The SMALL AXE MANGROVE

 Article first published as TV Review: SMALL AXE MANGROVE on Seat42F.

Amazon Prime recently premiered a new series of films directed and co-written by Steve McQueen (12 Years a Slave) entitled SMALL AXE. The first of these, MANGROVE, is available now. It follows the true story of The Mangrove Nine, a group of Black people arrested during demonstrations against the Metropolitan Police in Notting Hill, Kensington. So you’ll get a history lesson, a look at immigrant life, and hopefully think a bit about the racial injustice still prevalent in today’s society.

Shaun Parkes (The River) stars as Frank Crichlow, a man from Trinidad who has moved to London. Frustrated in dealing with the police, Frank opens a totally legitimate restaurant called the Mangrove, selling the cuisine of his native land, a.k.a. “spicy food.” But the local constable, PC Pulley (Sam Spruell, The Bastard Executioner), is deeply prejudiced, and decides that the Mangrove must be a place for unsavory characters, raiding it repeatedly for no legitimate reason. This only drives the community to embrace the Mangrove more, the local Black Panthers and others considering the place “theirs,” and things spiral far from Frank’s control. It all culminates during a march against the police in which Frank and eight others are arrested for rioting and affray. Off-screen the case is dismissed, and then tried again at the Old Bailey, a venue for only the most heinous crimes, as the police hope to make examples of the defendants.

SMALL AXE MANGROVE begins as one thing, a story focused on Frank and his restaurant, and halfway though, becomes a courtroom drama with varied protagonists. In lesser hands, this disjointed style and lack of strong focus might feel like a weakness. Instead, through flawless directing and performances, it feels like a complete piece, albeit one with two distinct halves. Yet, it’s also more than that. Frank’s story becomes the story of all these people, and the film enlarges to encapsulate that, minimizing Frank the way he becomes pushed to the background of his own fate. It’s actually a pretty cool move.

Parkes is great, full stop. He is not alone, however, and some of the best moments in SMALL AXE MANGROVE come from others. At the trial, one of the co-defendants, Darcus Howe (Malachi Kirby, Devils) decides he should represent himself. The stuffier lawyers protest, but Ian MacDonald (Jack Lowden, The Tunnel) thinks it’s a brilliant idea. Altheia Jones (Letitia Wright, Black Panther), another person on trial, agrees and decides to do the same. Altheia and Darcus speaking up for themselves is powerful, especially when Darcus plays the legal game better than some of the fully-trained lawyers, winning through logic, not just emotion.

The system is broken, the no one exhibits that better than Judge Clarke (Alex Jennings, The Crown), showing his prejudice right off the bat. But the cause is righteous enough, even he is eventually forced to admit wrongdoing on both sides, which unfortunately echoes remarks by own American president not too long.

That’s what’s so powerful about SMALL AXE MANGROVE, though: it isn’t just a history story. It is relevant today, shining light on the continued issues. This was written and filmed prior to this year’s Black Lives Matter marches, but they make it even more timely. The trial of The Mangrove Nine was fifty years ago, and yet, the problems remain, maybe not in quite the same way, but still very serious. The ending text on the screen reveal Frank’s troubles didn’t end after the trial, as he continued to be harassed for the next two decades. It wouldn’t have been surprising to learn he was still being harassed today, if he were alive. The police were not punished. And though his kids have a better life (you may know of his daughter, actress Lenora Crichlow), that doesn’t mean the problems are solved.

SMALL AXE MANGROVE is an excellent film with compelling characters and a true story that hits home. Even were it not applicable to current circumstances, it would land. The fact that the fight lives on only helps boost its impact. I can’t wait to see what the rest of the SMALL AXE series has in store.

SMALL AXE MANGROVE is available now on Amazon Prime.

A TO Z Tells Complete Story

Article first published as A TO Z Review on Seat42F.

2014 is shaping up to be the fall of rom-com sitcoms. NBC joins the party with A TO Z, which I mistakenly hoped to be the long-awaited original Star Trek spin-off following librarian Mr. Atoz, but is instead a charming tale of two people destined to be together, saddled with a slightly clunky premise.

In the pilot, we meet Andrew (Ben Feldman, Mad Men), a hopeless romantic who works for an online dating website because he actually believes in helping people find love. Unfortunately, his choice of companies may be misguided because his boss, Big Bird (Christina Kirk, Along Came Polly), would prefer her employees help people hook up, not find a spouse, since the latter costs them customers. Before Andrew’s spirit is killed, though, he meets the one he’s been searching for, Zelda (Cristin Milioti, How I Met Your Mother), a lawyer who works in the next building over who doesn’t exactly believe in dating.

A TO Z is the most obvious heir-apparent to the recently ended, popular How I Met Your Mother. It features a narrator, Katey Sagal (Sons of Anarchy, Futurama), telling a finite tale (she says in the pilot that Andrew and Zelda date for a little over eight months and this series is the story of that relationship) about a guy’s search for “the one” and some kooky friends.

