Sweet Christmas, It's LUKE CAGE

Article first published as LUKE CAGE Review on Seat42F.

Highly anticipated, MARVEL’S LUKE CAGE hits the Netflix streaming service this week. The spin-off is fronted by the character introduced in last year’s Jessica Jones, and follows him as he hides out in Harlem, working cash jobs under the table, trying to stay off the radar. What will it take to pull Luke back into fighting criminals in the city he loves? You’ll have to watch to find out.

Mike Colter takes Luke, a supporting player in the previous series, and immediately proves why this guy deserves his own show. Bulletproof and nearly indestructible, Luke is essentially a gentle giant, avoiding violence as much as possible. He will stand up for those that need it when he sees injustice cross his path, but he’s certainly not seeking it out, preferring to live a quiet life of (mostly) solitude.

While that description in of itself is not unique, as it can be applied to Jessica Jones as well, the way Colter’s Cage is depicted is something different. You will very occasionally hear his signature phrase “Sweet Christmas!” but usually he glowers quietly. Colter can convey a lot with a glance, and he radiates a complex character with many layers. Cage is the most magnetic of the recent superhero batch, and every moment he is on screen is magical.

Thankfully, the rest of the ensemble matches Colter’s level of talent. Simone Missick (The Road to Sundance) takes on the iconic Misty Knight and makes it her own, stealing the scenes that she headlines sans Cage, and proving she is capable of driving a major plot arc, too. Frank Whaley (Ray Donovan) is terrific as Misty’s partner, Scarfe, and Theo Rossi (Sons of Anarchy) is an intriguing villain sidekick, Shades. Alfre Woodward is, as usual, amazing as Mariah Stokes, a politician who may or may not be shady (and a different character than her Captain America: Civil War role). And Mahershala Ali (House of Cards) is a compelling Big Bag as club owner Cornell “Cottonmouth” Stokes, my only complaint being he doesn’t seem nearly as old as his ‘contemporary cousin,’ Mariah.

But my favorite actor in this, aside from Colter, is Frankie Faison (Banshee, The Wire) as Pop, a de facto mentor to Luke and holder of his secret, as well as Luke’s boss. The scenes in Pop’s barber shop are among my favorite of what I’ve seen so far, providing Luke an opportunity to show other sides of himself, and also informing the neighborhood in which the show takes place. This wouldn’t work without Pop setting the tone of the place.

Speaking of setting, LUKE CAGE is undeniably Harlem. There is barely a white face on the street, with much dedicated to the soul of this area. While this is a black show, the only element it borrows from the Blaxploitation that the comic book version was born out of is the music, arguably the part that deserves to continue. Fans of the genre (or its parodies) will see the best of it in LUKE CAGE, but, soundtrack aside, it still feels like a modern show. This portrayal is very important in the current political climate, making the show timely.

My one complaint about LUKE CAGE is that it starts slow and gets boring at times. Never in Pop’s, of course, but as great as Ali and Woodard are, my mind sometimes drifts during their exposition. I assume it’s the writing, because I detect nothing wrong in their performances. But the same weakness aren’t present in the Luke and Misty scenes.

I also get why, Daredevil aside, Netflix has been skipping the traditional origin stories of its Marvel superheroes, picking up long after they got their powers. Yet, I wish we got a bit more than Luke quickly talking through his backstory, as I’d be interested in more of how he came to be the man he is.

Two episodes in, I’m not entirely sure where LUKE CAGE is going, and I do worry about the series sustaining constant energy over thirteen episodes. But I like it enough, and I am very curious as to whether Mariah will stick by cousin Cottonmouth, or if there is some idealism left in the politician. This is a fitting addition to the Netflix Marvel lineup.

MARVEL’S LUKE CAGE drops its entire first season on Friday to Netflix subscribers.

HOUSE OF CARDS Season 2 Finale Review

Article first published as HOUSE OF CARDS Season 2 Finale Review on TheTVKing.

Everyone watches House of Cards at different speeds. Some will plow through a batch of thirteen episodes within two days of its release. Some may watch a single hour per week, like most TV shows air. I decided to go for a middle ground when picking when to post this review. If you watched two episodes per week every week since season two was posted, you'd be right at the season finale now, as I am.

