MURDER IN THE FIRST Running Last in My Book

Article first published as TV Review: 'Murder in the First' - 'Pilot' on Blogcritics.

Murder in the First is a new crime drama that premiered on TNT this week. It follows Detectives Terry English (Taye Diggs, Private Practice) and Hildy Mulligan (Kathleen Robertson, Boss) as they investigate a couple of murders that seem to both be connected to young, rich tech genius, Erich Blunt (Tom Felton, the Harry Potter films). Can they find the truth and bring the murder or murderers to justice?

I have to give TNT credit for trying to tackle a higher-concept series. On a channel that has plenty of case-of-the-week procedurals, including Rizzoli & Isles, Franklin & Bash, Perception, and Major Crimes, it’s refreshing to see a series that is actually going to have the story running for multiple weeks, not a quickly tie up at the end of the hour. Admittedly, TNT has done serials before, such as Falling Skies and Dallas, but this is the first time I can think of them doing a show like this in the crime genre. Are they finally ready to enter the fray of high-concept investigation programs, competing against True Detective and its ilk?

Murder in the First reminds me of The Killing, in that it sets up a complicated case with many different players and moving parts. There’s definitely an effort made to build something complex and engaging, with a number of different personalities in different roles participating, including lawyers and a judge, as well as the cops and those connected with the central tycoon. The case will be carried out over the course of a season, at least, to allow greater depth in the story. We will get snippets of the larger picture, which will only culminate after much time is spent following the clues.

The problem is, Murder in the First immediately establishes itself as far less interesting than those shows it directly competes with. The characters are mostly from stock, with children and a dying wife thrust upon the lead detectives, scenarios that are designed purely to create more drama, not because it furthers the story or enriches the roles, at least, that’s how it comes across in the “Pilot,” given the predictable way in which they’re handled. While there may be ‘twists’ coming up, there is no shades of grey in the way Blunt is introduced, very clearly telegraphing himself as a person of interest. And the pacing is far more concerned with action and developments than allowing the actors to dwell on their emotions.

This is a shame because Murder in the First has lined up an excellent roster. Besides Diggs, Robertson, and Felton, the cast is loaded with James Cromwell (American Horror Story: Asylum), Steven Weber (Wings), Richard Schiff (The West Wing), Raphael Sbarge (Once Upon a Time), Ian Anthony Dale (Hawaii Five-O), Nicole Ari Parker (Revolution), Currie Graham (Raising the Bar), and others. This is great ensemble and they could handle much more advanced material than they are being given. It seems downright cruel to tease them with a show that should be good, and then deliver another mediocre installment.

Can Murder in the First rise above these weak roots and grow into a strong tree, an oak anchoring the network? Probably not. In a world where AMC, HBO, FX, Netflix, and so many other strong competitors are breaking fresh ground, really stretching the art of storytelling and exploring new corners of familiar worlds, Murder in the First is too little, too late, a pale copy of other series. I suggest if TNT wants to play with the big boys it return to the drawing board and come up with something totally original, rather than copying other works. It shouldn’t compete in a formula that it cannot possibly win, hurting itself in the inevitable comparisons.

Murder in the First airs Mondays at 10 p.m. ET on TNT.

The "Truth" About BATES MOTEL

Article first published as TV Review: 'Bates Motel' - Season Finale on Blogcritics.

A&E’s Bates Motel wraps its second season this week in “The Immutable Truth.” Dylan (Max Thieriot) races to find his brother, Norman Bates (Freddie Highmore). To do this, Dylan must enlist Sheriff Romero (Nestor Carbonell) to help, a choice Dylan makes even though he just murdered a man and must admit it to the officer. However, the two men locating Norman is only the beginning of the trouble, and it seems certain someone in the family will end up in jail.

“The Immutable Truth” is probably the most intense episode of Bates Motel yet. Things have slowly been building to a head, and they reach it here. The show often has murder and suspense, but never so much at stake and so close to the edge as this week. It’s a gripping hour, sure to satisfy viewers who have been waiting for just such an installment.

It also features Norman at his craziest. This week, he is coldly making a list and planning on killing himself, hallucinating his mother, Norma (Vera Farmiga), and passing a lie detector test by convincing himself the truth is something it’s not. This is a portrait of a psychopath, drawn out much more obviously than ever before on Bates Motel, putting together all the strange pieces of Norman.

The direction of “The Immutable Truth” deserves much of the credit. From a shot of the stuffed owl Norman hangs in the house, to scary glimpses through the dark, to Norman’s creepy face, each camera angle is chosen deliberately for maximum effect. This is a horror staple, of course, but when done right, can convey scariness even when there’s nothing inherently scary happening, and Bates Motel makes good use of this.

There is now a sense of dread hanging over Norma and Dylan not quite clear before. Norma wants to flee the country to protect Norman, as she has been trying to cover up his misdeeds for awhile, explaining her own irrational actions. Dylan wants to get Norman help, knowing that Norman is not mentally stable. Both are united in their desire to be there for Norman, but this just puts them squarely in danger, as no one can save Norman, which we know. Will Norman kill one or both of them himself?

At least Norma and Dylan have each other, comforting for the moment. There is a real turning point when Dylan saves Norman, which prompts Norma to express her love for her estranged son, even buying Dylan a plane ticket so he can leave with them. They end up staying put, but that bond, ever fragile, has been strengthened in “The Immutable Truth,” growth earned through trial and tribulation.

One wonders how Romero will now act towards the family. He is convinced Norman is innocent, but he knows Dylan is guilty. He does help Dylan cover up the deaths, believing Dylan to be the right person to have in charge of the city’s illegal drug trade, vital to the area’s survival. But will Romero be keeping closer tabs, trying to exert influence? Or will he be a staunch ally, determined to keep their secrets safe as long as they don’t bring more trouble? He’s not a bully, he’s a compassionate man, but his moral code is hazy.

My one complaint about this season finale is the way bodies drop to the floor as if checking off a list of the year two recurring players. The show doesn’t need Nick Ford (Michael O’Neill), Jodi (Kathleen Robertson), and Zane (Michael Eklund) to come back, so it just kills them off. I’m almost surprised Christine (Rebecca Creskoff) doesn’t wind up dead just so the series can start fresh again in 2015.

Still, “The Immutable Truth” is a pretty darn good way to end the season, both for the emotional levels taken in the character dynamics, and the way Norman is rapidly becoming the monster film fans know him to be. I don’t know how many more years Bates Motel has left in it, but at this point, it could build to a natural ending any time A&E is ready for it to do so. No rush.

Bates Motel has been renewed and will air its third season next year.

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.