But there are differences. I mean, could A TO Z really make nine seasons our of an eight-month timeframe? Well, admittedly, HIMYM stretched one weekend into an entire year. More likely, though, the narration refers only to the first season of the show, and then the couple will go from there in one of several different directions. Those could be a break up and restart in a seconding dating run or an engagement. Probably the former, knowing how network television likes to stretch things out.

I’m glad to see Milioti back on the small screen so soon. She really made an impression in HIMYM, and is pretty much the perfect girl for a sitcom such as this. Feldman is equally well-cast, not being as creepily obsessive as his Mad Men character, but still exhibiting some of the same traits that seem natural to the actor. Their parts are the more modern version of a couple, the emotional guy and the trust-troubled girl, the type I find relatable, even if the fact that they are together is a tad unrealistic.

So far, the other cast members are more punchlines than complex individuals. There is little impression made by Andrew’s co-workers, Dinesh (Parvesh Cheena, Outsourced) and Lora (Hong Chau, Treme), hopefully not in place just to make the group diverse, though that is certainly a benefit of their casting. Zelda’s friend, Stephie (Lenora Crichlow, the UK’s Being Human), and Andrew’s pal, Stu (Henry Zebrowski, Your Prety Face Is Going to Hell), have an unlikely history that is mined for laughs and forced drama. But presumably they will have to become full-fledged personalities if the show goes on for long.

Yes, destiny and coincidence are linchpins of A TO Z, which is what stretches believability more than anything else. In episode one, Andrew claims to have once seen Zelda across the room at a bad concert and fell head over heels at first glance, picturing a future together including children. It only temporarily sends Zelda scrambling for the hills, but it should do more than that. It’s a nice story if true, but whether or not it is, the fact that Andrew fixates on it so immediately and strongly seems more warning sign that sweet gesture.

Perhaps that’s the cynic in me, having once been like Andrew, but finding the world a little less idealistic. Ridiculous as some twists are, they don’t totally ruin my enjoyment of a show that is sure to be entertaining and heartwarming, if nothing else, and will probably get a season pass on my TiVo.

A TO Z premieres Thursday, October 2^nd at 9:30 p.m. ET on NBC.

BURTON AND TAYLOR Memorable Disaster

Article first published as BURTON AND TAYLOR Memorable Disaster on TheTVKing.

This week, BBC America presented Burton and Taylor, a two-hour television movie about Elizabeth Taylor (Helena Bonham Carter, Les Miserables) and Richard Burton (Dominic West, The Hour). Specifically, it is about a period near the end of Burton's life in which the two worked on the play "Private Lives" together.

Make no mistake about it; Burton and Taylor is a two-person show. Like the performers that this TV movie is based on, these characters are gravity wells that draw everyone else to them, while at the same time, being concerned mainly with themselves. They aren't usually cruel to bystanders and those they work with; they're the opposite really. They are just almost completely focused on each other and the situation they are in. While no other actor manages to make an impression, not even Lenora Crichlow (Being Human), that's OK, because this is about them. Their names are in the title, after all.

Carter and West suck us in, as surely as Burton and Taylor must have back in the day (I assume; this happened before my time). It's an epic love story of a couple who are more addicted to one another than in love. As a pair, they are destructive, as much hate as adoration flowing between them, able to wound one another as no one can. Yet, their romance is fantastic, and they cannot break away.

Both of these are very large personalities, and the actors rise to the occasion. Carter captures subtleties of Taylor in a way I didn't expect her to, despite her large and accomplished body of work. West is fully believable as a great legend of stage and screen, carrying the swagger and gravitas with ease, while also making Burton human. Both gain the viewer's sympathy, even while also earning pity.

Burton and Taylor feels more like a play than a film. Or rather, like a movie made from a play. The sets are only background, with the two characters the point. The pacing is relaxed, luxuriating in the acting craft, and the tone is slightly melodramatic, an exaggerated effect we'd see in the theater. Only a single flashback, done with great effect near the end, really seems like it wouldn't work as well in the theater.

I love the ending, by the way. It really gets to the heart of the relationship, letting the characters discover the truth in one another and themselves. Neither is the bad guy here; both make mistakes, and both have their eyes opened. But this is definitely a unique dynamic, not the typical marriage, and Burton and Taylor does a terrific job illustrating that.

If I could have changed one thing it would be to make this a miniseries, with a greater period of time covered. The "Private Lives" period is played out pretty well, though it would be nice to see a bit more of the parallel between the play and their reality, something not obvious for those unfamiliar with the plot of "Private Lives." However, there is definitely a lot of history between them that one is expected to figure out or already know at the start. As this production is set in the year of my birth, I don't have that context to just jump in, and I'd like to see these two performers explore more of the characters in other eras, making for a more complete portrait, even though the climax explains what needs to be explained, and adding more may just be a retread.

