Skip a Trip to ZOO

Article originally written for Seat42F.

CBS adds another freaky show to its summer lineup with ZOO. Like the network’s Under the Dome, ZOO is based on a novel by a best-selling author that has been expanded into a series that can run for multiple seasons. Taking place on a global scale, this program finds a small group of people investigating animal attacks as they become more and more frequent around the world, other creatures deciding it’s time to take man out of the food chain.

Our hero is Jackson Oz (James Wolk, Mad Men, The Crazy Ones), a scientist who seeks to protect animals. One might think that gives him a pass when the four-legged kind turn, but it does not. Jackson has a best friend, Abraham (Nonzo Anozie, Game of Thrones, Dracula), who is from the area of Africa they are currently in, and soon Jackson meets up with Chloe (Nora Arnezeder, Mozart in the Jungle), the French damsel in distress.

Obviously, being in Africa, the big-animal-to-human-ratio is a bit skewed, so it seems a good continent to start in. Lions feature prominently, and the setting is well-used to create tension. A sequence in high grass is particularly intense. I do look forward to seeing non-felines enter the fray, though, as in both major settings, cats rule the first hour.

The other principal ZOO cast members are in the United States (where else?). Jamie Campbell (Kristen Connolly, House of Cards, The Whispers) is a journalist, hot on the trail of a crooked company that may or may not be connected to what’s happening. She comes across Mitch Morgan (Billy Burke, Revolution, Twilight), who studies diseases in animals, so seems a good source to use. Whether or not they will come into Jackson’s orbit remains to be seen, but it’s a pretty safe assumption that they will.

There’s obviously a level of creepiness to the premise. It is sort of science fiction, but it takes place in the modern world of today, not in some far-off future. While the events do not seem very plausible, there’s always the chance that it could happen, all of the elements making up the scariness already existing in the world, and by the end of the first hour, you’ll never look at house cats the same way again.

But it lacks any real urgency or high stakes. The ensemble, while made up of some very good actors, is lame, the characters not deep or interesting or memorable enough to really make an audience invest much emotion in the story. Instead, as in Under the Dome, talented people are wasted on a plot that just doesn’t seem to translate well on screen, at least in this case. An attempt to show Jamie putting everything on the line for her integrity or Jackson’s daddy problems do not serve to deepen as they should, coming across as trite and been-done-to-death.

Much of the pilot of ZOO feels like a novel brought to life a bit too faithfully. While not everything in the show is in the book, which only contains two of the five main players, the way events unfold, talked about more than shown, more plot-driven than character-driven, it’s hard to care when the added element of peeking inside the characters’ heads is taken away. This structure may work in the written world, but not as well in the TV version, which lacks inner dialogue.

Honestly, the closest thing I can compare ZOO to is The Lost World: Jurassic Park. The lackluster sequel to a terrific motion picture concentrates more on action than it should, and while the effects are decent, the plot holes and characters doing stupid things makes it less than realistic. ZOO suffers from the same sort of issues, and with a fresh Jurassic Park in theaters already getting good reviews, this may not be the time for an inferior product, even among those who crave this kind of adventure, to attract a following.

ZOO premieres Tuesday, June 30th at 9 p.m. ET.

Don't Listen to THE WHISPERS

Article first published as THE WHISPERS Review on Seat42F.

A broadcast television series is either a procedural, where the story follows a repetitive, mostly self-contained structure every week (think NCIS, CSI, Law & Order, etc.), or a serial, an ongoing narrative where things change. Procedurals tends to get more viewers in the short-term, but serials have longer shelf lives and more passionate followers. A program can’t be both, right? Well, ABC’s new drama THE WHISPERS tries to be.

THE WHISPERS begins with a little girl, Harper (Abby Ryder Fortson, Transparent), and her mother, Amanda (Autumn Reeser, No Ordinary Family). Harper has a new imaginary friend, which Amanda thinks is cute. But viewers quickly learn that this unseen being may not quite be as imaginary as Amanda believes, and the game the ‘whisperer,’ Drill, is playing is a dark one. It’s a suspenseful, interesting opening with some ripe possibilities.

From there we meet the real stars of THE WHISPERS, Claire Bennigan (Lily Rabe, American Horror Story) and Jessup Rollins (Derek Webster, Harry’s Law), federal agents tasked with investigating strange cases involving kids by their boss (Alan Ruck, Spin City, Ferris Bueller’s Day Off). This is the component that feels much more procedural. Some of what Claire and Jessup look into is very case-of-the-week type stuff, and while there is definitely a larger mystery at play, it feels like much of the screen time will be taken up by crime solving.