IMPORTANT: If you have not watched all of season 2 of Netflix's House of Cards yet, I recommend stopping here. Important story points will be spoiled if you continue. You have been warned.

"Chapter 26" is undeniably a big one for House of Cards. Francis Underwood (Kevin Spacey) is losing his tenuous grasp on power as President Walker (Michael Gill), Raymond Tusk (Gerald McRaney), and Linda Vazquez (Sakina Jaffrey) plot to see Francis wind up behind bars, pinning the whole mess with the Chinese on him. His wife, Claire (Robin Wright), who has come through on her end of the bargain, basically tells Francis to step up, no excuses, and complete their scheme. So he does.

Claire has every reason to be frustrated with Francis. While they are a team, and have been so even more in the second run than the first, they respect one another because of their strength and commitment to the cause. Claire hurts people she cares about, playing on First Lady Tricia Walker's (Joanna Going) insecurities, secretly betraying their friendship while seducing her, all the while destroying Megan (Libby Woodbridge), a girl Claire works with. This costs Claire much emotionally, as we see in a private moment on the staircase.

Yet, Claire can live with her actions because, in her mind, the ends justify the means. She resolves not to care about others, even as she can't help but let a little humanity slip through, but in the end, she still is willing to sacrifice them. She's the queen on the chessboard, and sometimes pawns and bishops alike must take the fall.

Francis can learn a lot from his wife, and he does. Many of his power plays have been ruthless, smiling while slipping the knife between the ribs. In "Chapter 26," Francis takes a page from Claire's playbook and uses affection to win over Walker. Kind words, perfectly crafted to appeal to both Walker's ego and soul, worm their way into Walker's head and turn him to Frank's side, which, in the end, results in Francis winning the day and Walker resigning in disgrace, all the while believing Frank has only Walker's best interests at heart.

More impressive than how Frank and Claire carry out their plans is the emotional depth, not lack of emotion, in which they do it. They care about themselves and each other, and they do have things and people they value, but because their frame of reference is so different from most viewers', it's almost like the actors are playing aliens. While a select few grow wise to their methods, many others continue to believe in them. The couple is reptilian in nature, cold-blooded. They can put on a front so completely and sincerely as to draw their prey in, as a true predator does, then somehow manage to keep those masks in place. It's not only brilliant writing, but supreme acting talent that delivers the subtlety needed to pull such characters off, and House of Cards blows me away once again in this season finale.

Now, Frank is the president and the Underwoods seem to have realized their dreams. From here, Francis can't go up, so he must go down. The ending of "Chapter 26" implies that next year's third outing will be the show's last, mirroring the British model's trio of (much shorter) miniseries. Netflix could stretch things out (no ending has yet been announced), having Frank hold onto power longer, but it seems unlikely. With such a high-quality show, working through defined arcs, the end feels nigh.

Frank must lose because viewers will never be able to stomach him winning. He's too conniving, corrupt, selfish, and evil to be allowed to keep the Oval Office. As much as we root for him not to get caught because that will end the game, that is what we want to see in the end. Season two forestalled this feeling by pitting Frank against those almost as bad as he is, Tusk chief among them. Now, it's time for Francis' rule to come to an end.

There are no shortage of people who could and would bring Frank down. If they can unite, he doesn't stand a chance. Hacker Gavin Orsay (Jimmi Simpson), along with his fan-favorite guinea pig, Cashew, knows the government is bad, and seeks to free Lucas (Sebastian Arcelus), who might just be dumb and idealistic enough to go back into the fray. Jackie (Molly Parker) has a bone to pick, as do Tusk and Remy (Mahershala Ali). Rachel (Rachel Brosnahan) could be the key to finding Francis guilty of murder, and with her guardian, Doug (Michael Kelly), now dead in a surprise twist, she's available to assist. And these are only the tip of the iceberg.

Which is why I think time is running out for the Underwoods. Francis and Claire have their day, as many do, but it won't last. I will enjoy seeing them in the seat of power until they aren't any more, and will revel just as much in their downfall. Whatever twists and turns the writers come up with, season three should not be boring in getting to that final destination.

House of Cards will return to Netflix next winter.

House of Cards Season 2 Midpoint Check-in

Article first published as House of Cards Season 2 Midpoint Check-in on TheTVKing.

