defeated, though that is less likely, and not a happy possibility.

Though Don is probably thinking more about Megan than Peggy during their conversation, as the parallels between the two stories are obvious and intelligent. Don may say things that Peggy takes as applying to her, but his main concern is Megan.

Interestingly, Pete (Vincent Kartheiser) begins Mad Men wanting to be just like Don, the big man on campus. By season five, Peter has gotten his wish. He lives with a beautiful wife (Alison Brie) he doesn't really love in the suburbs, and fools around with an unavailable woman (Alexis Bledel, Gilmore Girls). This is exactly Don's past, golden on the outside, rotten within. Pete is dissatisfied and frustrated, not sure what will fill the hole that he feels. A great lesson can come from the old adage, "Be careful what you wish for." Don found an escape from the prison; will Pete?

There will be much speculation about season six, but the truth is, there aren't a lot of clues as to the direction that Mad Men is heading in "The Phantom." It has always been a show full of twists, which usually seem natural when they occur, but are hard to see coming. Rather than characters always forcing change because of their actions, many of the stories are driven by outside events, and explore how the characters deal with these growing pains. With only two seasons left, there is not yet a sign of any slow down, and it should remain a fantastic ride through the end!

Mad Men will return to AMC next year.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as Mad Men continues evolution as another year comes to an end on TheTVKing.

Fringe stops a "Brave New World"

Time is running out for both universes featured in FOX's Fringe in the climatic "Brave New World." William Bell (Leonard Nimoy) intends to play god, creating his own reality, but to do so, he is going to destroy everyone else. Not only that, he is using Olivia (Anna Torv) to power the destruction, so as September (Michael Cerveris) told them months ago, Olivia must die. Which is why Walter (John Noble) shoots her right between the eyes, in front of his son, Peter (Joshua Jackson), who loves Olivia.

Could this have been a heart wrenching series finale for the strange sci-fi show that has surprised and delighted viewers for four years? No. No Fringe fan would have been satisfied with such a tragic end, Olivia dead, son hating father more than ever, and Walter sinking even deeper into a mire of guilt. We care too much about these characters, and what happens to them. It is beyond cruel to leave all three central people in a bad place.

And so, as Bell escapes, Walter finds a way to bring Olivia back. She learns she is pregnant. They all celebrate in the hospital, where Astrid (Jasika Nicole) is recovering nicely from her own wound. Happiness for all!

Or is it? What happens in "Brave New World" concludes many of this season's plots, including stopping David Robert Jones (Jared Harris) and saving the world. It's a nice, and understated, two part episode, lacking the big cliffhangers from years past. It's exciting enough, and features a wonderful guest spot by Rebecca Mader (Lost). Tt doesn't change too many rules, other than draining Olivia of the powers she once possessed.

But just a couple of weeks ago Fringe revealed its final mission, slated to play out next year, the last season there will be of the show. In the future, The Observers rule mankind harshly, and a couple of survivors, Simon (Henry Ian Cusick, Lost) and Etta (Georgina Haig, The Elephant Princess), who happens to be Peter and Olivia's daughter, pull Peter, Walter, and Astrid from amber to help save humanity. This is the final conflict, the last great challenge the Fringe team must face. This is what hangs over "Brave New World."

How did Peter, Astrid, Walter, and William Bell get frozen in amber in the first place? Where is Olivia? Why must they wait decades to stand up to their oppressors? Is this a future that can be stopped before it happens? And, in this episode, the future is shown with a blue theme song. Does that mean things will be restored to Peter's universe, where everyone remembers him, before going down this path? And if that is the case, how could William Bell still be alive? Will we even see the red universe and Lincoln Lee (Seth Gabel) again?

On top of all these questions, why isn't this future episode the season finale? Why tease fans with it, when it didn't really fit within this season's mythology, other than to build appetite for next year?

It's a strange game Fringe is playing. It pushes and pulls in unexpected directions, keeping people on the edge of their seats, always wondering what is going on. With only thirteen episodes left to tell the story, it's sure to be a wild ride. If the first four years are any indication, it will also be a highly satisfying one, full of things no one can predict except those who write the show. I can't wait!

Fringe will return to FOX for its final season next fall.

If you like my reviews, please follow me on Twitter! To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com

Article first published as Fringe stops a "Brave New World" on TheTVKing.com 

Mad Men deserves more than just "A Little Kiss"

After a hiatus of nearly a year and a half, AMC's Mad Men returns with "A Little Kiss." Pete (Vincent Kartheiser) begins to resent Roger (John Slattery), not believing Roger is pulling his weight at Sterling Cooper Draper Pryce. Roger isn't concerned much, spending money to poke fun at another agency in the paper, which results in Joan (Christina Hendricks) fearing that her job is in jeopardy and the firm having to hire minorities on their already tight budget. Amid this, Megan (Jessica Paré) throws Don (Jon Hamm) a surprise birthday party, but does not get the reaction that she hopes for.