This is a disappointment because there many, many crime shows on television. I don’t know if it’s just easier to justify any plot that involves putting together pieces of a puzzle when there are law enforcement agencies on the scene, but television cannot seem to get enough of cops, the CIA, and the FBI. It’s frustrating because THE WHISPERS seems likely a very compelling program if it would fully commit to its conceit, but holds itself back by giving into these too-familiar scenarios.

Which is not to say that the whole first hour is disappointing. There’s definitely something going on with Claire’s family, which includes her deaf son Henry (Kyle Harrison Breitkopf, Being Human), as well as Lena Lawrence (Kristen Connolly, House of Cards), her husband, Wes (Barry Sloane, Revenge), who is on a mission across the world, and their daughter, Minx (Kylie Rogers, Shooter). These people will contribute to the more interesting part of THE WHISPERS. The question is how much screen time will be sent with them, versus Claire and Jessup working cases. Hopefully, a lot.

There’s one more main character whom I haven’t mentioned and that’s because his name is not revealed for much of the pilot (though it is on the show’s website, which I would not recommend checking because it spoils a twist I probably should have seen coming but didn’t). Played by Milo Ventimiglia (Heroes, Gilmore Girls), he is likely the key that will clue the other leads in on what is actually happening, and I’m curious to see where the show is going with him.

The tone of the show isn’t one of super high quality. It definitely feels like a broadcast show, albeit one that would normally air during the regular season, not the summer months. The creepy tension underlying the initial hour is a bit forced and a bit tame, with death even being downplayed a bit to make it more suitable for general audiences. I wouldn’t let me young children stay up and watch it, but this doesn’t come anywhere close to as scary as what cable can do. That, like the procedural part, neuters it a bit.

Still, as far as broadcast network summer fare, THE WHISPERS is the best we’re likely to get this year. It’s not a bad show, but that’s still a little regrettable when there are so many better offerings off of the Big Four, highlighting how far the old guard has fallen in the modern era. The likes of Rabe and Connolly can and should be doing better.

Oh, and Reeser is regrettably wasted here, a travesty that bothers me for the first few acts.

THE WHISPERS premieres Monday at 10 p.m. ET on ABC.

House of Cards - "Chapter 7"

Article first posted as House of Cards - "Chapter 7" on TheTVKing.

"Chapter 7" marks the halfway point of the first season for Netflix's House of Cards. All thirteen episodes dropped on February 1st, and I thought now would be a good time to check in, before finishing out the season. Expect my next review of the series to post next weekend, covering the season finale.

By "Chapter 7," one of Frank's (Kevin Spacey) biggest missions in the early episodes has been completed. President Walker (Michael Gill) signs Frank's education bill into law. Frank stands behind him, proud as can be, knowing that he has earned himself more of the power that he craves so much, and the trust and respect of the POTUS. Considering that a few short episodes ago Walker stole away Frank's promised Secretary of State position, it's quite a feat.

Not that Frank's intentions are noble; they never are. The education bill is just one more stepping stone on the way to amassing the influence that he really wants, which will likely end with the highest office in the land. Walker may be president now, but he won't be forever, and he's far from the only player in the game. Frank holds many of the cards, and he is biding his time, waiting for the ideal time to make a move. For now, having Walker trust and rely on him is enough. But that won't make up for the betrayal that Frank feels.

Frank is such a complex character, using people as pawns in his game. As he's said, he doesn't crave money, he craves power because it means more and goes further. Getting to stand behind the president for the photo ops helps him achieve that, and it goes a long way towards furthering his other goals.

Of course, one doesn't reach such lofty heights without acquiring a few enemies. Walker's chief-of-staff, Vasquez (Sakina Jaffrey) has no love lost for Frank, and the better he looks, the more it discredits her in front of the commander she serves so loyally. She won't allow him to keep running an end game around her, and a showdown between Frank and Vasquez will surely rear its head soon enough.

Of more immediate concern could be Vice President Matthews (Dan Ziskie, Treme). They try to push Matthews aside at the bill signing, he doesn't get a cherished pen (Frank just gives his away, a trinket, rather than something meaningful), and he isn't consulted about the Democratic replacement for Governor of Pennsylvania, his old office. This makes him feel useless, which is a dangerous thing.

Most people don't consider the Vice President's position all that important. If something happens to the president, then the office matters. Other than that, Vice Presidents often don't get a lot to do. Matthews clearly isn't OK with that, and at least wants the tokens of the job, such as choice photo positioning and ceremonial writing implements. If he isn't paid off with these things, he could stir up trouble.

It's not immediately apparent if Matthews blames Frank for any of any of his slights. Frank plays nice and offers some kind words. This may enough to satisfy Matthews, should others do the same. Or it may make Matthews feel like a fool when he realizes that he has even less say than he thinks he has, played like a fiddle by a master musician, which, make no mistake about it, Frank is.

