New Look for PERRY MASON

Article first published as TV Review: PERRY MASON on Seat42F.

HBO brought back a beloved character of literature, radio, and television this week with their new PERRY MASON show. This is a prequel story, set before the titular man becomes the defense attorney he’s been portrayed as in the past. Set in Los Angeles 1932 during the Great Depression, Perry is a noir private eye working for a lawyer and taking care of his family farm, which he should probably unload, given it boasts a mere two milk cows and is at an airport. How does the drunk absentee lawyer become a hero in the court room? Keep watching to find out.

Matthew Rhys (The Americans) stars as Perry Mason. Rhys is an extremely talented actor, as many already know. His performance in this is as impressive as it customary for him. There’s plenty to sink his teeth into for this role, as Perry is deeply troubled, mostly legitimately. His entire past isn’t revealed right away, so there are still some unanswered questions, such as why did he leave the military dishonorably? But the things we can see make him as sympathetic as he is tortured, so substantially.

Rhys is surrounded by other fine performers. John Lithgow (The Crown) is a lawyer Perry is working for named Elias Bichard Jonathan. Juliet Rylance (The Knick) is Jonathan’s more-than-capable assistant, Della Street. Shea Whigham (Boardwalk Empire) is Pete Strickland, Perry’s co-hort. Tatiana Maslany (Orphan Black) doesn’t show up in the premiere, but is playing a religious leader named Sister Alice that promises to be compelling. Chis Chalk (Gotham) is similarly absent from the pilot, but will be a good cop among the bad. Plus, Nate Corddry (Mom), Robert Patrick (Terminator 2), Eric Lange (Lost), and a slew of less recognizable, but no less skilled, actors join them in smaller roles.

The design, costumes, and sets are no less impressive. Every item of clothing, prop, and vehicle is beautifully recreated and sets the scene brilliantly, though we should expect no less from a big budget production like PERRY MASON. In particular in the pilot, the original Angels Flight train is recreated in its previous location. This is noir, but realistic looking noir.

As good as everything looks, a lot of the characters are total scum of the Earth. The cops we see are like a gang, more interested in lining their pockets than protecting and serving. The Hollywood execs aren’t any better, trash looking after trash with violence and threats. There are good people in this world, like Perry Mason, and they can even thrive without doing too many bad things. But they do have to exist in the muck alongside the worst of humanity, and that informs their characters, making the whole piece rather depressing.

This is where fans of the old PERRY MASON may have an issue with the new version. The old Perry was a shining beacon, while this one isn’t separate from the baddies. They are often the people he works with and for.

The biggest obstacle, though, might be just how disturbing some of the visuals can be. I’m no stranger to violence and gore, and who can be in today’s prestige television landscape? But PERRY MASON finds new depths in a single hour. A dead baby, rendered in stomach-churning detail, is only briefly on screen, and yet it feels like too long. I won’t go into anything further, but if child violence is a trigger for you, steer clear of this show. And even if it isn’t, it’s extremely hard not to be affected by its portrayal here.

Is the world ready for a gritty PERRY MASON? Will subsequent seasons grow him into someone a bit cleaner, or is this destined to be a one-off miniseries experiment? Either way, it’s a very well-made, well-acted series, and unless they do worse than the baby, I’ll be tuning in to see how it turns out.

PERRY MASON airs Sundays at 9PM on HBO.

THE BASTARD EXECUTIONER Slays

Article originally published as THE BASTARD EXECUTIONER Review on Seat42F.

The Bastard Executioner -- Lee Jones as Wilkin Brattle. Cr: Ollie Upton/FX

THE BASTARD EXECUTIONER, premiering this week on FX, is the much-anticipated project from Kurt Sutter, whose Sons of Anarchy recently completed its celebrated run. This isn’t just another drama about bikers, though; THE BASTARD EXECUTIONER is a historical (fictional) drama set in 1400s Northern Wales, under the rule of King Edward II. If that description of a medieval period piece turns off those who enjoyed Sutter’s previous work, keep in mind the new show’s title, as it is every bit as brutal and violent as the former.

The titular Bastard Executioner is Wilkin Brattle (Lee Jones, Slut: The Musical). A soldier under Edward I, Wilkin has retired from the service and tries to live a nonviolent existence with a wife, starting a family and becoming a farmer. He wants to put his awful past behind him. But within the two-hour pilot, Wilkin is thrust into events beyond his control, as many great heroes are, and will find himself forced to wield a weapon once more, if he wants to go on living. His is the central struggle of the series, and he is an interesting, if familiar, character.

The entire story is complex and many-faceted. We have the characters in Wilkin’s village, including his wife, Petra (Elen Rhys, World War Z), his best friend, Toran Princhard (Sam Spruell, The Last Ship), and animal-loving (grown) orphan, Ash y Goedwig (Darren Evans, Galavant). We also have those of more noble birth, such as Baron Erik Ventris (Brian F. O’Byrne, Aquarius), his wife, Lady Love (Flora Spencer-Longhurst, Leonardo), and their chamberlain / adviser Milus Corbett (Stephen Moyer, True Blood). There are those that serve the wealthy, like Isabel Kiffin (Sarah White) and Luca Maddox (Ethan Griffiths), those who run in their circles, like Father Ruskin (Timothy V. Murphy, True Detective), and those who head up other factions, like Gruffudd y Blaidd (Matthew Rhys, The Americans.) Plus, society has a fringe in the form of witchy woman Annora of the Alders (Katey Sagal, Futurama, Sons of Anarchy, and Sutter’s real-life wife) and her protector, The Dark Mute (Sutter himself). So, as you can see, even if multiple of those mentioned don’t make it past the first two hours, there is really a lot going on. And this is not the full cast list by any means.