For those who recall what it was like to live in the time of Burton and Taylor, this may be a nice walk down memory lane, though I doubt it brings a lot of new information to bear. However, it also effectively introduces the two to a new generation, giving us a glimpse of the tabloid culture before the days of cellphones and internet, and examining personalities worth examining, who should be remembered long after their time. To either group, it's enjoyable as a movie unto itself.

Rather Not Get BACK IN THE GAME

Article first published as BACK IN THE GAME Review on Seat42F.

When it was announced that Maggie Lawson would miss multiple episodes of USA’s Psych, possibly in its final season, to star in a new sitcom for ABC, the hope was that it would be as good as the show she was leaving, worth the sacrifice fans would have to make to lose her, similar to her co-star Dule Hill’s early departure from The West Wing for Psych, which was a step down, but not an indigestible one.

Sadly, despite all of her charm, Maggie’s new series, BACK IN THE GAME, is the worst new fall series I’ve watched so far this year, and in the past few years, too.

Maggie stars as Terry Gannon, Jr., the daughter of former baseball player and current drinker Terry “The Cannon” Gannon, Sr. (James Caan, Las Vegas, The Godfather). Terry is forced to move back home with a father she thinks doesn’t love her for financial reasons after a messy divorce from a husband who cheated on her. When her son, Danny (Griffin Gluck, Private Practice), wants to play the detested game, Terry is forced to confront her childhood miseries and coach a team of misfits.

That’s right, a team of misfits. Just like The Bad News Bears, Ladybugs, The Mighty Ducks, and oh so many other sports films. Terry’s group consists of a bunch of kids who will never, ever be good, and one wonders how these boys ever even though about trying out in the first place. The only thing missing is an out-of-place girl, though I guess that’s Terry herself. If the show decides to let the team improve, it will do the same disservice those fondly remembered, but not very good, movies did to viewers.

They do have a rival team, the one the kids were cut from, which is run by an aptly named man, Dick (Ben Koldyke, How I Met Your Mother). Dick is a jerk straight out of an early nineteen-nineties stereotype who thinks that girls can’t play (or coach) baseball, insults soccer for doing the same thing baseball does, and has no talent to back up his boasting. It’s the epitome of a poorly written character in a poorly written scenario. Surely, Dick must be a love interest for Terry, after she fixes him.

As you might have guessed, Dick has a son named David (Copper Roth) who is just as much of a bully as his father. Completely independent of Dick and Terry’s rivalry, David picks on Danny. It’s a shame that the story is so lazy, but that’s the way it is.

Danny deals with his tormentor by kissing him full on the lips to scare David off. It’s a move that seems smart and impresses David’s girlfriend, Danny’s crush, Vanessa (Kennedy Waite). Instead of celebrating the one thing in the “Pilot” that stands out, though, the show plays it off as a dated gay joke. Very disappointing.

Of course, Terry coaching and fighting with these other people is really just an excuse for her to work things out with The Cannon. The same writers who created Dick might think they are clever by switching genders and making it be a daughter who has to make peace with her dad, but it’s just as stale as if Terry had been a son.

What I can’t figure out is who The Cannon is. He’s a guy who never showed up to a single one of his daughter’s college baseball games and can’t remember his own grandson’s name, but also will bust a car window to protect his family and has lots of games Terry played in secretly videotaped. I think the point is to show he loves Terry but doesn’t know how to communicate it. However, this makes no sense in considering other things The Cannon does or says, unfortunately putting a very black mark on Caan’s otherwise impressive resume.

Rounding out the cast is Terry’s instant new best friend Lulu, played by respected British actress Lenora Crichlow (Being Human). Why Crichlow would hitch her wagon to such a forgettable effort is baffling, and one wishes better for her in the near future.

BACK IN THE GAME doesn’t have to be as bad as it is, but it is truly bad. Might it improve with time? There’s always a slim possibility. There just seems to be no shred of promise in the entire first half hour.

BACK IN THE GAME’s “Pilot” is available on Hulu now and will premiere on ABC Wednesday, September 25^th at 8:30 p.m. ET.

Being Human Series Four scares up disc release

Article first published as Being Human Series Four scares up disc release on TheTVKing.

The British series Being Human, not to be confused with the American remake that airs on SyFy, had a very dark fourth series last year. As the season begins, Nina (Sinead Keenan) and Mitchell (Aidan Turner) are dead, leaving an unraveling George (Russell Tovey) and Annie (Lenora Crichlow) to care for George and Nina's baby, Eve, as well as stop any forces that may seek to harm what's left of their small band.

