Excited About EXTANT

Article first published as EXTANT Review on Seat42F.

CBS’s summer slate is turning out to be nothing like their regular season fare. While tired procedurals that basically tell the same story week after week dominate CBS programming from September through May, June, July, and August have suddenly become a spot for mind-bendy, dramatic, highly serialized science fiction shows, of the likes which FOX might air and quickly cancel in the fall. Last year’s Under the Dome is a decent series, but EXTANT, premiering this week, promises to be quite a bit better.

EXTANT tells the story of an astronaut, Molly Woods (Halle Berry, the X-Men films), whom, after thirteen months alone in space, returns to Earth pregnant and in the middle of a conspiracy. She experiences something very strange during her mission, which we see in flashbacks throughout the pilot, “Re-entry,” and is determined not to reveal to anyone what she saw and felt. Those who would control her on the ground may or may not know what she knows, but they have had issues with other astronauts in recent years and are definitely are keeping a close eye on Molly.

In the second major element of the series, Molly’s husband, John (Goran Visnjic, ER), has created an artificial intelligence to satisfy the couple’s un-fulfilled urge to have a child. The boy, named Ethan (Pierce Gagnon, One Tree Hill), is every bit as self-aware as the kid at the center of A.I., but with an added creepiness where viewers are left to wonder if he is performing as designed to do or is the first stage in a robotic uprising. Of course, this question is barely posed in the first episode, nowhere near an answer yet, but worth exploring.

Thus we get a suspenseful mystery, a tale of corrupt leadership, a Big Brother-like level of secret monitoring, questions about the existence of a soul and the ethics of creating life, and many other smart elements all wrapped into one. The writers have spun a very interconnected web of characters and motivations, obviously intelligently put together in “Re-entry” alone, and an incredibly enjoyable watch.

That is not to say that the show is without problems. At first, I wondered about a huge plot hole in Molly trying to keep her secrets her own, but then realized that the character is acting exactly as many would given the circumstances, logical or not. More troubling is that she has the means to try to cover things up, which I find unrealistic given the level of scrutiny she is under.

Overall, though, EXTANT is very good, definitely the best thing on the broadcast networks this summer. It’s exciting, fast-paced, gorgeous in its special effects demonstrating futuristic technology (it is not set in the present day), a world that captures the imagination, and a story that engages viewers. The questions it raises are deep, and the universe these characters live in is one I can see us getting very close to within my lifetime, even if we’re still many decades away from it. It feels right.

The acting is pretty convincing. I’m not a big fan of Berry, never have been, though she does a serviceable job. I like Visnjic a lot here, and Gagnon is amazing, given his age and relative lack of experience. The supporting cast also includes some capable players such as Camryn Manheim (The Practice) as Molly’s doctor and friend, Grace Gummer (The Newsroom) as a colleague of John’s, Michael O’Neill (Rectify, Bates Motel) as Molly’s boss, and Hiroyuki Sanada (Helix, Lost) as John’s investor. Plus, Annie Wersching (24), Brad Beyer (Jericho), and Tyler Hilton (One Tree Hill) serve recurring roles. Most of these are not A-listers, but they are no slouches, either.

If you’ve been on the fence about whether to give EXTANT a try, and believe me, I understand that position, please do. You’re likely to be pleasantly surprised at the superior effort put forward. More summer shows like this and CBS will be a competitor in the hotter months for the first time.

EXTANT premieres Wednesday at 9 p.m. ET on CBS.

The "Truth" About BATES MOTEL

Article first published as TV Review: 'Bates Motel' - Season Finale on Blogcritics.

A&E’s Bates Motel wraps its second season this week in “The Immutable Truth.” Dylan (Max Thieriot) races to find his brother, Norman Bates (Freddie Highmore). To do this, Dylan must enlist Sheriff Romero (Nestor Carbonell) to help, a choice Dylan makes even though he just murdered a man and must admit it to the officer. However, the two men locating Norman is only the beginning of the trouble, and it seems certain someone in the family will end up in jail.

“The Immutable Truth” is probably the most intense episode of Bates Motel yet. Things have slowly been building to a head, and they reach it here. The show often has murder and suspense, but never so much at stake and so close to the edge as this week. It’s a gripping hour, sure to satisfy viewers who have been waiting for just such an installment.

It also features Norman at his craziest. This week, he is coldly making a list and planning on killing himself, hallucinating his mother, Norma (Vera Farmiga), and passing a lie detector test by convincing himself the truth is something it’s not. This is a portrait of a psychopath, drawn out much more obviously than ever before on Bates Motel, putting together all the strange pieces of Norman.