Frank's choice for the governor's office is Peter Russo (Corey Stoll, Law & Order: LA), an inexperienced Congressmen who has a weakness for drugs and prostitutes. On paper, that may seem like a recipe for disaster, but to Frank, Russo represents an opportunity. After all, if Frank can turn Russo's track around and build him into a great leader, Russo will not only be in Frank's debt, but may even be a puppet Frank can play with at his will. That is, as long as Frank doesn't make him too great.

So far, Russo has fallen right into Frank's trap. Frank manipulates him into getting sober and doing the campaign Frank's way, the whole time letting Russo think things are his idea, and that he has some control over his own race. Instead, it's Frank behind the scenes, pulling the strings, that is making Russo something, and Frank can just as easily undo all this hard work. Should Russo get too big for his britches, Frank can take him down. Frank is just betting that he won't.

The wild card here is Christina Gallagher (Kristen Connolly, The Cabin in the Woods), Russo's former assistant and lover, whom Frank brings back into the circle. The idea could be that Christina will keep Russo in line, convincing him not to call on hookers anymore, and provide him the emotional support that he needs to find his confidence and win. It works in the short term, but given Russo's appetites, there is no telling if she will be enough in the long-term. She wasn't before Frank came along, so it is a shaky gamble.

I am curious as to whether  Doug (Michael Kelly, The Adjustment Bureau) is actually a recovering alcoholic, or if he attends meetings just to keep an eye on Russo. Doug seems to speaking directly to Russo at their most recent gathering, and reports back to Frank on what transpires at the "anonymous" event. Frank trusts Doug explicitly. Is that because Frank rebuilt Doug the way he is doing with Russo, or because Doug is willing to do anything, even act like he has a substance abuse problem, or hide a prostitute, for that matter, to keep their situation status quo.

I love that House of Cards doesn't lay all this out explicitly. It makes viewers think for themselves, and allows guesses and leaps of logic. Even when Frank mugs to the camera, breaking the fourth wall and revealing something of his thoughts, he is still putting on a show, only telling what he wants to tell. He's trying to manipulate us, the audience, as well as the characters that surround him. It makes for an intriguing drama.

As Frank muses about Zoe (Kate Mara), the young reporter he is sleeping with, people only show others what they want them to see. Everyone has a persona. Zoe wants Frank to think that she only wants sex and information from him, and that she's a game player like he is. She is, to an extent. But despite her protestations that she get some meaningful benefit from him, such as a big scoop, she also seems smitten, and her romantic feelings could ruin things for both of them.

I worry about Zoe going forward. Frank thinks he has her under control, and that's what he assures his wife, Claire (Robin Wright). And yet, Zoe isn't always predictable, and she thinks a bit too much for herself to just be a stooge. Her heart guides her sometimes, leading her to decisions she probably shouldn't make, but that's not all she is. Should she begin feeling cast aside by Frank, she could seek revenge, and she has the smarts and tenacity that she could prove a threat in the way others have not.

Frank has kept her, and most everyone else in line, for a long time. But he has a lot of irons in the fire, and there are bound to be slips.

I'd like to take a moment to touch on Frank and Claire's marriage, even though it really isn't featured in "Chapter 7." It's one of the most surprising unions presented on television, an open arrangement, with both allowed to take lovers that are discussed freely with their spouse. They use each other for political gain, and are a powerful team in D.C. But there is also real affection there, with both putting the other first when they need to. It's an odd arrangement, certainly unconventional, but it seems like it's been working for them for a long time. Even when cracks show, it's likely that it will keep working, since they have honest communication, at least, what passes for such for people like them.

In Zoe's arena, the unstable element is Janine (Constance Zimmer). I think that Zoe is sincere about wanting to work with Janine again, and not just because it's a boon to her online employer. But I also think Frank asks Zoe to do the profile on Russo as a favor, and Zoe passing it to Janine isn't what Frank had in mind. Janine is too seasoned to buy Russo's falsehoods, and if she digs deeper, she could cause a few headaches. I see things potentially becoming awkward if Frank comes down hard on Zoe to kill the profile, and Zoe has to ruin what she's rebuilt with Janine, or worse yet, their mutual boss.

There are even more characters and plot arcs I could go into, but this article has gotten long enough. House of Cards is a very intricate web of a political drama, with amazing acting and brilliant writing. Each installment only gets better as we're drawn further into Frank's world. In his position, he has to keep a lot of balls in the air, and even though we only see a portion of them it's a hell of a spectacle to watch and keep track of. This should run for ten seasons, the creative team and cast willing.

House of Cards season one is available in its entirety to Netflix streaming subscribers.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter.