NOTORIOUS Bad?

Article first published as NOTORIOUS Review on Seat42F.

While we impatiently await the return of Scandal, ABC has another show on deck that is along the same lines called NOTORIOUS. It follows a lawyer, a TV producer, and the people around them as they manufacture news stories and deal with real drama, lying to pretty much everybody, and contributing to the public’s false perceptions of reality. It’s very soapy, and is certainly trying to be sexy in an over-the-top way.

Piper Perabo (Covert Affairs) stars as Julia George, the aforementioned producer, while Daniel Sunjata (Graceland) is the second lead, a lawyer named Jake Gregorian. The two of them don’t have a relationship, since Julia dating a judge (Marc Blucas, Necessary Roughness) and Jake is interested in his client’s wife (Dilshad Vadsaria, Greek). But because of the type of show this is, and because of the easy, immediate chemistry between the two, you just know they’re going to be dating, or at least screwing, before long.

Julia seems to be the colder of the pair, having no problem lying to and scolding her on-air talent, Louise Herrick (Kate Jennings Grant, Frost/Nixon), not that Julia has any room to talk. She also treats her new intern, Ryan Mills (Ryan Guzman, Heroes Reborn), poorly, although considering Ryan is thrust upon her through nepotism, I guess that’s understandable. My point is, we shouldn’t like Julia because of how she acts towards those around her, and yet Perabo just can’t play unlikeable so we end up behind her anyway (which is surely the intention of casting the actress in this role).

Jake is a little more sympathetic. Yes, he’s into a married woman, but he really does care about her and he’s at least hesitant about acting on those feelings. Through Jake’s interactions with his brother and legal partner, Bradley (J. August Richards, Angel), we see that Jake is a decent human being, even if his client, Oscar Keaton (Kevin Zegers, Gossip Girl), probably isn’t. So Jake is probably too good for Julia, but that won’t stop the show from pairing them anyway.

None of this in of itself is a bad thing. I’ve enjoyed many shows with similar ensembles and dynamics on broadcast network TV. In fact, most of the best primetime soapy dramas happen to be on ABC, including Scandal, so it seems like NOTORIOUS should fit right in.

But it doesn’t. The level of quality just isn’t there on this one. It isn’t the cast, who is across-the-board good looking and charming; it is the writing. So many things happen in the first hour alone to unnecessarily cause conflict that it stops feeling real and you’re taken out of the moment repeatedly. How unlucky can Julia be? Why must Jake have a young employee, Ella Benjamin (Aimee Teegarden, Friday Night Lights), who is so perfectly matched to Julia’s Ryan? Why does Louise have to be so lecherous, other than to get in the middle of couples and potential couples?

It’s also really hard to trust what we’re seeing when not once, but twice early in the first hour of the series characters reveal how far their lying goes to the audience. Suddenly, I’m not going to believe anything I see in a scene until it’s proven and backed up in multiple other scenes, and maybe not even then. NOTORIOUS shoots itself in the foot by making the characters so dishonest and then somehow expecting us to still like and trust them.

This type of show is something I’d be totally into, and in the past, I may even have looked past the mess and the flaws to give it a chance to grow into itself (cough, Revenge). But there are too many good things on right now to waste your time with a mediocre one that may never be that great (cough, Revenge), and NOTORIOUS, despite having a great ensemble, just isn’t ready for primetime.

NOTORIOUS premieres Thursday, September 22^nd at 9/8c.

Going UNDERGROUND

Article first published as UNDERGROUND Review on Seat42F.

WGN America’s newest series is UNDERGROUND. Set in the pre-Civil War Days, it follows a swath of representative Americans, both black and white, slaves and free, at a pivotal, conflict-ridden time for our country, just before full-scale war erupts. It’s a period we’ve seen before, most notably in Roots, but never in a successful, ongoing weekly series, which should allow the writers and performers to get much deeper into the personalities and complexities of the era than has been done before.

UNDERGROUND stars Aldis Hodge (Straight Outta Compton, Leverage) as Noah, a smart man who is tired of being forced to serve a master, but who knows it wouldn’t be productive to openly rebel. Instead, he plays the game, pretending to be obedient, even while making secret plans to flee the plantation and head north, using the Underground Railroad referred to in the show’s title.