The direction of “The Immutable Truth” deserves much of the credit. From a shot of the stuffed owl Norman hangs in the house, to scary glimpses through the dark, to Norman’s creepy face, each camera angle is chosen deliberately for maximum effect. This is a horror staple, of course, but when done right, can convey scariness even when there’s nothing inherently scary happening, and Bates Motel makes good use of this.

There is now a sense of dread hanging over Norma and Dylan not quite clear before. Norma wants to flee the country to protect Norman, as she has been trying to cover up his misdeeds for awhile, explaining her own irrational actions. Dylan wants to get Norman help, knowing that Norman is not mentally stable. Both are united in their desire to be there for Norman, but this just puts them squarely in danger, as no one can save Norman, which we know. Will Norman kill one or both of them himself?

At least Norma and Dylan have each other, comforting for the moment. There is a real turning point when Dylan saves Norman, which prompts Norma to express her love for her estranged son, even buying Dylan a plane ticket so he can leave with them. They end up staying put, but that bond, ever fragile, has been strengthened in “The Immutable Truth,” growth earned through trial and tribulation.

One wonders how Romero will now act towards the family. He is convinced Norman is innocent, but he knows Dylan is guilty. He does help Dylan cover up the deaths, believing Dylan to be the right person to have in charge of the city’s illegal drug trade, vital to the area’s survival. But will Romero be keeping closer tabs, trying to exert influence? Or will he be a staunch ally, determined to keep their secrets safe as long as they don’t bring more trouble? He’s not a bully, he’s a compassionate man, but his moral code is hazy.

My one complaint about this season finale is the way bodies drop to the floor as if checking off a list of the year two recurring players. The show doesn’t need Nick Ford (Michael O’Neill), Jodi (Kathleen Robertson), and Zane (Michael Eklund) to come back, so it just kills them off. I’m almost surprised Christine (Rebecca Creskoff) doesn’t wind up dead just so the series can start fresh again in 2015.

Still, “The Immutable Truth” is a pretty darn good way to end the season, both for the emotional levels taken in the character dynamics, and the way Norman is rapidly becoming the monster film fans know him to be. I don’t know how many more years Bates Motel has left in it, but at this point, it could build to a natural ending any time A&E is ready for it to do so. No rush.

Bates Motel has been renewed and will air its third season next year.

What happens in Vegas might want to stay in Vegas

Grade: 71%

Las Vegas, 1960. This is the time and place that CBS’s new drama, VEGAS, is set in. Supposedly based on a true story, the series follows Ralph Lamb (Dennis Quaid, The Special Relationship), a rancher dissatisfied with what progress is doing to his land and herd, who is tasked by the Mayor (Michael O’Neill, The West Wing), his old army commanding officer, with stepping up as sheriff of the rapidly-growing casino city. It’s the formula for an exciting, historical fiction show that could be quite cool.

Lamb is a familiar character. Much like the central sheriff in this summer’s Longmire, he is gruff, a bit stuck in the past, but intelligent and fair. Quaid lends much gravitas to the show, having such a successful movie career prior to his job. That’s mainly what sets Lamb apart, since it’s not that fresh a take on the staple part. The way he looks into the murder, avoids working with men he doesn’t trust, and keeps a level head when the others scream that the up-to-no-good bikers did it (they didn’t) is the epitome of the classic Western hero.

Lamb has a crew to assist him. His brother, Jack (Jason O’Mara, Terra Nova), doesn’t really have any personality qualities of note in the “Pilot,” but seems loyal and smart enough. Ralph’s son, Dixon (Taylor Handley, Hidden Palms), is an idiot screw up who gets into far too much trouble for his own good. Lamb doesn’t want to give his son the power of the badge, but it’s a better option than letting Dixon run the ranch into the ground, allowing Lamb to keep an eye on him. And apparently, though we don’t see them, Lamb has enough competent employees to keep his ranch running without much guidance from him. Which makes one wonder why Lamb needs to spend so much effort and care on the ranch before he is tapped to become sheriff.

Lamb’s main obstacle in his new career is Vincent Savino (Michael Chiklis, No Ordinary Family), a mobster recently arrived in Las Vegas, who plans on making a ton of money by whatever means necessary. Vincent is the stereotypical thug, not opposed to beating the crap out of people, but ready with a slimy smile to make a veiled threat or grease a palm. We see in the “Pilot” that Savino can have compassion as he apologizes to a faithful informant who is unfairly beaten, but it is probably only demonstrated to serve his own needs.