That actually makes it a bit hard to get into. I spent most of the pilot just trying to keep everyone straight and figure out what was going on. However, while dense, the script does lend itself to helping one along. The two-hour running time of the initial installment is welcome, providing plenty of opportunity to get to know people right away, and even the more minor characters have clear motivations, so they seem like a valuable part of the world, making you want to learn more about them. It took effort, but by the end of the initial offering, I was invested in the tale.

The setting is impressive. A village was built in Wales, and the production uses a mostly British cast for authenticity. This means you don’t have to worry about which part of California they tried to convert into a British locale. While it’s hard to nail all the details of such a long-ago time, and Sutter admits that’s why he didn’t even attempt to shape speech patterns, it does feel like a consistent, fully-realized world.

I will warn you, this is definitely not for children. I mentioned brutal violence in the first paragraph, and I probably undersold it. There are multiple disturbing, gruesome scenes that go further than anything I’ve ever seen on a basic cable series. There is nudity, too, and not just a butt, as FX is occasionally known to do, though it doesn’t occur nearly as often as on an HBO show. So please, watch this after your kids go to bed.

The one thing THE BASTARD EXECUTIONER is missing is a solid hook. Wilkin is interesting enough, and there are not any obvious weak points in the cast. But neither are there a lot of stand-out characters, save perhaps Annora and The Dark Mute. Game of Thrones, for instance, has personalities like Jon Snow, Tyrion Lannister, Jaime Lannister, Cersei Lannister, Brienne of Tarth, Daenerys Targaryen, and many more that suck one in and motivate viewers to come back. Wilkin and Milus are intriguing, but they don’t have the same level of magnetism, and because of that, I’m not really excited about the show. This can develop in time, though, and overall, it is well made, so I’ll give it a chance.

THE BASTARD EXECUTIONER premieres September 15th on FX.

THE AMERICANS Season 2 Finale Review

Article originally published as TV Review: 'The Americans' - Season 2 Finale on Blogcritics.

FX’s The Americans has grown  steadily better over its first two seasons. The freshman run introduced us to the players and the situations; in its sophomore outing, the writers not only built upon that base, but added a season-long arc about another family of Russian spies. What happens to that clan directly affects how Phillip (Matthew Rhys) and Elizabeth (Keri Russell) see the world and their place in it. And now, with “Echo,” the season two finale, the structure is shaken up as our protagonists face their most difficult decision yet, possibly setting the stage to completely change the game.

Phillip and Elizabeth are loyal undercover KGB agents, but viewers are still likely to root for them because we get to know them on a very personal level. We see how they interact with their children, and that influences who they are on the job. The Americans presents a scenario where we understand these people and why they do what they do. It really gets into the heads of its leads.

They also have quite different personalities, despite the common cause. Phillip wavers previously in their mission, wondering if life as true Americans might not be better for their family. Elizabeth is much more the staunch nationalist. They are not tested too hard on these values, though, until “Echo.” Now, the KGB wants to recruit their daughter, Paige (Holly Taylor), something the couple may not be able to control, and they have very different opinions on if this should happen.

Elizabeth’s stance is the harder one to swallow, yet there is sense in it. Paige flounders all year with finding a purpose and wanting to effect change in the world. Elizabeth feels very much the same way, but has her mission to fulfill these needs. She sees a way to connect with her daughter and bring someone she loves and cares deeply about into her life’s work. Who wouldn’t want their kid to follow in their footsteps? Elizabeth has had to keep part of herself hidden and this has hurt her relationship with Paige. Recruiting her might solve that issue, or at least improve the bond. Plus, it will get Paige away from those crazy religious nuts.

Elizabeth also has the backing of her government, whose plan makes sense for them. They need the second-generation spies because the background checks will hold up better than on more recent immigrants. In the eyes of the Russians, no individual is more important than the whole. Elizabeth gets this concept, and applies it to herself. Why not extend that to her daughter?

Phillip, on the other hand, is much more concerned about the risks. Paige is still a child. What the spies do is dangerous, multiple members of their team being killed in the line of duty in “Echo” alone. He has a paternal instinct to protect his daughter at all costs. He even goes so far as to threaten Arkady (Lev Gorn), telling him to leave their daughter alone. Phillip, at this point, is probably considering running, or turning his family into the Americans for witness protection. He is going to do everything he can to keep his daughter out of all of this.

He’s not wrong about the dangers. This year’s story involving Jared (Owen Campbell) and his family, especially the resolution in “Echo,” learning how Jared is the killer, would be scary to anyone. Jared’s group is an illustration why it’s a bad idea to let Paige in, especially as an unstable, unpredictable teenager. Perhaps the KGB should wait until later, though younger minds are more malleable. I don’t know what Paige’s reaction would be to learning the truth now, but it certainly won’t be good.

To make things more complicated for Phillip, Martha (Alison Wright) wants to have a baby with “Clark,” his cover identity. Phillip is already lying to Martha every day; he doesn’t want to have to betray a child. It’s one thing for his own family, but to push that world onto a kid whose mother he is fooling and will one day abandon would be quite damaging. Plus, Phillip doesn’t want to tie himself to Martha any more than he has to as Clark, as he’s just using her for information. The question is, will Phillip’s bosses order him to acquiesce to her demands in order to keep her as a source? And if they do so, will Phillip comply? Elizabeth probably would, were their positions reversed.

