LOST IN SPACE Again

Article first published as TV Review: LOST IN SPACE on Seat42F.

Amid a flurry of reboots and revivals, Netflix rolled out a brand-new version of LOST IN SPACE this week. A sort of sci-fi Swiss Family Robinson, the current series, like the original, finds the Robinsons crash-landing on an alien world. With no way off and only so many supplies, they will have to rely on one another and adapt to the environment. Of course, they have the help of Robbie the Robot and must watch out for the nefarious Dr. Smith.

The new LOST IN SPACE looks fantastic. That shouldn’t be surprising, as recent television series have been able to make good on special effects, even with a small screen budget. The world looks fantastical, the technology is cool, and Robbie himself is fully CGI-ed. The sequences with the spaceship are stunning, and I had no problem believing the setting as it is shown.

The story is, as it should be, focused on family dynamics. In this iteration, flashbacks are used to show us the Robinsons were far from perfectly happy prior to events. Father John (Toby Stephens, Black Sails), often away on military missions, was well on the way to divorce with his brilliant wife, Maureen (Molly Parker, House of Cards), who was tired of keeping the home running without him. Elder daughter Judy (Taylor Russell, Falling Skies) was totally devoted to the clan, even willing to give up escaping a dying Earth if her little brother, Will (Maxwell Jenkins, Sense8), couldn’t go, too. But that left middle child Penny (Mina Sundwall, Maggie’s Plan) unsure of her own place.

This is more nuanced and interesting than the original. LOST IN SPACE lacks the cheese it was previously known for, and instead attempts a more ambitious, modern narrative. This is extended to the supporting players, including a faux Dr. Smith (Parker Posey, A Mighty Wind) whose intentions are kept hidden from the audience and other characters. And by keeping it focused on the family, viewers only get things outside the scope of their experience in tidbits, leaving a lot of questions to be answered in small spurts over a longer period of time.

Most of these adjustments are good and needed, but where it feels a little weird is in Robbie the Robot himself. By the end of the first hour, we’ve met Robbie, but there are some pretty big questions surrounding him that make him hard to trust. This adds some uncertainty and threat, and yet it’s hard to believe any LOST IN SPACE would not make it turn out all right. Given Robbie’s pop-culture status, it seems odd to treat him this way. It also makes his uttering of the iconic catchphrase feel forced and jarringly out of place, especially as he doesn’t say much before or after.

It seems unlikely that any member of the Robinson clan will die even though they are surrounded by things that are trying to kill them. That doesn’t gel all that well with the complex serial story. (Individual episodes have some procedural plot, but there is definitely an important ongoing element.) Audiences of this kind of show are used to there being some sort of cost or sacrifice over time, and LOST IN SPACE doesn’t really make room for that in sticking with the family framework.

The result of all this is something pleasant and entertaining, but lacking the teeth needed to make it a fully realized and compelling story. It’s pretty good television, not great television. Which would have been fine ten years ago, but may leave it struggling to find a passionate fan base in this day and age.

LOST IN SPACE’s ten episode first season is available now on Netflix.

Another Kelley GOLIATH

Article first published as GOLIATH Review on Seat42F.

The prolific David E. Kelley, gone from the broadcast airwaves for a few years, returns to television on Amazon this week with GOLIATH. Like most of his former series, GOLIATH is a legal drama. But with the freedom of streaming services, unbound from the set running times, act breaks, and episode counts of the broadcast networks he called home for so long, it’s a new beast from the old hand. And, let’s be honest, what fan of legal drama doesn’t want another one from this guy?

GOLIATH stars Billy Bob Thornton (Fargo, Friday Night Lights) as Billy McBride, a washed-up alcoholic who is past the peak of his career. Spinning into a personal hole, Billy has a bad relationship with his ex-wife, Michelle (Maria Bello, Touch, Prisoners), and daughter, Denise (Diana Hopper, Hidden Truth). He doesn’t start in a very good place.

Billy’s break comes when a woman brings him a big case that would pit Billy against his former partner, Donald Cooper (William Hurt, Humans, Into the Wild), and the firm Billy was forced out of, which Michelle is still involved in. Now, personal and professional life is intermixed as Billy fights for justice, and possibly for a little revenge from those who wronged him.

It’s an enticing premise. Everyone wants to cheer for the guy who is down, and who we expect to turn it around, especially when his opponent (Donald) seems so clearly in the wrong. It’s a black-and-white dynamic, and while the odds are stacked against Billy, David-and-Goliath-style, we are sure that the misfit crew he puts together, which includes a real estate attorney and a call girl, will win the day.

If I were to compare this to any of Kelley’s other series, I would say, on paper, it is most like Harry’s Law, which featured a noble, flawed character staging a comeback. Except, GOLIATH is a much darker drama and the case will be ongoing over at least the course of the season, whereas Harry’s Law was funny and procedural. So GOLIATH still has some of the classic Kelley elements and similarities to his past work, but isn’t just a retread.

The writer takes to the looser format very well. Watching GOLIATH, I was struck by how much it resembles some of the higher-quality series on the premium cable and streaming networks. It doesn’t have the same memorable juice as Fargo, American Horror Story, Westworld, Breaking Bad, and the others at the top of the heap, but it is a very solid entry that can hang in the same general stratosphere.