Unfortunately, since the baby is the first known to be born of two werewolves, there is an evil gang of vampires that would definitely like to get their hands on her, fearing a prophecy that says the baby will wipe out all of the blood suckers from the face of the Earth. Griffin (Alex Jennings, Whitechapel, The Queen), the new head vampire, isn't about to take any chances, so he orders a death sentence.

The season is full of revenge plays and all-out war. There are a variety of new characters tossed into the mix. There are good guys, like the Vampire Recorder, Regus (Mark Williams, the Harry Potter films), and there are bad guys, like Cutler (Andrew Gower, Monroe), a vampire far more suited to the modern world than Griffin, and thus, more dangerous. There are also those who we aren't sure which side they are on, including the mysterious Mr. Rook (Steven Robertson), who is just getting started in his own tale when the series ends. We go deep into a vampire nest, and venture into a dystopian future. In the end, grave sacrifices must be made to save others, and the fate of the entire world hangs in the balance.

Besides the larger story arcs, Being Human undergoes a transition in its basic premise. At the start, the idea is to see how a vampire, a werewolf, and a ghost could live together. With Mitchell dead, that leaves a hole in their threesome. This defeats the purpose a little bit, and it's not an imbalance that will be preserved.

So we meet the newest central cast member, Hal (Damien Molony), a vampire who has also been living as part of a very similar trio. However, his werewolf pal is now dying of old age, so it seems an appropriate time for him to transition into a new group. Hal is not the only possibility of who might become a new housemate, with others introduced as candidates, too, and the make up of the group does undergo a transition in series four.

Between Hal and the return of Tom (Michael Socha), now upgraded to main character, there is an infusion of new blood into the main cast. Annie and George need the extra help to fulfill their own destinies, and, without giving too much away, the end of series four sets up yet another shake up for series five, which should air later this year. Annie, especially, gets to shine in series four, so I look forward to seeing who will step up in the next run of episodes to match her.

Series four has been released on DVD and Blu-ray in a three disc set. All episodes are present, and it is ripe with extras, including a trailer, prequels, sequels, and deleted scenes. We are taken behind the scenes in a featurette, and interviewers with the people who make the show are included. It's quite a bit for a short-format series, and definitely much better than some other recent British releases

Being Human Series Four is available now.

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!

Being Human sacrifices "The War Child"

BBC's Being Human, not to be confused with the SyFy remake, brings its fourth season to a close last night in "The War Child." Annie (Lenora Crichlow) tells the boys about her encounter with grown-up Eve (Gina Bramhill, Coronation Street), and how she must let baby Eve die to save the world. This proves easier said than done, as Annie cannot help but act when Cutler (Andrew Gower) risks everything in a final attempt to kill Eve. Yet, in the end, Annie does the right thing, destroying both herself and the infant, denying Mr. Snow (Mark Gatiss, Sherlock) and his ilk their world domination.

Annie's sacrifice is touching, if regrettable. After losing Mitchell, George, and Nina this year, Annie is the only one of the principal cast left. Each plays a part in saving mankind from extinction, and each pays the ultimate price individually. All except Nina, sadly, get their heroic ending on screen. But Annie's may mean the most because it is last, making it the final piece of the puzzle. At least they all seem to get to enjoy a happy ending together, with baby Eve, though a reunion isn't exactly shown on screen, perhaps for logistical reasons.

Which leaves a brand new trio to continue Being Human next season. Tom (Michael Socha) and Hal (Damien Molony) are drawn together because they have no one else. Each has lost their loved ones, and so they come to stay with Annie. While it's a tad curious that Annie accepts them so readily, the boys bonding is completely within character, given the circumstances. Add in Alex (Kate Bracken), a woman Hal is interested in, until Cutler kills her and she becomes a ghost, and a new set of central characters are firmly established.

In "The War Child," Hal, Tom, and Alex all try to assist Annie in her mission. They protect baby Eve the best way that they know how, and are present for the final show down. But, in the end, this is Annie's sacrifice to make, and her journey to complete, and so they are left on the sidelines to witness the finale. Which is fitting, as they will have their own adventures.

And those adventures are already getting started. The Old Ones may be dead and scattered, but viewers are introduced to Mr. Rook (Steven Robertson), a mysterious human who helps keep the supernaturals a secret from the world at large. Mr. Rook tells a college student that his kind has always been around, but by showing them to the audience in "The War Child," a story seems to be beginning, and it will likely involve the new trio. Why will they get involved with Mr. Rook? Perhaps because Mr. Rook has hidden Alex's body, her unfinished business? And once the truth is known, will they be trying to help or hinder his activities?

Being Human has been renewed for another series of six episodes, and will return to BBC America.

If you like my reviews, please follow me on Twitter! To catch up with streaming episodes and DVDs of Being Human, as well a check out the American remake, go to amazon.com. Click here to read all of my Being Human (UK) reviews.