Stan’s (Noah Emmerich) loyalties are also questioned in “Echo.” He is faced with a tough choice: saving the life of Nina (Annet Mahendru), the woman he loves, by handing over state secrets, which would threaten national security, or let her die and stay true to his country and his job. He chooses the latter, of course, Stan being a flawed hero, but a hero nonetheless. However, “Echo” shows us the pain this causes him, the waffling he goes through, and how he even mans up to witness Nina’s departure, rather than hiding in shame. He will regret what happens to Nina, who is likely done on this series forever, but he would never be able to sleep again if his actions led to the deaths of countless Americans. He does the right thing but just about anyone’s measure.

It’s this examination of morals and choices that makes The Americans compelling. Any series can present us with characters like these, and many do, but this show finds a way to carve out its niche, showing us something new. It’s slow-paced and dreary, but it’s also engaging and tense. The more I watch, the more I want to watch. Especially if they find a way to keep Claudia (Margo Martindale) involved, as they do this year despite the actress’ other commitments, as her pain in breaking the news to Phillip and Elizabeth about the organization’s intentions for Paige is the best scene in a terrific episode.

The Americans has been renewed and will return to FX next year.

THE AMERICANS Are Our "Comrades"

Article first published as THE AMERICANS Review Season 2 on Seat42F.

Tonight, THE AMERICANS returns to FX for its second season. The premiere, “Comrades,” pretty much picks up where the first year left off, in that all of the larger arcs are still playing out and nothing major has changed. “Comrades” begins with Elizabeth (Keri Russell) coming home, which makes sense to structure the hiatus that way because, without Elizabeth, there is no show.

Many fans are waiting to see how the relationships may or may not heal, and unfortunately, there’s little of that in the premiere, besides a very racy sex scene (by basic cable standards). Elizabeth and Phillip (Matthew Rhys) seem to be in a good place, but there isn’t a real focus on that. Their time spent together is in service to their mission or in front of their kids, so we don’t get a chance to see for sure what kind of footing they are on with each other. Phillip does not get the opportunity to stop and pour his heart out until he gets ‘home’ to his other wife, Martha (Alison Wright).

This worries me about Phillip and Elizabeth’s future. They definitely like each other and are committed to making their lives together work, but now Phillip is bonding with Martha, perhaps unintentionally, and under an assumed name to be sure, but still, he is making an emotional connection, revealing some of himself. As unlikely as the pairing may be, I could see something blooming there if this pattern continues past episode one.

I guess many affairs happen when one spouse doesn’t feel understood or heard by the other, finding solace in someone else. The situation in THE AMERICANS is anything but a traditional tryst, but I can see signs that it may turn into something resembling that. Which makes sense for the characters and provides much better drama. Or maybe I’m reading into something that isn’t actually there in those few small moments. I guess we’ll wait and see.

Interestingly, Stan (Noah Emmerich) thinks he’s having a real affair, hiding out with Nina (Annet Mahendru) instead of staying home and repairing his marriage to Sandra (Susan Misner). Yet, viewers know that Nina is informing on Stan to the KGB, trying to glean his CIA secrets, so she’s using him. So the setup in “Comrades” is that Stan thinks he’s in loving union but isn’t, and Phillip thinks he’s not but may be. This is some pretty interesting writing.

More tantalizing, though, is that realization by Phillip and Elizabeth this week that their job may not be the one they need to be in to protect their family. So far, THE AMERICANS has kept the personal and the spy lives separate for its lead couple, which is how they want it. But events in “Comrades,” from an early accident in the opening scene, to later, more obvious twists, threaten to bring the two worlds together. This would not be good for anyone, and puts their children, Paige (Holly Taylor) and Henry (Keidrich Sellati), in danger.

Will Phillip and Elizabeth continue their lifestyle if their children cannot be safe? I know they are dedicated to the cause and willing to risk their own lives, but they’re also loving parents, and have natural parental instincts. It seems like this has the potential to be a total game-changer, a reason for them to shift position in their work. I don’t know for sure if anything will really come of this, but if nothing else, “Comrades” will get the characters and the audience thinking about the current status quo, and that’s enough for solid TV.

Of course, Paige is still suspicious of her parents, and so may drag them out into the open whether they want to be or not, or force their hands in making an important decision. But this plot is still early in its development, so it’s hard to say where it will go at this point.

And for those of you who watch THE AMERICANS for good, action-oriented spy sequences, there are those, too, in this premiere. Personally, while I like a good scene that can get the adrenaline pumping, I prefer character studies, and appreciate when the excitement is tied into meaning for the person involved, or changes their perspective in some way. This isn’t always the case in this show, but it does a pretty good job of balancing the two components, personal stories and suspenseful spy stuff, and “Comrades” should satisfy both camps.

THE AMERICANS airs Wednesdays at 10 p.m. on FX.

The Americans Meet "The Colonel"

Article first published as TV Review: The Americans - "The Colonel" on Blogcritics.

FX draws season one of The Americans to a close with "The Colonel." Despite reservations by many involved, the KGB orders the meet with The Colonel (Victor Slezak, Treme) to go forward, feeling the valuable intel they expect him to provide is worth the risk. Of course, this not go smoothly.

The Americans has really crafted an entertaining and complex world in this first season. It's easy to get lost into the cat and mouse spy game of the 1980s in such a richly developed world, and the cast and writers have done an amazing job at making the story accessible. While the season started a bit slow, in my opinion, by this week's finale, I am firmly a fan.