"A Little Kiss" is a little disappointing. Just a little. It's not that there's anything wrong with the episode. It's just that, after such a long absence, one expects a big, splashy return. That's not what this episode is. It does an adequate job catching viewers up with what is going on for the characters, and there are some amazing moments sprinkled in, but it is mostly a routine installment.

Megan gets her due, to say the least. Now promoted to series regular, she is central to multiple stories in "A Little Kiss." At work, she is a junior member of the creative team, no longer a simple secretary. Her position is shaky, being that she is obviously promoted because of her marriage to Don, but Peggy (Elisabeth Moss) seems to be warming up to her, slowly. If Megan can win Peggy over, she'll be fine. Megan contributes, proves she is up to the job, and willing to work for it. This should result in her acceptance, given time.

At home, Megan's birthday party doesn't go so well. Many of the co-workers enjoy Megan's sexy song, "Zou Bisou Bisou," for Don, but Don is embarrassed by her. Setting aside just how stellar her gift is, one can see why, given the sexy moves Megan performs in front of others, but the moment is still a highlight of the episode. However, the fight between the couple does spill over into the work place, and makes things awkward, especially for her.

The thing is, Megan's relationship with Don is more important than her connection to her colleagues, and the former is on pretty solid ground. In stark contrast to Don's disastrous marriage to Betty (January Jones), Megan doesn't allow Don to get away with his behavior. Nor does she act like a little child. She does resort to some antics to get his attention, but it's to challenge him, rather than punish him. They work out the matter, rather than ignoring it. It's a healthy sign for their union.

Another healthy sign is just how happy Don seems. There is a rough patch in "A Little Kiss," but overall, he seems much more at peace than at any other time during the series. This can surely be credited to Megan, and thus, her presence is welcome. Their nuptials do seem a little fast, but she's proving to be a good match who can inspire Don to be his best self. Better still, he already told her his secrets between seasons, including that he is really Dick Whitman, so there is no dark cloud hanging over them.

Pete's marriage to Trudy (Alison Brie) in Mad Men, on the other hand, seems far less suitable. Pete is clearly unhappy no longer living in the city as of "A Little Kiss." He doesn't exactly cheer the advice of his buddy on the train, who suggests that Pete stay at work later, if he comes home at all, but it does appear that Peter considers the words. How long before Pete begins to act on them? And how long after that before Trudy leaves him?

Roger, too, isn't happy in his marriage. He ignores his wife, Jane (Peyton List), or tells her to shut up. It's not like Roger has ever been happy with anyone (except for Joan), but this is the bed that he made. If he doesn't want to stay married, then get a divorce. Having an unhappy home is not doing him any favors, and with everything else going on, Roger needs some sanctuary where he can feel at ease. At present, Roger is lacking that.

Pete's relationship with Roger is even more tenuous in "A Little Kiss." Pete wants to push Roger out, and makes a play for his office. Roger holds him off, for now, by bribing Harry (Rich Sommer) to switch with Pete instead. Not exactly what Pete wants, since the office isn't really the issue. But this struggle is far from over. And might Pete just be lashing out at Roger because he is unhappy at home?

The thing is, while Pete is right about Roger not bringing in a lot of new business, or really, any, Roger does have value. Clients love him. Potential clients love him. Roger has great people skills, and is fantastic at entertaining with alcohol and fun. This can be very important for a firm that needs all the business it can get, and is still growing. Not giving Roger his own secretary may make sense, but trying to oust him does not.

Is Cooper (Robert Morse) on his way out of Mad Men? He doesn't seem to have an office anymore, and he is treated a bit like a dolt. Not that Cooper seems to notice. He asks to be included in a status meeting in "A Little Kiss," right after it takes place without him. He's just through a glass wall at the time, so he could have noticed, if he were more alert. His mental acuity has definitely suffered, and it looks like he's merely a figurehead these days. But how long can they afford to keep him if he's not contributing?

Joan's position with Sterling Cooper Draper Price is definitely secure, despite her fears. Seeing the ad in the paper in "A Little Kiss," Joan is understandably worried. She may not want to show that in front of her annoying, controlling mother (Christine Estabrook, Desperate Housewives), but who can blame her? She has been away from the office for awhile, with her baby, and she wants to make sure that she has a place to come back to.

Thankfully, Lane (Jared Harris) lays her concerns to rest. No one can run an office as efficiently as Joan, and SCDP cannot wait to have her back. This is a load off not only the character's mind, but fans' as well. Mad Men would just not be the same without Joan at all.

Joan is not the only one shaken by the ad. It's a stupid prank by Roger, but Roger does not consider the consequences before acting. A crowd of African American job applicants show up. It's an unexpected twist, that reminds fans how brilliant the writing on Mad Men can be. All of the sudden, SCDP has a new challenge, and has inserted themselves squarely into the civil rights movement. They cannot send all these people away without hiring them. They would look like fools and bigots themselves. They will have to find money somewhere to provide jobs to at least a couple new diverse employees. Otherwise, their reputation could be ruined.