Rounding out the cast is A.D.A. Katherine O’Connell (Carrie-Anne Moss, Chuck). Her boss clashes with Lamb because he’s the type who would rather take bribes from gangsters like Savino than put any effort into dispensing actual justice. O’Connell disagrees, of course, probably without knowing the full extent of the corruption, though she usually bites her tongue to keep her job. She has a romantic interest in Lamb, a widower, so it’s pretty clear what side she will fall on with the inevitable confrontation arises.

The problem with VEGAS is that it brings together a totally predictable group of characters in a very familiar situation. What one may forget when star struck by the stellar cast, or while admiring the terrific sets and costumes, is that there isn’t anything new or original here; it’s the same old stuff that is on other shows in a different package. I admit, the presentation is of a higher quality than in most productions. But that’s just putting a fresh coat of paint on the same old wagon. The axle is still rusty.

Now, if VEGAS would fully embrace the history lesson, even with the dramatic license taken by Hollywood, I could get on board. Even as O’Connell and Lamb sway to the rote dance steps, or as Savino does exactly what we think he’s going to do, it would be interesting because there is a complete story to tell over several years, with growth and twists. It wouldn’t live up to the epics that HBO and AMC put out, but it would be something pretty novel for network television.

Unfortunately, from the “Pilot,” at least, it looks like any greatness will be tampered dull by making Lamb solve a case of the week. This is a CBS staple, a network built on its procedural crime dramas. True,  VEGAS will be in a league of its own in that genre, and should be really cool for people who like this type of series. But for those who don’t want the same story virtually every week, though, signs are not looking good for the long-term prospects of the show.

VEGAS premieres September 25^th on CBS.

Grey's Anatomy delivers best episode of the series, best finale of the year

     I waited to watch the season finale of ABC's Grey's Anatomy until I could watch it in one sitting, uninterrupted, since I heard it was going to be fantastic.  None of the hype did it any justice.  The two-parter, entitled "Sanctuary" and "Death and All His Friends" was arguably the best episode of the entire series thus far, and definitely the best season finale that I've seen this year.  It was adrenaline-packed, incredibly suspenseful, and emotionally draining.  The darkest moments were spread out over the episode, so viewers barely got a breather before being hit hard again.  Dr. Bailey (Chandra Wilson) delivered one of her finest acting moments, and that's saying quite a lot.

     The main plot centered on a character we've seen a couple of times before, Gary Clark (Michael O'Neill, The West Wing).  Previously, Gary's wife had died at Seattle Grace Hospital, and he is out for revenge on the surgeons who he blames for her passing.  Namely Drs. Shepherd (Patrick Dempsey), Webber (James Pickens Jr.), and Lexie Grey (Chyler Leigh).  When he doesn't see them soon upon entering the building, he begins by shooting at others.  Before the first commercial, two major characters are lying in pools of their own blood.  Remarkably, O'Neill played Clark sympathetic, even after he had done his worst.

     The group hardest hit were this season's recurring interlopers, the Mercy West transfers.  Reed (Nora Zehetner) was the first one shot, right between the eyes.  She was probably dead before hitting the ground.  Percy (Robert Baker) bled out a lot more slowly, making his death mean so much more.  By the time he had finally died, I wished he had been a part of the show longer.  April (Sarah Drew) should have been shot, since she was directly to blame for Shepherd almost losing his life, and hopefully she will soon resign following these traumatic events.  The fourth, Dr. Avery (Jesse Williams) showed coolness under pressure, and helped save Shepherd from Gary.  For those heroic deeds, his name should soon join the opening credits.  Unfortunately, Shonda Rhimes, the show's creator, wants to keep both surviving doctors.

     Unfortunately, those weren't the only people hurt by the tragedy.  Alex Karev (Justin Chambers) was one of the first to fall, but fortunately was kept alive by Sloan (Eric Dane) until they could get him out.  This complicated the Alex - Lexie - Sloan love triangle terribly, even more so when Alex called for Izzy (departed cast member Katherine Heigl).  As mentioned before, Derek Shepherd was badly injured, and only Christina (Sandra Oh) and Avery kept him from joining Reed and Percy.  Also tragic, Meredith (Ellen Pompeo) and Derek's unborn child didn't survive the stress of the situation.

     Should you take from the above article that it was nothing by tragedy, there were a few bright moments, particularly at the end.  Richard Webber showed his true character, resisted turning back to alcohol after being sober for six months, and talked the shooter into ending his own life, sparing any further bloodshed.  Might he take his old job back as Derek recovers?  Hunt (Kevin McKidd) declared his love for Christina, and Callie (Sara Ramirez) and Arizona (Jessica Capshaw) reunited.

     Bravo to all involved for an amazing two hours of television those who watch it will not soon forget.