Being Human picks up on the "Eve of the War"

Being Human returns to BBC American with "Eve of the War" this past weekend. The action picks up a few weeks after last year's finale. Viewers learn that, in the interim, Nina (Sinead Keenan) has been killed in retribution for George's (Russell Tovey) slaying of Wyndam (Lee Ingleby). Now, George is a shut-in, protecting his unnamed infant daughter by not allowing her out of her nursery. That is, until Tom (Michael Socha) shows up with information about Griffin (Alex Jennings, Whitechapel, The Queen), Wyndam's replacement who ordered Nina's murder.

Tom and George have their work cut out for them in the revenge game. Griffin is a few steps ahead, bringing in the Old Ones, and plotting to kidnap George and Nina's daughter, the first baby born of two werewolves. Disappointingly to the vampires, the baby appears all-human. The Vampire Recorder, Regus (Mark Williams, the Harry Potter films), reveals that the baby is prophesized to wipe out all the vampires from the face of the Earth, so Griffin decides to kill her.

The new vampire characters in "Eve of the War" are interesting, if a bit murky in their motivation. Is Regus really willing to see the annihilation of his entire species just to allow a prophecy to come true? Yes, he has dedicated his life to such works, and without prophecy fulfillment, his efforts seem to be a waste of time. But this is a serious offense against himself and his people, not to mention, he is missing a third of the scroll, and doesn't even know the whole story. Perhaps he is a good guy who just can't stand to see a baby killed?

The new vampire villain looks to be Cutler (Andrew Gower, Monroe), who is far more suited to modern times than Griffin is. Cutler tries to warn Griffin that his plans will fail, and is cunning enough to hide in the shadows when all hell breaks loose in the vampire place. Cutler will surely take over the local hive, and possibly the plans for world domination that Griffin aspires to. As such, Cutler will be the face of evil our heroes must defeat. Or so it seems from the season premiere alone.

It's a shame that Being Human kills Nina off screen. With the injuries she suffers near the end of last season, that seems a cleaner time to end the character than with an unseen hit. However, her death, and the way it is carried out, gives great motivation to George, who seeks to avenge her any way that he can, which eventually leads to his own reckless downfall. George dies a hero, in a powerfully moving scene, because the result of his actions is the saving of his daughter, whom he names Eve. Awesome way to take out George, which makes Nina's disappearance all the more regrettable.

This leaves Annie (Lenora Crichlow) with plenty of story going forward. Not only does she have to serve as a mentor to new housemate, Tom, but she has to raise George and Nina's baby. This is surely a lot for a ghost to handle, given her limitations. It also makes Annie even more the heart of the series than she previously is, which Crichlow should be able to handle with the ease that she has demonstrated repeatedly already.

To round out the house, because Being Human fans know that a vampire, werewolf, and ghost must band together to protect the human race, "Eve of the War" introduces Hal (Damien Molony). Hal has long been part of a similar trio as the main characters of this show, but his werewolf pal is dying. It is unknown what will happen to the ghost that he lives with, but Hal should have some guidance and wisdom to offer Annie, being that he has been a protector of mankind for so much longer.

Oh, and there's a plot set in a dystopian 2037, where a young woman (probably a grown Eve, though that is unconfirmed) has her friend kill her so she can, as a ghost, kill a baby and save the world. No idea how this works into the rest of the story yet, other than the prophecy connection, as she has Regus's scroll, including the missing piece.

"Eve of the War" is a fantastic season premiere. It changes the tone of Being Human into something a good deal more exciting than the original premise, and certainly a faster moving series. The new characters are interesting, and the plot arcs just beginning look to be really cool. One could not ask for a better premiere!

Being Human airs Saturdays at 9 p.m. ET on BBC America.

MORE: If you like my reviews, please follow me on Twitter! To catch up with streaming episodes and DVDs of Being Human, as well a check out the American remake, go to amazon.com. Click here to read all of my Being Human (UK) reviews.

Being Human (UK) fires "The Wolf-Shaped Bullet"

     The British show Being Human ended its third series last night on BBC America. Not to be confused with the American version on Syfy, which ends its first season Monday (check back Tuesday for that review). The finale is amazing, quite possibly the best episode they've done yet, at least the final ten minutes or so. It is a real game-changer, taking the characters and plot to unexpected places. It's hard not to wonder if the American version will be so open to such drastic developments when they reach the same part of the story.

     Before the ending, there is resolution on a number of running stories. Firstly, Lia (Lacey Turner) tricks Annie (Lenora Crichlow) into returning to purgatory. It is presented as a mission Annie must undertake, creepily delivered by a dead body in rhyme, but actually, Lia just wants to deprive Mitchell (Aidan Turner) of his love. Annie is forced to watch a major confrontation among her friends, helpless to do anything, so that Lia can take her revenge. Surprising to Lia, revenge isn't nearly as satisfying as she assumed it would be. Chastised, and realizing she is creating new victims, she lets Annie go.