The central question of this episode, rather or not to meet with The Colonel, is an engaging plot. As the viewer, we are kept at much in the dark about The Colonel's sincerity as the characters are. We don't know if they should meet with him, but because every main player is wary, we feel tense at the thought.

Which is why, when The Colonel turns out to be as harmless as the Star Wars program the Russians are seeking information about, it's a great surprise. Spy shows do a good job delivering nasty twists, but to get an unexpected nice reveal is a treat.

Unfortunately, while The Colonel is harmless, the FBI has still set up a sting to catch the KGB agents. It feels weird to be saying 'unfortunately' in that sentence, but The Americans has me rooting for Phillip (Matthew Rhys) and Elizabeth (Keri Russell), and as much as I like Stan (Noah Emmerich) on the other side of the equation, I don't want him to catch them. At least not until the story can move in a direction that lets all three work together.

Phillip actually takes the meeting with The Colonel away from Elizabeth to protect her. Ironic that the mission she is left with, picking up the tape, ends up being the dangerous one. They fail to get their objective, but it's likely their objective has been tainted anyway.


More importantly, we get to see Phillip play the hero towards Elizabeth, not just in switching her assignments, but in rushing to her rescue when she gets into trouble. Their sham marriage has been rocky, which is a shame, but it's clear that some affection has grown between the couple in all the years they've been together. Phillip's actions, and Elizabeth's response to them, asking Phillip to move back home, proves this.

Phillip may have a problem repairing his marriage to Elizabeth, though, since he now also has a second union with Martha (Alison Wright). It's part of the job, not cheating, thankfully, but Elizabeth doesn't seem comfortable around Martha, posing as Phillip's sister, even though she herself sleeps with the enemy in service for her country. One wonders if Elizabeth sees Martha as more of a threat because she is such a fixture in Phillip's going-ons. Will Martha be a serious obstacle to Elizabeth's matrimonial bliss?

I don't think it will be long before Stan catches onto his neighbors' secret lives. Not only does he already have suspicions of them prior to "The Colonel," but he is present for what goes down in this season finale, so when Phillip asks him to watch their children when Elizabeth is shot during the chaos, it's likely to rile his instincts even more.


The thing that might delay Stan's investigation is his wife, Sandra (Susan Misner, promoted to main cast for season two). She refuses his offer of a vacation this week. If Stan wants his marriage not to fall apart he may have to concentrate a bit more on his home life, rather than his work. This would be good news for Elizabeth and Phillip.

Stan's life may be complicated even more by Nina (Annet Mahendru), assuming she isn't shipped back to Moscow. She isn't in anyone's good graces, Russian or American, her loyalties torn. She might just disappear between seasons, or she might want revenge on Stan for not helping her get out of the mess with her people. We'll have to wait and see about her.

The more immediate person close to finding out about them is Paige (Holly Taylor), their daughter. However, even after going into the laundry room where her mother has a hidden compartment in the wall, Paige doesn't see anything. She has no reason to think that her parents are Russian spies, so she may stay in the dark. But there's a bit of a fake out this week in regards to her.

I'm anxious to see how the kids will take the news when who their parents are is eventually revealed. They are born and raised in America, taught to hate and distrust the Russians as much as any American kid. Elizabeth, as hard as it might be for her, and less so for Phillip, doesn't correct this view. I wonder if Paige and her brother, Henry (Keidrich Sellati), will be able to support and love their parents, no matter what?


Another nice reveal we get in "The Colonel" is that Claudia, a.k.a. Granny (Margo Martindale), is a good person who cares about her charges. The way she backs up the KGB's orders makes her seem cold and stupid. But in a private moment this week, we see that just because she passes down said orders doesn't mean she agrees with them. She's a soldier who obeys, but when appropriate, questions, authority. We see how much she looks out for Elizabeth and Philip, which should instantly change many opinions about her.

It's too bad she is slated to be transferred as this season comes to a close, at Elizabeth's request. Elizabeth can't be blamed, as Claudia does appear to be unreasonable when relaying orders. But now, having seen who she really is, fans of The Americans likely won't want her to leave. She's become too vital a part of the fabric of the show.

Martindale is in a sitcom pilot, but if we're lucky, it won't get picked up. If that happens, The Americans should sign her as a full-time cast member immediately.

The Americans has been renewed for a second season and will return to FX in 2014.

THE AMERICANS are "In Control"

First published as THE AMERICANS Review Season 1 Episode 4 In Control on Seat42F.

Grade: 89%

This week’s installment of FX’s THE AMERICANS is entitled “In Control.” No one knows exactly who is in control when President Reagan is shot. The CIA scramble to find out if the Russians are behind it. So, in fact, do the Russian agents, who are also on the lookout for a U.S. government coup.

The assassination attempt on Ronald Reagan is the first major historical event that intersects with THE AMERICANS, but it is a vitally important one. Set during the Cold War, “In Control” reminds us just how tense things are in that time period, and how close we are to war. If Reagan’s shooter had been a Soviet, instead of some guy trying to impress Hollywood actress Jodi Foster, World War III could have begun at that moment. If the Russians had struck first, assuming the U.S. would attack them, as they could have if the Jennings had reported the garbled conversation they overheard, the same could have happened.

After watching “In Control,” it makes me think it’s a wonder that nothing like this did happen. Too many people who are too paranoid in positions of power. Rumors can spin out of control and provoke nuclear war. How did we survive such a thing?