Helping this along is the excellent cast assembled. Thornton proved himself to any doubters with his last television role, and he is more than capable of taking the lead here. Yet, so are most of the other actors around him, so he is in good company with Bello, Hurt, Olivia Thirlby (Good Vibes, Juno), Molly Parker (House of Cards), Nina Arianda (Hannibal), Tania Raymonde (Lost), Sarah Wynter (24), Damon Gupton (Bates Motel), and more. There should be no complaints about the company.

The pilot starts off intriguing, but like the excellent Damages, it just seems to be scratching the surface initially. It sets up the scenario and introduces us to most of the players, but there are sure to be a lot of twists and setbacks as things unfold. At approximately eight hours running time, it looks to be a manageable, quick series, with no time for fluff and treading water, so I expect it will move quickly, but going by the pilot, not too quickly. I’m intrigued and plan to watch the full season.

GOLIATH’s entire first season will be available on Amazon Prime beginning today.

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.

Deal Another HOUSE OF CARDS

Article first written for Seat42F.

WARNING: This review contains major spoilers from the first hour of the second season of HOUSE OF CARDS. It is recommended that you watch that episode, then return to read this review. There will be no spoilers given from episodes after the premiere, this being written before further installments have been seen by this reviewer.

Netflix’s HOUSE OF CARDS launched their second season in its entirety yesterday. For anyone who worried that the intense thriller might lose momentum in the second year, those doubts were quickly dispelled within the first installment, “Chapter 14,” by a series of major plot twists and the death of a very central character.

As “Chapter 14” begins, Frank (Kevin Spacey) and Claire (Robin Wright) are on their night jog. This is where we left them last year, and provides a seamless continuity between the two seasons. While nothing happens in this first scene, it’s important to give the show its cohesion, and it lets viewers find a framework with which to enter back into the story.

From there, the hanging story arcs are picked up one by one. Zoe (Kate Mara), Janine (Constance Zimmer), and Lucas (Sebastian Arcelus) continue their frustrating investigation into Russo’s murder. Claire sees a doctor about the possibility of getting pregnant, while still fighting Gillian’s (Sandrine Holt) lawsuit. Frank prepares to assume the Vice Presidency and makes plans for who will succeed him, as well as dealing with the nosy reporters. It’s all just how we think the show will resume.

Even many of the minor players pop back up quickly. Doug (Michael Kelly) is forcing Rachel (Rachel Brosnahan) to relocate so Zoe and company can’t find her. Christina (Kristen Connolly) is seen applying for a job with Vasquez (Sakina Jaffrey), continuing her career trajectory. President Walker (Michael Gill) talks with Frank about changes in Congress, though is content to let others make the decisions. Frank gets another batch of ribs from Freddy (Reg E. Cathey). Meechum (Nathan Darrow) remains Frank’s driver and bodyguard, getting ready to transition into the Secret Service. Again, this really makes the series seem like the seasons aren’t separate, very important to ease viewers back in.

There are some new developments early on, such as the introduction of Jacqueline Sharp (Molly Parker, Deadwood, The Firm) as Frank’s hand-chosen replacement as whip, and thus the likely target of the next round of danger and scandal. But because Jackie is introduced in conjunction with Frank’s goals, it doesn’t feel out of place at all.

But then, as soon as we get comfortable, thinking we have the layout of the game figured out, Frank shoves Zoe, arguably the second or third most important player on the show, in front of a subway and she dies.

This is the brilliance of HOUSE OF CARDS. It lets the viewers think one thing, then yanks the rug right out from under them. It never goes into nonsensical territory, and the developments, even those that are surprising, are a natural part of the tale. It’s this unpredictability, though, especially after so much of the installment takes care to set up the opposite, that makes the writing so darn good, and the series highly addictive.

Lest we’ve forgotten the type of man Frank is, he tells us, just after he kills Zoe. He looks at the camera and reminds us he hasn’t let us slide. It’s a chilling end to the episode, the camera lingering on his cufflinks with the initials F and U, very appropriate for Frank’s attitude towards everyone. This is a man that can lie about having taken a life without batting an eye, never loses a wink of sleep for his actions, and most people in his circle would be wise to follow Janine’s example and run far away. He is the reason to watch HOUSE OF CARDS, a compellingly psychopathic character, unique in the television landscape, and masterfully developed by an actor at the top of his craft.

Wright also deserves major credit for “Chapter 14.” At first, I couldn’t figure out why Claire abandons her quest to have a child late in the episode. But after consideration, it has to be that Gillian’s pregnancy left her vulnerable to be manipulated by Claire. Claire doesn’t accept weakness, and if she can use a baby to go after someone else, she isn’t about to leave herself open to the same. Wright conveys all this without dialogue to explain it, and it makes Claire an interesting terror, one who is a quieter, but still appropriate, match for Frank.

At the end, we see Claire learn about Zoe’s death, but her non-reaction indicates she either likely knows that Frank is involved or strongly suspects as much, but she doesn’t care or trusts that Frank had a good reason. She has accepted her husband for who he is, and while may not always respect his wishes, making sure he gets a birthday cake, knows which buttons she can and cannot push, effortlessly getting him to quit smoking, at least for now. And he accepts her influence without a fight, showing us something neat about their seemingly closed-off relationship.

“Chapter 14” should satisfy all fan expectation, and be a highly enjoyable piece of television in its own right. The only disturbing thought I’m left with is, how could anyone possibly ever bring down Frank? The only one with a real motivation and opportunity to do so at this time is Lucas, but he’s hopelessly out of his depth.  I look forward to watching more.

All thirteen episodes of HOUSE OF CARDS’ second season are available now on Netflix.