     Though relatively small, this is a wonderful piece of the finale, and a pay off from the series three premiere featuring Lia. The writers really dig down into what it means to get even, and how collateral damage is assured. Lia's thinking it too narrow, not considering how what she has done will impact people she doesn't even think about. Revenge can become a never ending cycle, which is what Lia seems to realize by the end of the whole mess. Well done!

     Tom (Michael Socha) also concludes his run with McNair (Robson Green), who is killed in the penultimate episode. McNair knew chances were great that he would not survive, so he has left Tom a note asking him to stop the cycle of violence. Unlike Lia, McNair realizes the bigger implications of what he has been doing, and doesn't want Tom to get caught up in the same things.

     Sadly, a note is not nearly enough to sway Tom in his anger and grief. Tom goes after McNair's killer. Luckily, Mitchell stops him, and that's the last we see of Tom, for now. Tom is not a strong character, always having had someone by his side to guide him and teach him. It is likely that Tom will begin to quickly come into his own, and return to the series next season a more formidable werewolf. For now, pursuing the revenge would have only gotten him killed, so it's a very good thing someone is there to prevent that.

     The vampire that Tom wants revenge on is Herrick (Jason Watkins), who is killed by George (Russell Tovey) at the end of season one, only to be resurrected from the dead. His return to top villain status has been a very slow burn, and it's not clear that Herrick ever becomes as much of a threat as he once was. Sure, he leaves behind a huge pile of bodies, but he never gets to the point where is making any dent against society at large, his goal. However, what Herrick represents is very dangerous, and he seems to only be the appetizer to a much bigger obstacle.

     Side note, how exactly did Nina (Sinead Keenan) survive and heal so quickly after Herrick's attack on her? Sure, Annie does something at the hospital, which while unexplained, seems to heal Nina. Annie's powers aside, Nina may be a werewolf, but she goes from the brink of death to walking around in a kitchen in what seems like a day or so. And how is the baby completely unharmed? The knife went in pretty close to where the little whatever-it-is is growing. At best, the hospital would have a lot of questions about the miracle. Her rapid recovery is definitely the weakest link in the entire episode, and screams for further explanation.

     Back to Herrick, he used to be smart. In the finale, he puts Mitchell and George in a cage and expects they will fight to the death. Does he seriously believe that any goading he provides will cause the two to battle so fiercely? George has a much deeper bond with Mitchell than Herrick ever had, and after observing them from his attic these past few weeks, he should have realized that. Especially once it becomes apparent that George already at least suspected Mitchell is behind the massacre of the Box Tunnel Twenty, and looked the other way.

     Herrick's ending is perfect. In this episode, especially, Herrick's affection for Mitchell is often shown, but it is much less acknowledged that Mitchell feels something back for Herrick. The two have much shared history, and were very close for quite awhile. Mitchell knows he cannot allow Herrick to go on, because he knows that what Herrick has done, and what Mitchell has done when emulating Herrick, is wrong and must be stopped. But Mitchell decides to give Herrick a parting gift, allowing him to die while looking at a spectacular view. It is a nice acknowledgement of their past association, while still serving the purpose. Mitchell could have been cruel, but it emphasizes the good he strives for to have him give Herrick a final touch of mercy.

     Would the American version of Being Human ever kill off one of the main trio, especially with so much more story left to go? Somehow, that seems hard to believe, since American shows seem so much more tied to their central characters than British ones. Yes, there are exceptions, but I'm speaking as a general rule. From a storytelling standpoint, it's brilliant. It almost provides a reboot, and pushes the show to be different, trying some alternate paths. From a fan perspective, it's much sadder, and if not done right, can kill a series. It remains to be seen which is in evidence here, as the fourth series is far off, but I'm already inclined to lean towards this being a good move.

     The death itself is done with so much care and sadness. There is a very long sequence where the characters debate whether Mitchell should be killed, then say goodbye once the decision is made. Against stereotype, the girls are the ones arguing for execution, citing that they will be responsible for any future murders Mitchell commits if they let him walk out of the house alive. Of course, they aren't the ones being asked to take his life, so it might be a little easier for them to judge. Nina also doesn't have that close love and connection that George and Annie do for Mitchell, so there's that.

     For a second, a reprieve seems likely, as Edgar Wyndam (Lee Ingleby) (next season's Big Bad?) shows up and interrupts George. But George turns and does it anyway, to stop Mitchell from being forced to massacre others under orders from Wyndam. As George proclaims he is doing this because he loves Mitchell, and Mitchell replies that he knows that, one of the sweetest deaths ever shown on screen unfolds. All the characters have previously had tears in their eyes, and viewers everywhere likely joined them by then. Perfectly executed. Excuse the poorly timed pun.