Elizabeth (Keri Russell) would have been the spark of just such an incident. She wants to hand over the choppy recording, in keeping with their orders. Phillip (Matthew Rhys), who seems to understand American culture better, objects. He wins the argument, and thus prevents an incident. This means as much as she loves her country, she may have come to care about Phillip just a little more, which may affect her allegiance as the show goes on.

It’s interesting to see Elizabeth trust Phillip’s judgment, especially when she so clearly doesn’t agree with it. Weeks ago, she comes close to turning him in for possible treason, until an act of love on his part stops her short. Even though the real romance between these covert spies is just beginning, Elizabeth is clearly invested in their marriage already.

It’s not too often on television that we see a relationship like this. Elizabeth and Phillip have been living together undercover for a long time, and are just now falling for one another. It’s unconventional in every sense of the word, but incredibly sweet, after all this time. They are familiar, and also slightly strangers. They know a lot about one another, but there are also a lot of secrets.

There is a period during “In Control” where the bond they are just beginning to build could easily fall apart. For most couples in the early stages of dating, they would be over before they even begin. Yet, Elizabeth decides to listen to Phillip, and Phillip doesn’t hold it against her that she voices her concern. This belies a deeper trust that they have in each other, which could mean that their feelings aren’t as fresh as we, the viewers, are told they are, or even as the characters themselves might believe. Perhaps they have been in love for awhile, and are only now able to admit it to themselves.

I do worry that Phillip and Elizabeth are going to get caught, though. They are taking bigger chances lately, follow orders from their new handler, Claudia (Margo Martindale, Justified). She is pushing them to act swiftly, which isn’t as safe as their previous assignments have been. This week, she has them ready a cache of weapons for guerilla warfare. I hope she doesn’t expose them with her instructions.

Plus, it may not be a good idea for them to spend so much effort bonding with their CIA neighbor, Stan (Noah Emmerich). Their questions about the shooter can be seen as concerned citizens talking to a friend, but Stan could also take them for what they are, intelligence gathering. Stan is already a bit suspicious. Perhaps it would be better to be a little less chummy.

Of course, in any great drama, each side will suffer setbacks. Stan’s is brewing on the home front as his wife, Sandra (Susan Misner), complains they aren’t spending enough time together. Whether Stan divides his attentions to give her what she wants, or whether he ignores her, causing his marriage to fall apart, either scenario could hurt him personally and, by extension, professionally. This might provide a break for the Jennings at a key moment down the line.

It’s hard to root against Stan, but at the same time, Elizabeth and Phillip are highly sympathetic characters. They may be double agents working for the enemy, but they are also parents who care about their family. People are people, and whose flag they salute depends a lot on where they are born; not everything, if anything, they do is evil. This makes the series an intelligent, complex picture of a number of individuals, rather than the old fashioned good vs. evil dynamic.

Four episodes in, I still think the pacing may be a tad slow for my taste, but I am quickly becoming enamored of the series. THE AMERICANS has a fantastic cast who excel at what they are doing, and the writing is smarter than what I first perceived. I am definitely going to keep watching, as I don’t see any clear path laid out for how the story will proceed, which is exciting.

THE AMERICANS airs Wednesdays at 10 p.m. ET on FX.

The Americans can be deceptive

Article first published as THE AMERICANS Series Premiere Review at Seat42F

Grade: 86%

FX’s newest drama, THE AMERICANS, premieres this Wednesday at 10 p.m. ET. It is a period piece set during the Cold War. Ronald Reagan is president, and the Russians would do nearly anything to destroy their greatest enemy. For Russian spies who have been living in the United States for the better part of two decades, it becomes hard to maintain loyalty to their country, appreciating the finer things in America, like air conditioning. After having children and keeping things a secret, it might be tempting to give up one’s homeland for a nice cash pay out.

Or is it? The question of loyalties and allegiance are at the heart of THE AMERICANS, and it’s never a simple answer. Sort of like Homeland, but without quite as much mystery.

The two main characters, Phillip (Matthew Rhys, Brothers & Sisters) and Elizabeth Jennings (Keri Russell, Felicity), are Russians who were placed together in their job, forced to fake a romantic connection. Their union isn’t born of love, but part of the question posed right out of the gate is, is there love between them? There seems to be, from at least one side.

How hard would it be to live together, raising children, and not fall in love? Yes, there are plenty of unhappy marriages around the world, people who choose to be together, but can’t make it work. Yet, there are also a plethora of examples of arranged marriages that have turned out quite nicely. In Phillip and Elizabeth’s case, they are alone with a secret, isolated in a strange land, for a very long time, which means their bond extends beyond just the offspring.

Even the kids (Holly Taylor and Keidrich Sellati) are kept in the dark. This is done out of necessity, of course. It’s hard enough for adults to live a double life and keep their mouths shut; no one can expect the same out of children. But this makes for a very uneasy family unit, as the kids are taught to be patriotic Americans, and the parents can do nothing to correct these views without risking exposure. In such a place and time as when THE AMERICANS is set, the Russians are viewed as the enemy. That means the Jennings children learn in school to be against the very things their parents are devoting their lives to. Obviously, this creates some friction.

But as interesting as the family issues are to ponder and discuss, they are merely one aspect of the show. Phillip and Elizabeth are active agents. In the first episode, they take down an enemy of their native state, and have to keep him hidden while they decide what to do. This makes for some nail biting action sequences and tense scenes as they try to keep the hostage unseen.

What complicates things even more is that Elizabeth has a history with the particular scum bag with which they tussle. This plays into her decisions and actions, just as the fact that Phillip is in the dark plays to his. Even within this married couple that have shared almost everything, there are still secrets, and trust is not absolute, at least for one of the two parties.

