UnderSEE

Article first published as SEE: TV REVIEW on Seat42F.

Part of Apple TV+’s slate of programming, SEE is a post-apocalyptic drama about tribes of blind people warring over mystical things, such as a pair of twin babies who can see. Plenty of battles and lots of animals skins and furs, it’s a show that appears to take place hundreds, if not thousands, of years ago, while actually having a slight futuristic sci-fi aspect to its fantasy.

Jason Momoa (Game of Thrones, Aquaman) capably stars as Baba Voss, leader of a tribe on a hill. Before the series begins, a mysterious woman, Maghra (Hera Hilmar, Da Vinci’s Demons), comes among them and is taken in by Baba, under his personal protection. But when she gives birth to a pair of babies, one male, one female, whom nurse Paris (Alfre Woodard, Luke Cage) says are special, an army of witchfinders threatens the people. Baba and his tribe must flee, and their escape route is supplied by the infants’ unseen true father.

The premise involves disease wiping out most life on Earth and the survivors being left universally blind. SEE is set hundreds of years after these events, but for some reason, the individuals in it live like historical tribal people. Why? Would it not make much more sense than technology was clung to, which would provide assistance for an unseeing people? Would that not be a more reasonable future after such a disaster? And even if technology could not be salvaged, why are most people far away from the remnants of what was? It’s quite late in the pilot before we see any ruins. Would so many people be willing to just walk away? And where are the new trappings of life that would be specific to a totally blind society?

Worse are the battles that are a key part of SEE. Some elements of different fighting are shown for the blind people, with special listeners and sensors. But there are melees typical of modern film, where there is much close hand-to-hand fighting. In such a situation, it would be nearly impossible to tell who is friend and who is foe without some major difference between the peoples. This could be in clothing materials or hair styles or something, but none is obviously present. There’s blind swinging and stabbing, and even some distance throwing of weapons that somehow strike their targets. Some care is given to adjust to the world in the premise, but not nearly enough. The battles don’t feel realistic, unfortunate as they seem to be key to the genre.

Character development is lacking, too. Most of the people are forgettable, blending together. Several warriors stand by Baba when the council of his people threaten to turn against them, but it’s not easy to differentiate between them. The acting is being sold as much as one can, but I don’t think the performers are given much to work with.

It’s not much of a mystery to me why Woodard and Momoa are the only very recognizable faces among these masses. I don’t know who would want to sign on to a half-baked fantasy series so soon after Game of Thrones. Horrible ending aside, GoT left a lot to live up to, and it would be foolish to try to follow it without a solid plan. SEE does not provide such an example. It’s closer to Vikings, which was somewhat good, but wasn’t under the pressure to stand out that this is. It’s hard to see it running very many seasons, even on a brand-new network that is motivated for its earliest shows to succeed.

SEE is not without any redeeming qualities. Production design is interesting, and there are some ideas worth exploring. It just doesn’t do enough to begin strong, and thus is unlikely to be more than a blip in television history, over soon and quickly forgotten.

SEE is currently running on Apple TV+.

Traveling THE RED ROAD

Article first published as THE RED ROAD Review on Seat42F.

Sundance’s second original drama, THE RED ROAD, premiered last night. It’s set in a New Jersey town near New York City, but the community is quite rural, with a significant Native American population sort of segregated from the whites in territory, though not in story. The first episode, “Arise My Love, Shake Off This Dream,” introduces us to a number of different characters in both of those communities, each with secrets and connections to a number of other different players. Basically, there is a lot going on.

THE RED ROAD does not stop and lay out what the story and characters are, exactly. We’re dropped into the middle of the tale, and it is very hard to sort things out at the start. Because the action jumps around between so many different people, viewers are left trying to puzzle out the chess pieces on a murky board. Which means it’s not very accessible.

The tone is dark, slow, and dramatic, much like a number of other high-level crime shows. Stylistically, THE RED ROAD fits into a group that includes The Killing, Top of the Lake, Rectify, True Detective, Low Winter Sun, and others. This very clearly shows us that Sundance’s brand will be along the lines of the best of HBO and AMC, very good quality indeed.

But this particular series doesn’t quite live up to that. I’m not sure if it’s just me, but I’m not finding the connections I have in those other shows. The actors do a fine enough job, with several really great showcase moments, so I don’t think it’s their fault. I blame the writing for feeling just a bit shallow and flat in an otherwise realized world. Also, the setting doesn’t seem that defined, with audiences left confused how this can be so close to New York and look so very different.

The stand-out actress is Julianne Nicholson (Masters of Sex) as Jean Jensen. Jean is the wife of cop Harold Jensen (Martin Henderson, Off the Map). They’re going through some strife in their marriage as Jean gets sober, not necessarily well handled, as she has mental problems to boot, and the lack of alcohol may be letting them out in a bigger way than before. So we get a number of crazy-Jean scenes that show us just how good Nicholson can be, which is very.