Noah is not going to go alone, which might be a good or bad idea, depending on how it plays out. Among his possible traveling companions are: Rosalee (Jurnee Smollett-Bell, True Blood, Friday Night Lights), a timid house slave and protective older sister; Moses (Mykelti Williamson, Justified, 24), who allows the others to believe he can read, even though it’s his wife, Pearly Mae (Adina Porter, True Blood, The Newsroom) who has been educated; and Cato (Alano Miller, Jane the Virgin), the collaborator who wants to go so he isn’t punished in their place after the others are gone, if he doesn’t turn them in first.

To represent the dominant race of the time, UNDERGROUND has August Pullman (Christopher Meloni, Law & Order: SVU, Wet Hot American Summer), John Hawkes (Marc Blucas, Buffy the Vampire Slayer), and Elizabeth Hawkes (Jessica De Gouw, Dracula). John is a lawyer and an abolitionist, who is offered the job of campaign manager by his brother (Dollhouse’s Reed Diamond), a Northerner who has moved South and now owns the people John is fighting to free. John’s wife, Elizabeth, seems mentally unstable, though, putting additional pressure on John. And August is… well, I’m not sure if he’s a help to runaways or a slave catcher yet, but I’m sure we’ll soon figure that out.

As you can see, there are a number of different parties represented, and that gives UNDERGROUND a full feel, in a good way. The focus is on the African-Americans, as it should be. However, no one portrayed are just stereotypes, with complex realities warring with individual morality and circumstance. Each individual, including a number of those not listed above, stand out and are quickly memorable.

The production is equally well done. Filmed in the American south, one can feel the sweat dripping when characters are out in the fields, and the landscapes are beautiful. There’s a gritty realness to it, and the costumes and sets are clearly well thought-out.

The music in UNDERGROUND is probably the oddest part of the show. At times, it is appropriate for the year, including in singing some of the more spiritual songs. But at other times, modern numbers are mixed in that really kind of pull one out of the moment. The lyrics of these fit the story, so it’s not like they’re just pop songs to punch things up, but at the same time, they clash in such a way that doesn’t quite feel right to me.

The music is the only complaint I have, though. Overall, I found UNDERGROUND to be a compelling narrative with plenty of quality in the cast, the story, and the style. The drawback is minor enough to overlook, and it’s debatable whether it really is a negative, even if I don’t understand why it’s present, at least not yet. I do recommend this one, and will probably watch more of it soon.

UNDERGROUND airs Wednesdays at 10/9c on WGN America.

KILLER WOMEN Typical Genre Series

Article first published as KILLER WOMEN Review at Seat42F.

ABC’s new series, KILLER WOMEN, adapted from an Argentina drama, follows Molly Parker (Tricia Helfer, Battlestar Galactica), the daughter of a sheriff who has managed to make it as a Texas Ranger, despite the organization being male-dominated. She’s tough as nails, having survived a horrible marriage to a senator (Jeffrey Nordling, Body of Proof), but still has sympathy for her fellow women, and relaxes while playing the trumpet.

If that sounds like a perfectly crafted television character, you’d be right. She’s a bit too perfectly crafted, to be honest, verging on a stereotype. While it’s true that most law enforcement procedurals star men, Molly is exactly what we’d expect a girl to be in this situation. Tough, but vulnerable, fair and dedicated to justice.

Which makes her a bit boring. It’s likely a good vehicle for Helfer, because she plays the part to a tee, but the show itself cannot be sustained in an interesting way on this character’s shoulders. She’s too pure and easy to root for, without the unexpected layers and unpredictability that would make her a fascinating study. Basically, Molly is bland.

Those in her life don’t do her many favors in that regard, either. Molly has been living with her brother, Billy (Michael Trucco, Battlestar Galactica), his wife, Becca (Marta Milans, Valientes), and their daughter, Lulu (Siena Agudong, Second Chances). They are plain old, what-you-see-is-what-you-get ranchers. The only scene involving them that made any impact being the brief one in which Molly gets mad at her sibling for talking to her niece about the divorce.

Molly also has a love interest in fellow law enforcement officer Dan Winston (Marc Blucas, Necessary Roughness), but like her, Dan lacks edge. Sure, they step over the line together, but only in the noblest of causes, and it all works out. They also lack the heated chemistry that most viewers will be looking for, seeming far too tame a pair, unsurprising for Blucas, but disappointing all the same.

In the “Pilot,” a woman (Nadine Velazquez, My Name Is Earl) shots a bride at her wedding point blank. It takes only a little bit of the episode’s running time to catch her, but that isn’t the end of the story. While the regular cops want to put the case to bed, Molly takes it upon herself to not only see something else going on, but to pursue it without support. Which, no surprise, leads to a happy ending.