I really enjoyed watching the interplay between Rhys and Russell. There are so many layers to their characters, and a great many factors must be taken into account in concocting every facial nuance. These vary, too, by time period, as there are a few flashbacks. The two stars are pros. They really keep viewers on their toes, while also showing a believable and sympathetic couple of individuals. Should THE AMERICANS ever turn into a war between them, I honestly have no clue who I would root for. Better that they stay together.

Yet, there is always that threat of a division. They don’t go into the assignment on equal footing, and limited by the amount of the past they are allowed to bring up, they can’t ever be their true selves. It’s a rotten way to live, and thus far, Phillip and Elizabeth have kept to their orders. The story told in the series starts at a crossroads, and which path each of them choose will determine whether they forge a stronger bond, or fall apart completely.

Then, there is the added outside threat of the feds who would very much like to catch them. One agent named Stan (Noah Emmerich, White Collar, The Truman Show) moves in next door to them, completely oblivious to who they are at first. Unluckily for the Russians, his instincts are sharp, and it isn’t long before he gets a tingling of suspicion. This is a story definitely not fated to play out for many years, and the status quo between Stan and the Jennings will not last long.

I am also interested to see what other actors will bring to the table. The official website counts the fantastic Margo Martindale (Justified) as a main player, although she is not to be found in the first episode. We get a glimpse of Richard Thomas (The Waltons) in this installment, and I hope he sticks around awhile.

What is puzzling to me about this pilot is, all of what I have just described sounds really, really cool. Yet, I grew somewhat bored over the course of the hour plus. It’s not a bad show, by any means, but it’s a slow moving one, at least, so far. Other series have pulled off sluggish pacing and managed to keep things interesting, but for some reason, the draw is lacking a bit here. It will be interesting to see if this is just because so much time is needed to set the story up in the first episode, or if there are larger problems that make themselves known over the course of the season.

Brothers & Sisters Two Hour Return Mostly Weak, Signs of Life

     Last night, ABC's Brothers & Sisters returned for a two hour special broadcast. Like much of this uneven season, there were good scenes and bad scenes, with the second hour definitely being much stronger than the first. Still, both were better than a lot of other episodes, and hopefully they continue to improve. Especially if this is their last season, which is a possibility, as the show has not been renewed for next year yet.

 

      First, the weak points, since most of them happened first. Just as Olivia (Isabella Rae Thomas) is getting settled into her new home, her biological brother Brian (Douglas Spain, Band of Brothers) shows up and wants custody of her. She hasn't seen him in years and barely remembers him, but he is determined to have her in his home. This elicits a groan, and a thought of, is this really necessary? Scotty (Luke Macfarlane) and Kevin (Matthew Rhys) have been struggling to get a child for what seems like a very long time at this point, and now she'll be taken away? After all, the court will likely rule for the blood relative over the adopted parents, right? It is easy to assume this is the end of the Olivia story.

 

     Happily, because we don't need more Scotty and Kevin pining over a child drama, it is not. Unhappily, this is accomplished by introduing Brian as a homophobic bigot.

     The second this fact came to light, soon after we meet him, all tension goes away. Brothers & Sisters has been honored by gay rights organizations for good reason, and they cannot possibly slap their fans in the face by allowing a sweet little girl, who has had such a rough life, to end up in this idiot's home. Once Brian tells Olivia he wants her to have no further contact with Kevin and Scotty, even though the Walkers are willing to include him in their family, despite his obvious flaws, for Olivia's sake, Olivia's decision is an easy one. She tells the judge, and Kevin and Scott get to keep their child.

     Yes, this is a drama program, and so, by definition, there must be constant drama. But the show didn't have to resort to such ugly, corny, unrealistic measures to keep things interesting before. The best dramas don't let things seemed forced, as much of this season of Brothers & Sisters has. Making Olivia choose when things are almost finalized for her dads, and making the choice such an easy one, is an example of just how far the show has fallen.

     Almost equally ridiculous is Sarah's (Rachel Griffiths) attempts to get Seth (Ryan Devlin) back with Kitty (Calista Flockhart). Presumably, the characters on this show are smart. Sarah has run a business, and Kitty has been a pundit and a writer. They also have had to show great social skills in their jobs, so it's more than just book smarts. Yet, neither seems to realize that Kitty should just come clean to Ryan, apologize, and see if he's still interested in her. Instead, Sarah makes Kitty go to outrageous lengths to discredit Ryan's new girlfriend, Berklee (Stephanie Lemelin, Young Justice, The Whole Truth), which makes as much a fool out of Kitty as it does Berklee.

     An essential element of the show has always been that the Walkers get involved in each other's lives, so that is not the complaint. It just seems like the writers are more willing to make the adults in the family childish in ways they didn't used to be. It rings hollow, and makes them less likable and relatable. Instead of enjoying the story, it's rough to get through. To save this series, take the characters back to who they used to be.

     Berklee, herself, is ridiculous. The name, and its spelling, tell you everything you need to know about her. Considering that Seth was so recently with a woman like Kitty, it doesn't seem at all in line with who he is that he would even waste time with Berklee. She is completely wrong for him, and Seth should have lost patience with her pretty quickly. True, he comes around by the end of the episode, but there, again, isn't any tension that that's what will happen. It would have been better to put Seth with a girl that he actually would have dated, and then there would be some threat to Kitty.

     It's worth wondering if the second hour is much better because of the absence of Olivia's brother and Kitty, both weak primary stories in the first hour. Flockhart is on a reduced schedule this year, so she only does a certain number of episodes, and apparently the second part is one of her weeks to sit out. Olivia appears, but with no mention of her brother.