Henderson does a fine job balancing her out, playing the kind, loving husband. When Jean makes mistakes, Harold tries his best to cover them up and protect her. When their teenage daughter, Rachel (Allie Gonino, The Lying Game), runs off with a Native American boy, Junior (Kiowa Gordon, Twilight), Jean takes off with her rage and a gun, but Harold calms those in Jean’s wake and safely finds the girl. His other daughter, Kate (Annalise Basso, Bedtime Stories), feels comfortable coming to Harold because she trusts him. All of this says a lot about the man.

The third main cast member is Jason Momoa (Game of Thrones) as Phillip Kopus. Phillip has a history with Jean, perhaps romantic, definitely tangled up in her brother’s drowning. Now, he’s fresh out of jail, working for a crook who happens to be his father, Jack (Tom Sizemore, Saving Private Ryan), and not exactly patching things up with his mother, Marie (Tamara Tunie, Law & Order: SVU), and kind of being big brother to Junior, in a way. And before the end of “Arise My Love, Shake Off This Dream,” Phillip has Harold right where he wants them.

I hesitate to say there are any obvious good guys or bad guys in THE RED ROAD. Phillip isn’t exactly on the up and up, but there’s also something magnetic about him. Harold, by contrast, is good to his family, but not always on the right side of the law, so there may be consequences for him. Jean is in a terrible place, causing her to do horrible things, but she might be fine if she can get cleaned up and calmed down. So the show lives in a world of grey.

Too bad it’s not a world that sucks you in. The ingredients are present that this should really be a show to watch, but I just don’t quite feel it. I’ll keep tuning in to see if it changes because it’s still better than most broadcast offerings, but it doesn’t seem destined to the critical darling and award winner that its peers have managed to be.

THE RED ROAD airs Thursdays at 9 p.m. ET on Sundance for the next six weeks.

Game of Thrones proclaims "You Win or You Die"

     Things are coming to a head in HBO's Game of Thrones, as the various forces who want control of the Seven Kingdoms begin to act on their desires. In the latest episode, "You Win or You Die," those plans begin to unfold. Even though Viserys (Harry Lloyd) is dead, his sister, Daenerys (Emilia Clarke), decides she wants to sit on the Iron Throne. After a failed poisoning attempt ordered by King Robert (Mark Addy) on Daenerys, her husband, Khal Drogo (Jason Momoa), pledges to win it for her and their unborn baby. As Robert passes away, Ned Stark (Sean Bean) makes a play to control the throne, exposing Robert's "son" Joffrey (Jack Gleeson) as a product of an incestuous affair, not the rightful heir. Queen Cersei (Lena Headey) has Joffrey rule, though, and a betrayal by Littlefinger (Aidan Gillen) makes Ned the loser. For now.

     This wonderful fantasy series is made more so each week, as tension mounts, and dangers scale up their threat level. The political battles are merely one side of the coin, though they have been front and center, and highly addictive. Ned is clearly in the right, but while he at first appears to have the upper hand, especially after gathering all the intelligence that the last Hand of the King had before his murder, he is still left out in the cold because he doesn't play the loyalty games. Ned is straightforward and honest. Others are not. It's why Ned is not succeeding in ousting the Lannisters, and it's why the hero now finds himself outmatched by the villains. Which makes the story only more interesting.

     It truly is a good versus evil battle. While some of the players in Game of Thrones do operate in a shade of gray zone, like Tyrion (Peter Dinklage), or at least, their loyalties are still unknown, the main group of Lannisters and the Starks are truly assigned a right and wrong. It makes things a little easier on the viewers, as the story is complicated enough without not knowing who to root for. In this case, simpler is better. And it feels good to have the hostility out in the open now, instead of behind closed doors.

     Besides the Lannisters, though, Daenerys thinks she has a claim to the throne. And maybe she's right. Her father was king, after all, until he was overthrown by Robert and others, long before the series begins. Because Daenerys is so far outside of the machinations of the other main characters, she isn't assigned an appropriate label yet. But considering the ruthlessness of the people she is embracing, and the almost saintly goodness of Ned, she will likely by the intruder, not the defender.

     Which begs the question, might the Lannisters and Starks have to join forces against her? Or might Ned be able to team up with her? Thus far, Daenerys only approves of harm done to those who deserve it, as punishment, much like Ned. With a lack of decent candidates to sit on the Iron Throne, might Ned be convinced to support her campaign? It would certainly be an unexpected twist. The truth is, Daenerys is a wild card, and when Drogo and his army do arrive at the mainland, anything may happen.

     The other threat, this one casting a shadow over everything, even though they have not been seen on screen since the opening moments of the series, are deadly creatures that lurk behind The Wall. This week, the danger feels more real, as Benjen's (Joseph Mawle) horse returns without him. Nephew Jon Snow (Kit Harington) would like to look for his uncle, but is kept on the other side by his duties to the Night Watch, of which he is now a full fledged member. Lucky for Snow fans, he has been assigned as a steward, and will not be venturing into unknown territory anytime soon, as the rangers do. It means Benjen's disappearance won't quickly be solved, but does allow an interesting, noble character to survive until he can actually be useful.