     So what next? Wyndam seems bent on vampire world domination, and George is equally determined to stop him. I, for one, am just as curious as Wyndam about what will come out of Nina's far-too-rapidly growing stomach. Annie is promised more ghosts, and as she seems to have the power to stop Nina from dying, it looks likely only the tip of her powers have come out. And I think it's safe to count on more action, danger, and bloodshed in series four than in this past season. I can't wait!


Article first published as TV Review: Being Human (UK) - "The Wolf-Shaped Bullet" on Blogcritics.

For all of Jerome Wetzel's Current Season Reviews, please click here.

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Being Human (UK) searches for "The Pack"
Being Human (UK) meets "Lia"
Being Human (US) moves into the neighborhood

Being Human (UK) searches for "The Pack"

     The third series of Being Human, airing on BBC America in the states a few weeks behind England, is shaping up to be very exciting, owing mainly to a series of interesting guest stars. The main characters each have their own stories, too, but on the whole, they don't seem as dangerous or urgent as past plots. In the last few weeks, we have met a young vampire named Adam, a 'type four' (zombie?) named Sasha, and the father / son werewolf pairing of McNair (Robson Green) and Tom (Michael Socha). The latter made their second appearance this week in "The Pack".

     Tom believes he was born a werewolf, and that his mother was killed some time ago. McNair actually killed Tom's parents during one of his wolf nights, and found the baby boy, bloodied but alive, the next day. Not knowing what else to do, McNair takes Tom under his wing and raises him as his own. Nina (Sinéad Keenan) gets a clue to the real story after running tests on an injured Tom at the the hospital, and when confronted by his son, McNair makes a full confession. It's hard to blame the man, as he can't control what his wolf-self does, and he handles the situation as best he can. Tom realizes that, and sticks by his dad. A moving, fairly stand-alone story.

     Tom and McNair aren't one-episode characters. They were seen in the first episode of the season, and according to imdb.com, they will return at some point later this year. I do not know what will bring them back, since they had a nice, tidy ending this week. McNair originally threatens Mitchell, but while they still don't like each other, they seem to end at an understanding, with McNair not planning on killing him. But perhaps something will happen to change that. Which has me wondering, will Tom or McNair be the werewolf that is supposed to kill Mitchell (Aidan Turner)?

     Mitchell is convinced that he will die at the hands of a werewolf, per something he is told while rescuing Annie (Lenora Crichlow) from purgatory. Signs keep popping up, convincing Mitchell the noose is closing in on him. Mitchell is a main character, and as this series only focuses on four people, I find in unlikely he will die before a finale episode. However, BBC fare has shown more of a willingness to get rid of central characters (see Torchwood) than most American series (save for Lost), so I could be wrong. Either way, it's a great driving arc to keep the audience interested. Though I am even more intrigued by what retribution from overseas may be coming, as mentioned this week.

     Knowing that Mitchell believes he will soon meet his fate by werewolves, unless he is able to do something drastic to save himself, is also hanging over Mitchell's budding relationship with Annie. I like the two of them together, two lost souls having found a mate. Even without the sex, they are good, though it's a sad omission. At face value, and certainly from Annie and George's (Russell Tovey) perspective, Mitchell and Annie are a great match, both being supernatural and unable to find a normal companion. But Mitchell's dark secrets, as well as his homicidal urges, mean Annie doesn't really know what she is getting into.

     I find it easy to draw comparisons between Mitchell and Annie's ex, who killed her. On the surface, both Mitchell and the other man appear sweet, at least from Annie's point of view. But both can quickly be moved by violent instincts, resulting in other people's deaths. Mitchell has killed many others, including his recent slaughter of The Box Tunnel Twenty, though Annie does not yet know of that incident. It seems she is stuck in a pattern, falling for the same type of guy all over again, still naively believing she has chosen a suitable mate. At least Mitchell will not be able to kill her, since she is already dead. Which narrowly saves Mitchell from being completely detestable, as he would be if he killed Annie.

     By comparison, George and Nina have a much more stable relationship. Despite the rocky happenings of series two, where George quickly shacked up with another woman, while Nine hid and struggled with her new infliction of the werewolf curse, they have stabilized. While I found much of their story as a couple in the last series unrealistic and awkward, now that they are without question paired up, they have really shown the amazing chemistry and connection they first exhibited back in series one. More so, as they can be themselves with each other. I am liking the direction the characters are going.

     I have a million questions about Nina and George's bun in the oven, probably a lot of the same ones the characters themselves have. It seems to me at the end of this week's episode that the fetus survives Nina's transformation, so that's one worry down. But I can't recall another story where two werewolves have a baby. And the fact that conception happened while both were in wolf form further complicates matters, to an extent where it appears impossible that the child could be genuinely normal. The writers are treading on new territory, which is thrilling.

     Next week, Herrick (Jason Watkins) makes his return. I am super excited to see what that means. Watch Being Human Saturday nights at 9 p.m. ET on BBC America. Or, if you're lucky enough, watch it whenever it airs in its home country, weeks before we get to watch.