Note: This review is written after having viewed season two, episode seven of House of Cards, "Chapter Twenty." If you are not that far along yet, please watch some more, then come back to this column.

Season two is shaping up to be a great one for Netflix's House of Cards. There are a number of personal stories interwoven around the main plot, but the central thrust thus far has been a war between Frank Underwood (Kevin Spacey) and Raymond Tusk (Gerald McRaney, Simon & Simon, Major Dad). Which has more influence in Washington: money or power? I believe we'll find out as this year continues to play out.

By "Chapter Twenty," Frank has successfully sabotaged Raymond's sway over President Walker (Michael Gill). Rather than being defeated, though, this makes Tusk more determined to have control, switching his allegiances to the other political party, without it being publicly obvious that he has any affiliation with either side of course. This isn't something Frank can stop, and his meeting with Tusk's business partner, Lanagin (Gil Birmingham, Twilight), as well as Stamper's (Michael Kelly) efforts with another partner, Feng (Terry Chen), come to nothing.

That doesn't mean Frank is done, by any means. Frank has wormed his way back into Walker's good graces, expertly dismantling a feud and forming a friendship. It's all an act, from Franks' perspective, just another strategic move in his game, but Walker seems completely taken in, and while money can buy elections, those still in office do have influence.

One wonders how this could end up. Frank wins by manipulation, something easy to do in the halls he's so familiar with, but much harder to do on a national scale in terms of elections. On the other hand, Tusk may be shut out of the White House, but he can buy up as many TV spots as he likes, which can sway public opinion. Frank seems to be scoring minor victories, but is losing overall. I wonder who will come out on top?

It's interesting that Frank is building a Civil War battle model in "Chapter Twenty" of a conflict that resulted in heavy losses on both sides and no clear winner. Might this be how House of Cards lets this war play out? Or is this just how Frank sees things as they are, leading to so much frustration that he smashes his work?

We don't yet know Grayson's (Derek Cecil) true loyalty, which could shift the balance. He confesses to Frank that he's been working for Remy and Tusk, but professes that he thinks Frank is the better man to back. I'm not sure if this is true or if Grayson is really good at what he's doing for Tusk. Grayson does get Remy to remove Ellis (Sam Page), an obstacle, from the Underwoods' circle, but is that Grayson playing Tusk or trying to accomplish his mission? This arc still has too much mystery to make anyone comfortable, but it's this kind of suspense that drives the series.

Luckily, Frank has something Tusk lacks: Claire (Robin Wright). Claire isn't directly involved in the current machinations, but she's there to support Frank, taking him on a run to calm him down. She also helps Frank throw a dinner for Walker and the First Lady, Tricia (Joanna Going), whom Claire befriends, giving the couple even more of a bond to the Underwoods. I've learned never to underestimate Claire, so the fact that Tusk may soon be fighting the two of them, not just Frank, is what should have Tusk worried.

I'm a little confused about why Claire is sabotaging Christina's (Kristen Connolly) reputation. Is Christina merely collateral damage, a way for Claire to get in with Tricia? Or did Christina sleeping with her boss really offend Claire so? Or does conflict in his marriage make Walker confide even more in Frank? Or maybe I just missed something.

Something that might make Frank's life more difficult would be a defection in his own ranks. Jackie (Molly Parker) doesn't seem like the loyal little soldier any more. I guess it's true; once a backstabber, always a backstabber. She has a history of this behavior. Her rebellion would only ever be a minor setback for Frank, he's dealt with worse, but she's playing with fire that could destroy her. Do not ever, ever betray Frank. He might push you in front of a subway or fake an overdose. We're not talking career suicide, we're talking literal suicide.

To make matters worse for her, Jackie is shacking up with the enemy, sleeping with Tusk's man, Remy (Mahershala Ali). I like what we see in Remy, that he's not content for casual sex, revealing something more about him than has been obvious, a noble moral compass. But Jackie is probably just trying to advance her status, and not doing a very good job of it since she doesn't fake the emotions that will help her attain her goal. She is no Frank, and these weaknesses will be her downfall.

It does appear that one of the threats to Frank, the media, has been neutralized. With Lucas (Sebastian Arcelus) discredited and in jail and no one coming to his aid, Frank may have defeated this branch of enemy. Or it may just be dormant, meant to be revived later, possibly with the help of Gavin Orsay (Jimmi Simpson), who seems sympathetic to Lucas' cause.