     What is really frustrating is seeing Patricia Wettig's name in the opening credits, and then not seeing her. It's not hard to be a fan of Holly Harper, and she left the series recently. When her name ran across the screen, I hoped she'd returned, at least temporarily, but sadly, she has not. Just cleanup not yet done on the credits.

     Now, the good story. It's really nice to see Nora (Sally Field) have a love interest again. She's had a number of great actors come in and out of her life, but none end up staying very long. Hopefully, that will not be the case with her latest, Brody (Beau Bridges). A high school sweetheart, he is the one that drifted away when her life went down another path. Brody really showed his feelings, sticking around to try to find ways to help Nora through the death of her mother.

     The whole plot involving Ida's (Marion Ross, not seen in this episode) death is handled very well. Each member of the family has different reactions owing to who they are and their relationship with the deceased. Appropriately, Nora and Saul (Ron Rifkin), Ida's children, are affectected more stongly than her grandchildren. Both have major issues with their critical mother, yet, losing a parent is never easy. Nora copes by throwing herself into planning an event, the way she always does. Saul pulls away, regretting never telling his mother he is gay.

     It seems like Saul has been held back by this secret for some time. Perhaps he cannot fully accept who he is until everyone in his life knows. While he never told Ida, a note she leaves him reveals she knew his secret, and accepted him. Soon after, Saul is able to more fully embrace his relationship with Jonathan (Richard Chamberlain), even talking about buying a house together. Saul's acknowledgement of who he is has been a gradual process, but it seems like now that he is fully out, even his dead mother knowing, he can move forward a bit faster.

     Justin (Dave Annable) is the lone grandchild that takes Ida's death hard, but that is because he is in a retrospective mood about his own life. About to turn thirty, divorced, Justin is seeking direction. While his career is going well, he feels lacking. As Ida never remarried, despite long out living her husband, Justin worries he won't be able to move on either. It's easy to overread into things in such a situation, and Justin does. Luckily, Justin has siblings to get him back on track. In this instance, their involvement is a good thing.

     The show also stars Gilles Marini as Luc, who is consistently the best written character currently on the show. He feels real, and doesn't manufacture drama where there shouldn't be any.

     Brothers & Sisters continues, through at least the rest of this year, and airs Sunday nights at 10 p.m. ET on ABC.

 

 

Article first published as TV Review: Brothers & Sisters - "Olivia's Choice; Never Say Never" on Blogcritics.

 

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Brothers & Sisters Season 5 So Far

     This season of ABC's Brothers & Sisters began rough, with the loss of cast member Rob Lowe, and the reduction of some of the others' parts, including the departure of Emily VanCamp. I am most upset about VanCamp, as I took her breakup personally, and am most unhappy about it. Happily, Ryan (Luke Grimes) was finally booted as well, having been rarely seen last spring. I figured the necessary shakeup due to actors wanting to leave created the uneasiness I felt, and eventually things would settle down into the show I've loved for years.

     Sadly, that has not been the case. The last two episodes of the fall run in particular demonstrated just how downhill this series has rolled. In "Get a Room", all of the Walkers (who appeared in the episode) ended up in the same hotel and ran into each other in a comedy of errors. The show has done similar things before, but apparently they're running out of ideas on how to make this massive collision of their lives happen. I can tell you, sending them all coincidentally to the same hotel was not it. It lost all believability, even as I tried to tell myself, as they said in the episodes, "well, the rooms were half off".

     Even worse was the fall finale, "Cold Turkey". Nora (Sally Field) decided to go away for Christmas with her new boyfriend, Karl (John Terry, Lost). First of all, the Nora Walker we all know would never, and I mean never, abandon her family on Christmas. I don't care how they tried to explain it away, and gave her a huge guilt trip for going. She would not have left in the first place. Second of all, the dream sequence she had, where her kids had grown up evil and colluded with stepmother Holly (Patricia Wettig) to kill Nora was ridiculous. I don't care where Nora's brain was, it was way too bizarre. I sat very uncomfortably through the entire scene.

     Speaking of Holly, she has been MIA for most of the season. Yes, she suffered serious amnesia from the car wreck, forgetting a lot of her life. Her arc where Justin (Dave Annable) helped her was sweet. But I was very disappointed when Holly asked Justin to move on, and he did. Why is Holly even still in the cast? That dream scene was the most we'd seen of her in weeks. She's a wonderful character, developed so beautifully over four seasons, and now she's being completely wasted. Please, writers, get her back into the story fast.

     On the other hand, the one character having a good year is Saul (Ron Rifkin). Dealing with HIV is not 'good', of course, but Saul has already had more story this fall than all of last season. As a fan of Rifkin from his days on Alias I'm delighted to see the better treatment.

     I also have been fairly satisfied with Kevin (Matthew Rhys) and Scotty (Luke Macfarlane). Although I was heartbroken and sickened to see Scotty do the unthinkable and cheat on Kevin, that flashback actually justified it, showing the bad place the two had grown to, and what motivated him to do it. Scotty's intense regret helped, and they came out of it without going overboard. If the couple ever split up, proving definitively that no Walker can have a good relationship, I would likely be done with the show. Kudos for the one plot that is working among many.
 