Article first published as TV Review: Being Human (UK) - "The Pack" on Blogcritics.

For all of Jerome Wetzel's Current Season Reviews, please click here.

For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.

Being Human (UK) meets "Lia"

***This review would sound better if read in a British accent. It is not necessary, of course, but that would be my personal preference. :)***

     While you blokes across the pond are already halfway through Being Human's eight-episode third series, those of us in the States just got the series premiere this past Saturday night. I'm not complaining; other than incessant reruns of Top Gear, BBC America has become my new favorite obsession, though I suspect we do get edited versions of the show. We have our own (lesser) version of Being Human now on SyFy, of which season one will deliver 13 episodes, enough to cover all the plot in the first two British series. However, as the series premiere "Lia" showed once again, yours is better.

     Series three moves the roommates from Bristol, where things ended in a bloody mess last season, to Wales. Nina (Sinéad Keenan), reunites with George (Russell Tovey), and isn't happy that they will still be living with his friend, Mitchell (Aidan Turner). But George can't stand to kick Mitchell out, seeing as he seems to be losing his marbles. Despite a rocky second series, Nina and George seem to fully commit to each other once more, though she'd like a bit of privacy. Mitchell is bent on finding Annie (Lenora Crinchlow), who disappeared in the series two finale through The Door to the other side. Plus, there is nary a glimpse of old villain Herrick (Jason Watkins), whom we saw resurrected at the end of last year, so there's that dread hanging over everything. The audience knows that he will be back soon. Basically, things are chaotic.

     I do like the new setting. The original apartment was a bit drab, definitely just set trapping. It served its purpose, but will not really be missed. The new dwelling, on the other hand, has some serious character, including the tropical wall and the counter in the middle of the room. It could become a character unto itself, especially if there are some strange secrets hidden within that we haven't discovered yet. If not, it's still fun to see the stars dance in front of painted palm trees.

     We also got to meet some new characters this week. McNair (Robson Green, Wire in the Blood) and his son, Tom (Michael Socha, This is England), are werewolves shown quite a bit, mostly in scenes without any of our main characters around. McNair is captured by vampires, and Tom rescues him. What are they up to? Are they just trying to live a quiet life, as our roommates are? Have they come to town with some kind of mission? How will they affect George and Nina, or are they just there to show that there are some dangerous vampires around that like to play with wolves? So little is revealed, they definitely spark more questions than they answer.

     Mitchell spends the first part of the episode acting deliciously crazy, delivering a funny scene with a realtor, not knowing how to even begin to find his missing friend. Then Annie calls to Mitchell through a television, and he figures out a way to hitchhike on the back of a recently deceased man through The Door and come after her. Little does he know, the powers controlling the other side want exactly that. They are not holding Annie for her own sake, but to lure Mitchell. You see, he went on a bloody rampage in the tunnel and killed a bunch of people last season. Lia (Lacey Turner), his guide, was one of the victims. Mitchell is unaware of this fact and Lia walks him through some of his embarrassingly brutal past, dredging up all sorts of emotions.

     The Mitchell-in-purgatory bit is easily the most creative part of the episode, and is a highlight of the series as a whole. Lia is great, both memorable, but not overpowering. Mitchell has always been a tortured soul, but never has it been more explicitly demonstrated than this sequence. Having a victim he doesn't even remember killing as his escort only adds to his depravity. Mitchell seems stripped bare, incredibly vulnerable. It is masterful writing, and Turner handles it with great care and talent.

     George, who is often the comic relief, mixes his comedy with some real danger, and also gets to show some real depth. His arrest in the woods with the sexual deviants, including Bob (Torchwood's delightful Kai Owen), seems merely a funny happenstance. And then, as Owen battles his change in a cell with Bob, it takes a much darker turn. Kennan is amazing as Nina struggles not to change while bailing George out. There is an intense energy to the exchange that did not disappoint. Later, watching George cry at Annie's return, I realize he played anger, sadness, joy, lust, and the wolf ferociousness all in one hour, often intermixed, with serious skill.

     There are some strange implications to ponder in this episode. For instance, what does it mean that George and Nina seemingly have sex in wolf form? Will Nina carry a wolf baby? Or a fetus that changes inside of her on the full moon? Because that would be mighty strange. Who is the werewolf that will kill Mitchell, and will we see his death this series, or much later, if there is a later? If he does die this series, how will he be brought back for another series? Or will that be the end of him entirely? Will Annie have any lasting effects from her time in purgatory? I can't wait to find out!

     Being Human airs Saturday nights at 9 p.m. on BBC America.

Article first published as TV Review: Being Human (UK)- "Lia" on Blogcritics.


For frequent mini-reviews and occasional TV news, follow Jerome on Twitter.