Amid all this chaos, love may be blooming for Stamper and Rachel (Rachel Brosnahan). Suddenly, Stamper is refusing pretty women in China (ridiculous!) and calling her just to check in. His harsh words on her voice mail are clearly just a cover, though. Who would have thought this might happen? Does it have any chance of working, Rachel being broken enough to be drawn to the man who would protect her? Or is this a distracting side story that doesn't mean much?

Speaking of odd subplots, in "Chapter Twenty," Freddy (Reg E. Cathey) finally gets his own focus. There's a really sweet scene with him meeting the Walkers, but more important, he's suddenly in the press and being offered franchise deals. Is this a sneaky plot by Tusk to knock Frank off his game, trying to steal away Frank's beloved ribs? Or is this a completely separate story? The former seems much more likely given the tight writing of House of Cards, but I appreciate that no ulterior motive has been given for Freddy's fame yet, making it seem like he's earned well-deserved recognition.

By "Chapter Twenty," there's plenty of exciting plot to watch, but no real clear vision of how the season will play out yet. This is completely fine, as House of Cards is great at tying up unexpected threads at just the right time, one in which we don't quite see it coming, but it makes sense in retrospect. It's full of incredible writing and acting, and season two has maintained the quality of the first year, even as the mystique has started to fade away, fans finally figuring out what the DNA of the show is. As long as it keeps up the good work, we should all be satisfied.

Both thirteen-episode seasons of House of Cards are available now streaming for Netflix subscribers. Join me in a couple of weeks for my season two finale review, date TBA.

Wake up, Alphas!

Grade: 77%

ALPHAS returns to SyFy for a second season with “Wake Up Call,” which opens eight months after the events of the season one finale. Dr. Rosen (David Strathairn) remains locked up in an institution, making friends with his captors, while the rest of the team has scattered. But soon, as Dr. Rosen predicts will happen, an emergency forces the government to call him out of lock up and reassemble his group to fight the good fight.

Dr. Rosen is an absolutely fantastic character. The way he has such knowledge about how the world works, and his utmost confidence in that knowledge, is impressive. Even when things are not looking good for him, he has a calm, knowing that things are always changing, and they will again soon. His morality may sway a little, but he always manages to right his course and fight for justice. It’s almost like an Alpha power, and makes him a very worthy leader for the group.

Outing the Alpha phenomenon to the public is a huge gamble. Rosen knows it is the right thing to do, but he pays a price for doing so. While Rosen does get his team back, with assurances that he will have even more control over their missions and their outcomes, that isn’t an all clear to preach to a mass audience. Perhaps he thinks he won’t need to if he maintains control. Surely he has learned his lesson about lack of oversight not being a good thing, under any circumstances.

One wonders, if ALPHAS did not take place in the television world, if Dr. Rosen would have been released quite so quickly. It might have been neat to explore the team leaderless a little longer, as well as the affects of an extended captivity on Rosen. Sadly, in a television show like this, a status quo must be maintained for the procedural elements to work. The end of “Wake Up Call” doesn’t ignore what has come before it, but by fixing the major elements, it sets itself up for a bunch of stand alone stories.

There is nothing inherently wrong with a procedural. However, ALPHAS has so much potential to move beyond that. And it is doing so, sort of. Season two will be about catching all of the bad guys that Stanton Parish (John Pyper-Ferguson, Brothers & Sisters, Caprica) has let out, as well as stopping a war between humans and Alphas. But there will definitely be cases of the weeks along the way, and entire hours that are mostly spent chasing a single suspect. These are the stories that aren’t quite as compelling as the ones that cater more to the larger arcs.

It’s very interesting to see how the rest of the team has moved on before Rosen brings them back together, and like in Rosen’s case, I wish they had spent a bit more time exploring those experiences. Each goes down their own path, some back to what they were before, and others making different choices.

Bill (Malik Yoba) has assumed de facto leadership, continuing to work with Clay (Mahershala Ali), though his decisions splinter the group. Only Hicks (Warren Christie) and Gary (Ryan Cartwright) continue to work with him, having no where else to go, and dreading a return to life with no purpose. And it isn’t long before Bill’s weak leadership gets Gary taken away by the NSA, and later locked up in prison. Bill may try, but he just doesn’t have that unique personality that Rosen has to keep these individuals together.