     The relationship merry-go-round of the Walkers this season has been horrendous. Kitty (Calista Flockhart) is by far the worst offender, who, after just unplugging her husband, has bounced to a couple of different guys, none of which really clicked with her. Sure, the writers 'dealt' with her feelings on that issue, but they still went ahead with these dumb stories. Her latest is twenty-seven year old Seth (Ryan Devlin), who happens to be her boss's son. The whole thing is just wrong. The way-younger guy thing for a conservative republican mourning her husband? No, not in character at all. I love Devlin, but he needs to get off the sinking ship and back over to Cougar Town, where he was fantastic. And just where was Kitty's young son last week while she was in the hotel?
 

     Sarah (Rachel Griffiths) has fared little better. Sure, she's in a very stable relationship with Luc (Gilles Marini), whose addition to the cast I celebrated. But from the underwear modeling to the zany mishaps in the hotel, they have not been in a good place. And I don't mean their love hasn't been solid, it has, but crappy story telling has led them to some bizarre twists that were as unappealing as they were unnecessary.

     Honestly, if this is how it's going to be, the series needs to end. Not as many episodes were ordered this year, so plenty of people think it's a sign of the writing on the wall. I have adored this series since it's premiere, and never missed an episode, but the beloved characters are just being ruined at this point. I don't think I've ever seen a show I loved so much go to such a bad place. Please, please, just do a series finale this year and put the Walkers out of their misery. Unless they can fix the show, and then at least one more year is needed to wash the bad taste of fall '05 out of our mouths.

     It's been an entire week since Brothers & Sisters aired their last new episodes, but they will return to their Sunday night slot on January 2nd.

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Article first published as TV Review: Brothers & Sisters Season 5 So Far on Blogcritics.

Brothers & Sisters does the time warp

     ABC's Brothers & Sisters returned from a short hiatus for a two hour episode this week, and there were plenty of surprises.  The episode was called "Time After Time", and for the first hour and twenty minutes or so, we got flashes of the siblings in their younger days.  Specifically, when most were in their teens, on a night that rocked the family and changed their lives.  The thing is, none of the kids knew what really happened that night until this episode, and the really big twist was not obvious.  Unfortunately, most of the casting of their younger selves felt false and pretty off base, the one exception being Sarah (usually played by Rachel Griffiths).  And those long ago scenes were far from the best ones in the episode, though some of them were slightly fun.

     The story changed Kevin (Matthew Rhys), as he was the one that did the very bad thing.  Accidentally, he pushed a guy, and paralyzed him for life.  Nora (Sally Field) covered up the entire thing, providing for the boy, but lying to her children.  Now we know what the mysterious Dennis York (Peter Gerety) was holding over Nora to try to force her family to sell their shares in the family business, though we still don't know why he wanted them so badly.

     On the topic of this season's mystery, much was developed in that, as well.  The budding friendship between Nora and Holly (Patricia Wettig) is fun and sweet, and was taken to whole new levels as they teamed up to break the law and figure out what their deceased mutual lover was up to back in 1973.  Instead, they did discover what their two children were up to.

     The show's couple who has faced the most obstacles also found time in the jam-packed two hours to take a huge leap forward themselves.  Poor Justin (Dave Annable) and Rebecca (Emily VanCamp), after having their beach wedding interrupted months earlier, eloped, only to find their mothers bust in on their secret honeymoon.  To make matters worst, moments later other family, and then the police, showed up, and the aforementioned women were carted to jail.  That has to go down as one of the worst honeymoon's ever.  And they took it in such good humor.

     It was a wonderful episode, with all the best elements of Brothers & Sisters, a fast pace, and plenty of story development.  Brothers & Sisters regularly airs Sunday nights at 10pm on ABC.

Another sister leaves the nest (sort of)

     Last week I pretty much ranted on Rob Lowe (The West Wing) leaving Brothers & Sisters, and fans, hanging with his planned abrupt departure.  News broke today that only deepened the upcoming pain, although it shed a little more light onto Lowe's decision.  Don't get me wrong.  I am not forgiving Lowe, and am still extremely disappointed he is choosing to leave the ABC series, but now I kind of get it, and I'm kind of angry at a second cast member, though I promise not to get too angry in my writing this time.

     Lowe's TV wife, Calista Flockhart (Ally McBeal) is downgrading next season to a limited involvement.  Sources close to the network say she is staying on officially as a main character, but she won't be in every episode (13 of the 22, as one popular rumor goes).  Does that bode well for a possible run for office for Kitty Walker, her character?  It may, but apparently Lowe was worried about being cut out even more himself, which seems silly, considering he was still going to stay Kevin's (Matthew Rhys) boss, or so the story seemed to be unfolding.  Other comparisons, however, remind us of Sarah Jane Morris's (Felicity) Julia, who was axed completely when her husband, Tommy, (Balthazar Getty, Alias) was also kicked out.

     But Getty has negotiated a return this year that kept his name in the opening credits, even though he is only doing a limited number of episodes, and so may put him on par with Flockhart next year.  Or not.  If Getty has his way, he'll swap her and be back in the cast full time.  But is more Tommy and less Kitty really what the show needs?  The problem with expanding the cast at this stage in the game, though, is it would be hard for audiences to buy another secret sibling, so unless Sarah (Rachel Griffiths, Six Feet Under) gets married, the cast is likely to remain stagnant after the latest shakeup.

     A return of Tommy may end up being surprisingly good, but with Flockhart appearing in less episodes, and Lowe making the third Brothers & Sisters spouse to be gone from the cast (Sarah was married to Joe, played by Caprica's John Pyper-Ferguson, when the show started), it's appearing the nest is getting quite empty indeed.  Brothers & Sisters airs Sundays at 10pm on ABC.