I believe this plot is meant to illustrate exactly who Molly will be. Everything from the initial car chase, an action-packed scene in which Molly is somehow the only one who can stop the vehicle, to a touching moment behind bars, shows us what Molly is like, how she will stand up for her ideals, and how her colleagues will seek to stand in her way.

Again, this is pretty basic crime drama stuff. Molly’s experience is nothing new, woman or not, as many a cop faces the exact same circumstances. The fact that she is a girl is not nearly fresh enough to save the series itself.

What’s more, KILLER WOMAN will very clearly be a case-of-the-week program. I understand that there are a number of such shows that get high ratings, and perhaps that’s why networks keep making more and more of them. At the same time, it’s frustrating when a cookie cutter is used over and over again, rather than straying from the worn path to deliver something fresh and new. Since this show doesn’t have anything unique to offer, it will not be added to my TiVo’s Season Pass list. I’ll probably never watch it again.

As far as the genre goes, KILLER WOMAN is a decent effort. But the genre is bloated and tired. It’s time to put it to the rest. KILLER WOMEN premieres Tuesday at 10 p.m. ET on ABC.

Necessary Roughness - "Pilot"

     USA's newest drama is Necessary Roughness, which premiered this Wednesday night. The central character in the pilot is therapist Dr. Dani Santino (Callie Thorne, Rescue Me, The Wire), who, as soon as the series starts, learns that her husband of seventeen years, Ray (Craig Bierko, Boston Legal, Damages) has been cheating on her... a lot. She dumps him, and six weeks later, while still pursuing her divorce, she meets Matthew (Marc Blucas, Buffy the Vampire Slayer). They fall into bed, but their relationship changes dramatically when Matthew introduces Dani to his boss, a football coach. Dani is asked to help a star player who has been faltering named T.K. (Mehcad Brooks, True Blood, Desperate Housewives). Because they are now working together, Dani tells Matthew they can't have a sexual relationship. Dani helps TK, and she is asked to take on more clients.

     Necessary Roughness does, admittedly, break the formula that USA had become mired in, as many of their newer shows do. That is the best compliment it can be paid, because other than that, the "Pilot" does not impress. Thorne herself is grating, and less than likeable. That's not an excuse for her character's husband to cheat on her, of course, as she claims to have been the "perfect wife and mother," but that self-made claim rings hollow as her husband and kids lie to her. Did she ever really have a handle on what is going on in her household? She seems to have her own set of morals and codes, which are abstract and have a shifting morality line.

     Dani's quick "miracle" with TK is much less than realistic. Considering that is the biggest premise in the first episode, it should have been handled better. Sure, it takes Dani days, maybe even a couple of weeks, to get through to TK. But she does, and now all is right with the world. It's strange that TK is a main character, since previews show Dani working with a number of other patients, mostly athletes, many of them not part of the football team. It is unknown at this time what exactly the structure of the show will be, but other than Dani, the other main characters all connected to one football organization. This makes the trailer confusing.

     Besides Dani, TK, and Matthew, Nico (Scott Cohen, Law & Order: Trail By Jury, Gilmore Girls) is the other member of the main cast. He is a guy who "takes care of things" for the football team. His mystery, which, of course, has the violent underpinnings, is what makes him interesting. And while similar characters have been done numerous times before, they've seldom been as intriguing as Cohen, who radiates the necessary "it." If Necessary Roughness is to be interesting in the long term, the greatest chance lies with focus, but not too much detail, on Nico. Audiences should be kept guessing his motivations and his actual actions, but he needs to have a hand in everything.

     Brooks also handles his part with relative ease. He is, after all, a veteran of a number of fine television shows, and knows how to capture an essence by now. Even if his plot falls a little flat, it's not to be blamed on the actor. Blucas has grown a lot since Buffy, and also is an acceptable performer, though isn't given a lot to work with. Not sure why his character puts up with Dani's no sex rule, the reasoning behind it being weak, at best. Matthew needs to grow a little backbone to rise from flat, straight, supporting, mostly silent man. Otherwise, there's not much of a reason to keep him around.

     To see if Necessary Roughness progresses anywhere after its "Pilot," tune in on USA Wednesday nights at 10 p.m. ET.

     If you missed "Pilot," you can get it streaming for free by clicking here.

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