Nina (Laura Mennell) and Rachel (Anita Ghanizada) backslide, with Rachel hiding out in her parents’ house, and Nina going back to manipulating people to get what she wants. This does expose weaknesses within them, neither enjoying these lives, but not having the strength to change them without Rosen’s help, either. Not that the others aren’t weak, too, because they are, in different ways. And it’s not a sexist choice that sidelines the girls, but rather, the plot that best serves each layered, complex part in the way that it has been written up until now.

ALPHAS isn’t perfect, and “Wake Up Call” does disappoint a bit in the quick resolutions and easy answers. However, it is still a highly entertaining show, fully realizing a particular world, and exploring it in interesting ways. If the preview can be believed, it also looks like season two is going to be pretty darn good. Watch ALPHAS Mondays at 10 p.m. ET on SyFy.

The innocent man of Alcatraz

This week's escaped prisoner on FOX's Alcatraz is "Clarence Montgomery." Said to be the only innocent man locked up on The Rock, Clarence (Mahershala Ali, Treme, Alphas, The 4400) begins killing for real when he emerges in 2012. What's more, he slays other inmates in the 1960s, after Dr. Beauregard (Leon Rippy, Saving Grace, Deadwood) performs some experiments on him. So how can he be stopped, and why is he acting this way?

The case of "Clarence Montgomery" is a moving one, indeed. Here is a man that was accused of a crime that he didn't commit, likely because of racist attitudes. See, he is a black man who was dating the white daughter of his boss. It isn't surprising that in the 1950s this could happen to a person of color. But it's incredibly unfair, and so viewers will quickly begin feeling for this poor man, to whom circumstance has dealt a bad hand.

The story of "Clarence Montgomery" comes to a tragic ending. Trapped by Hauser (Sam Neill) and company, Clarence's friend, Emmitt Little (Glynn Turman, House of Lies, The Wire), shoots Clarence dead. The alternative would have been to be locked up in Hauser's secret prison, and after the tortures Clarence has already undergone, death seems preferable. But that doesn't make the tale any sadder.

"Clarence Montgomery" extends fans' knowledge of what is going on in Alcatraz prison, circa 1960, as it expands Dr. Soto's (Jorge Garcia) information, as well. Soto knows about experimentation going on elsewhere, but didn't think the same things happened at Alcatraz. Until now. But what is the goal of the Alcatraz tests? Surely they are related to the disappearance of everyone in 1963, and their reemergence now. Thus, they are another piece of the larger mystery that is slowly unfolding.

Alcatraz does a lot of things right. The mystery is being doled out nicely, piece by piece, keeping fans engaged. Soto's burgeoning relationship with Nikki (Jeananne Goossen, Falcon Beach, The Vow) is sweet. Rebecca's (Sarah Jones) family secrets keep her heavily involved in the plot. Hauser's connections with local law enforcement justify much of how the team can do what they do. And the writers are very good at making viewers care about the prisoners, with intriguing, sometimes sympathetic, stories.

Unfortunately, Alcatraz also does a lot of things wrong. How are these prisoners adapting to 2012 so easily? Escpecially Clarence, who must adjust to completely different racial attitudes? The prisoners are confused by the internet, but not by the other technology all around them? They easily can get a job, often multiple jobs, without proper work history and references, when people around the country struggle to find work? None of them consider blending in for awhile and not committing crimes after being given this second chance? And in "Clarence Montgomery," we are expected to believe that Clarence is the ONLY innocent man in Alcatraz, given the history of the legal system? Really?

Perhaps I'm being picky. Yes, disbelief must be suspended to enjoy a series like Alcatraz. However, taken together they show a lack of foresight and depth to the universe presented. It makes it seem like the show doesn't have time to explore all the implications because they are being forced to stuff the stories into a crime-of-the-week procedural, which would be a logical conclusion, given the unfortunate glut of this type of programming on network TV. This is a grave mistake that could wind up killing the series quickly. Slow down, take time to fully engage with these issues, and Alcatraz could be something awesome, rather than a great show that falls apart under close scrutiny.

Hopefully, these wrongs will be righted soon. You can watch Alcatraz Mondays at 9:00 p.m. ET on FOX.