How will hiring African-Americans change the dynamic of the office? In modern society, of course, many, many offices are integrated without problem. However, in the world of Mad Men, advertising is a white male-dominated business. There is no ethnicity in their workplace. Each characters has a varying comfort level, with a number of them not having been exposed to many people different from themselves. It will make good drama to see who adapts, and who does not.

The final plot in "A Little Kiss" involves Lane finding a man's wallet in a taxi, and falling for the girl whose picture is in said wallet. While Lane is in a good marriage, for the most part, other than some money worries, he is considering straying. Thankfully, nothing comes of it, but not because Lane doesn't want it to. Where is Mad Men going with this character? He's been such a welcome addition to the cast, it would be sad to see him ruined.

"A Little Kiss" deserves at least a solid B+. As mentioned, it is a little uneventful for a long-anticipated season premiere. But as a standard episode, it succeeds, and moments such as Megan's dance, angry floor sex, and the joke ad situation even soar. And anyone else not miss Betty? Best of all, it's great to have the series back in our living rooms with all new stories, and that alone is worth a lot.

Watch Mad Men Sundays at 10 p.m. ET on AMC.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as TV Review: Man Men - "A Little Kiss" on Blogcritics.

"The End of All Things" doesn't stop Fringe

FOX's Fringe this week, "The End of All Things," finds Peter (Joshua Jackson) and the others frantically searching for Olivia (Anna Torv). With few leads, it seems fortunate that the primary Observer involved in events, known as September (Michael Cerveris), shows up in Walter's (John Noble) lab. Sadly, this Observer has been shot and is near death. Peter goes into September's mind to see if he knows where Olivia is being held, and instead, Peter discovers that he has a soon with Fauxlivia (also Torv) in his timeline. The Observer advises Peter to go home, then ejects Peter before dying and disappearing.

The Observers are a mysterious race, and Fringe fans may never learn everything that they do. But what is known is that other Observers are not happy with September, and want him to suffer the consequences. Do those consequences involve death? Or did someone else attack September. Why would anyone else wish him harm?

In "The End of All Things," September reveals to Peter that the Observers are human beings from one possible future that travel through time and observe events. September feels guilty for interrupting Walter's work in this timeline, causing Walter not to save Peter's life. As such, this alternate timeline, as shown all season, is a mistake. This particular reality shouldn't exist. Why, then, is Peter in it? And why do the Observers want to erase Peter completely? If Peter is supposed to survive, without September's interference, shouldn't the others want Peter there?

Then again, in the 'normal' timeline, September intervenes and saves Peter from drowning because he is "important." Important how? To solve the paradox? And now that it is solved, why is Peter still around? Does this mean that Peter shouldn't exist, and that September interrupting Walter means nothing? The possibilities are many, and confusing.

The bottom line gleaned, though, in "The End of All Things" is that Peter must return home. Sure, September could have been referring to Peter's house, which he does go to, and it leads to him finding Olivia. But obviously the Observer also meant something more. Where is home and how does Peter get there?

An interesting concept explored in "The End of All Things" is how video cassettes can write over a recording, but images and flashes from the original video may come through. This opens up a theory about what has happened to the universe. Perhaps this Peter-less timeline is recorded over reality, and Peter's appearance, as well as Olivia suddenly developing Peter's Olivia's memories, could be the other timeline bleeding through. In this case, Peter must negate this whole existence to restore what was. Is that what has to happen? Or can the two timelines co-exist in alternate realities? Is what is happening to Olivia a symptom of a gradual shift, or does everything need to be replaced all at once? And if it is the former, how hurt will Olivia be, once everything else is back to normal, that Peter is rejecting her now?

Blair Brown must be praised for her multiple Ninas in "The End of All Things." The Nina being held by Fringe Division is likely still Olivia's caring mother figure, and is telling the truth about her non-participation in drugging and kidnapping Olivia. There is another Nina working with David Robert Jones (Mad Men's Jared Harris) who is not on the up and up. Both versions of Nina are played very well, keeping the character murky, and viewers must continually reassess what is the truth about the women. It is a truly fantastic performance!

Lastly, what is David Robert Jones's game? In the real timeline, he is killed before he can carry out whatever dastardly plan he is cooking up, which somehow involves Olivia's abilities. In this alternate world, he lives on, testing Olivia again. At the end of this week's installment, the other Nina and DRJ escape to the other universe, so the threat that they pose continues. DRJ is a wonderful villain, and it's great that Fringe is using this opportunity in season four to bring him back and explore him further. What is really exciting is what potential powers in Olivia his activities may unlock!

Fringe will return in four weeks to FOX, Friday nights at 9 p.m. ET.

MORE: If you like my reviews, please follow me on Twitter! To catch up on the Fringe you missed, buy DVDs or watch episodes instantly on Amazon.com