     Game of Thrones continues Sundays at 9 p.m. ET on HBO.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

     To buy the Game of Thrones books on which the show is based, please click here.

Article first published as TV Review: Game of Thrones - "You Win or You Die" on Blogcritics.

Game of Thrones tells us "Winter Is Coming"

     Last night, HBO premiered the first episode of its adaptation of George R. R. Martin's A Song of Ice and Fire series. Called Game of Thrones, the tale centers on a power struggle for control of the Seven Kingdoms. Various characters and factions engage in covert and overt rebellion, each trying to win the Iron Throne. Among the contenders are the current king and his protectors, the queen's brother, and an army supporting the disposed prince, who wishes to reclaim his hertiage. The series will follow the various factions until one ends up in power.

     It may be a bit daunting to jump into HBO's Game of Thrones, with its very large cast of characters and varying allegiances. Yet, the first episode takes things slow enough that it is fairly simple to identify the varying players, even if their names and tribes escape. As such, please forgive, and feel free to correct in the comments, should mistakes be found, though care will be taken to try to avoid any. Should the effort to watch be made, the potential for reward is great, if the premiere, "Winter Is Coming", is representative of the high quality and extremely entertaining story that will unfold.

     The episode opens with a deadly attack by very creepy creatures. Be warned, this scene should not be watched just before falling asleep. An entire band of men is killed, save for one lone survivor, who rushes back to Winterfell, the land controlled by Lord Eddard 'Ned' Stark (Sean Bean). The babbling, frightened man's story sounds unrealistic, so according to law, Stark executes him for deserting his group. In attendance to watch the beheading are Stark's children, including ten year old Bran (Isaac Hempstead-Wright).

     Venturing into the woods, Stark finds the body of a great wolf, with five cubs crawling upon it. The cubs are given to his five children, and a later discovered runt goes to the illegitimate son, Jon Snow (Kit Harington). It's a valid metaphor, of the children Stark claims and the one he doesn't. Stark cares for them all, but Snow's place is a little bit lower than the others.

     No sooner, does Stark return to his home, than he receives word that his king, Robert Baratheon (Mark Addy), is coming to visit. Only one goal could spur the ruler to come all the way up north, and that is that he wants Ned to return to the capital as his right hand man. Ned is reluctant, and his wife, Catelyn (Michelle Fairley) begs him not to accept. But when Ned discovers that the previous holder of the position, a beloved mentor of his, has been murdered, he feels it his duty to protect the king, also a friend. Plus, Stark's daughter will marry Baratheon's son, bonding their families

     The murder and backstabbing are easy enough to follow. There's a king, and others want to take control of the kingdom. Thus far, Stark is presented as a fair, noble man, and so it is likely viewers will root for Baratheon to retain the throne, at least as long as he is still in Stark's good graces. As Stark is set up to be the central character of the series, it is also possible that something will happen, either through betrayal or death, where Stark may sit on the throne instead. Either way, lots of good sword fights and medieval glee will surely abound.

     Perhaps the biggest exterior threat to King Baratheon is Viserys Targaryen (Harry Lloyd), an exiled prince, who feels he deserves to gain power back. To do so, he marries off his sister, Daenerys (Emilia Clarke), against her will, to a ruffian with an army, Khal Drogo (Jason Momoa). Drogo is the warlord of the Dothraki people, who will now assist Viserys with his quest.

     Viserys comes across as a slimy wretch, seeing his sister, whom he claims to care about, as a tool or good that can be bartered. In fact, Viserys tells her he would let '40,000 men and their horses' have intercourse with her if that would get him back on the throne. So, obviously, do not root for Viserys. He's evil.

     There is also an interior threat to the King, in the form of his wife, Cersei Lannister (Lena Headey), and her brother, Jaime (Nikolaj Coster-Waldau). Cersei and Jaime are sleeping together, and when caught by young Bran, Jaime pushes him off a tower. It's a shocking cliffhanger, and one that firmly cements the Lannisters as villains, too.

     Well, at least Cersei and Jaime are bad guys. They have another brother, Tyrion (Peter Dinklage), who, while rude, seems to take pleasures of the flesh far more seriously than political power. Jaime supports this, perhaps because it provides him one less threat to worry about. Tyrion is clearly present for comic relief, welcome with all of the other dark events surrounding.

     Other reviewers more familiar with the book series have stated that nothing much happens in the first hour, and its mostly an introduction to some of the many, many characters. But it's possible to disagree. Not about the introduction, of course, as that certainly happens, but about nothing happening. True, there are no large scale battles, but that doesn't mean things don't flow. Ned's consideration of the job being asked of him, as well as Jaime and Viserys lying the foundation for their own attempts at a power grab, are not nothing. It may not be fast paced, but there is more than enough intrigue to keep attention, and learning who people are is an important first step before undertaking such a large, sweeping drama.

     Game of Thrones airs Sunday nights at 9 p.m. ET on HBO.

     If you like my reviews, please follow me on Twitter! Click here for all of my Current Season Reviews.

Article first published as TV Review: Game of Thrones - "Winter Is Coming" on Blogcritics.