If you like my reviews, please follow me on Twitter! Article first published as TV Review: Alcatraz - "Clarence Montgomery" on Blogcritics.

Alphas pulls a "Catch and Release"

     This week's episode of SyFy's Alphas is called "Catch and Release." An Alpha named Skylar (Summer Glau, Serenity, Dollhouse, The Cape, Terminator: The Sarah Connor Chronicles) is hunted down. She is a past acquaintance of Nina's (Laura Mennell), so naturally, Nina feels the need to help her. This is fine with Dr. Rosen (David Strathaim). But Skylar doesn't want the team's help, calling them puppets of the corrupt government. She is soon proven correct as Agent Sullivan (Valerie Cruz, Off the Map, True Blood) demands they keep Skylar in custody, at the behest of Cley (Mahershalalhashbaz Ali, Treme, The 4400).

     Summer Glau is a perfect fit for Alphas for the simple reason that Alphas is a science fiction show, and it seems that no modern sci-fit hit is complete without at least a visit from Glau. This is not a bad thing, as Glau is terrific, and Alphas explores yet another new character for her, rather than retreading the same ground. Skylar is highly intelligent and one step ahead of her pursuers, but she also has a solid reason to run, and to not cooperate with the team. That is, she has a child, whom the government will not hesitate to take away and experiment on if they learn of her existence. So Skylar can be forgiven for being less than cooperative with her rescuers.

     It's hard to figure out exactly where Alphas is going. When the series begins, Dr. Rosen's group just seeks to help humans with abnormal abilities. Then they are co-opted by the government, and each week it seems they bend more to the will of their bosses. "Catch and Release" is the perfect pause button for Dr. Rosen to remind him where he has been, and what path he is now on. Both Nina (pictured below) and Rosen realize they have to use their own judgment, rather than just let the man with the money dictate their actions. How much longer can status quo be maintained if the Alphas team begins working against the people with the purse strings? From a storytelling standpoint, hopefully not long.

     Sullivan, who is still a new character, and not in every episode, is clearly in a very difficult position. Cley and the government have their desires, and Rosen and company have theirs. But Sullivan is the liaison, and tasked with keeping both groups happy. She does the best that she can. Sullivan definitely has a bond with Rosen, and while chiding him for letting Skylar escape, and leaving things out of his report, doesn't exactly fully support Cley either. When the chips are down, it is possible Sullivan will side with Rosen. But it is also possible she will not. Her motivations are just too murky at this point to know for sure. Which makes her interesting.

     A great subplot of "Catch and Release" focuses on my personal favorite character, Gary (Ryan Cartwright, Bones, Mad Men). Gary tells his mother, Sandra (Jane Moffat, Queer as Folk), about the classified and dangerous nature of his work. As a guy with autism, who needs lots of help, Gary can be forgiven for leaking state secrets to his mother. But Sandra's reaction is to pull Gary off the team, something Gary refuses to let happen. It's an interesting balance of needy and independent that Cartwright walks with his genius character, and he nails the subtleties brilliantly. Gary ends up staying with the Alphas, of course, but he also gets to remind viewers that people with physical and mental challenges are still people, with their own wants and needs.

     Another wonderful character is Bill (Malik Yoba), who is forming quite a partnership with Gary. Sort of a really, really odd couple, it is a true joy to watch them together. Bill considers having children in "Catch and Release" with wife Jeannie (Rachael Crawford, Show Me Yours, Traders). Jeannie isn't privy to all of Bill's secrets, and so is understandably upset when he shows hesitance with something they both agreed long ago that they want. But Bill's position is also sympathetic, worried about what kind of offspring an Alpha might produce. In the end, seeing Skylar's precious daughter, who has incredible abilities beyond anything Bill imagines, sways him towards the idea. It's a sweet moment for a man who isn't the focus of many sweet moments.

     Alphas also stars Azita Ghanizada and Warren Christie. Catch it Mondays at 10 p.m. ET on SyFy. You especially won't want to miss next week's episode, which features Raising Hope and Terminator: The Sarah Connor Chronicles star Garret Dillahunt!

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     Click here to catch up on streaming episodes of Alphas.

Article first published as TV Review: Alphas - "Catch and Release" on Blogcritics.