Craving for SWEET TOOTH

 Article first published as SWEET TOOTH TV Review on Seat42F.

Note: This review only covers the first episode of the series.

Netflix recently released SWEET TOOTH, a series starring a young boy who is half deer. Based on the comic series, SWEET TOOTH follows the child as he ventures out into the world, dodging hunters and searching for his mom. He isn’t alone, thank goodness, but he does have to rely on himself a fair amount. Surely, the story have a happy ending, though probably not the one the boy hopes for.

SWEET TOOTH takes a little time to get going, providing exposition through the eyes of Dr. Aditya Singh (Adeel Akhtar, Enola Holmes). We see a plague overtake his city, and are told it’s widespread. This could be a bit traumatizing for some who just lived through a pandemic, especially if you lost someone. But it really isn’t too graphic, focusing on Singh’s emotional journey, including as his wife, Rani (Aliza Vellani, Little Mosque on the Prairie), becomes one of the infected. Listed as a lead, it’s certain we’ll come back to Dr. Singh’s tale in later episodes. This is a good way in for those who aren’t already drawn to post-apocalyptic fare. In all, especially with the accompanying narration by James Brolin (Life in Pieces), it’s a strong opening.

From there, it quickly moves to a man (Will Forte, Last Man on Earth) carrying a baby into the woods. We know from the hospital scenes that there are many animal-human hybrid infants, though we don’t know why, and this guy has one with him, a little boy with deer features. The man, known to the boy as Pubba (sounding like Papa), raises the child for nine years, and this extended sequence, making up about half the episode, is phenomenal. It is incredibly moving, if a little tame, and the love the father has for his son is palpable. Forte ditches the goofiness and really brings home the feelings.

It isn’t surprising when that happy time comes to an end; the trailer and poster spoil that it will. But like the beginning of the film Up, it could make a fitting stand-alone short that would be worth watching repeatedly.

The rest of SWEET TOOTH’s pilot sets up the premise. Pubba makes the boy, Gus (Christian Convery, Legion), promise not to leave their home, but it’s a given that he won’t listen. Gus does stay  for awhile, but this story needs a journey, and you can’t get that hiding away. There is an arc, quickly gone through, developing the kid, and it’s just as moving as the stuff with his dad. Gus is a compelling protagonist who will immediately have you rooting for him.

The second lead, Tommy Jepperd (Nonso Anozie, Game of Thrones), is barely introduced in episode one, but already demonstrates plenty of complexity to attract interest.

SWEET TOOTH isn’t for little kids, even if it looks like it might be. But older children can watch it with their parents, as the deaths aren’t gruesome and the terror isn’t intense. It has a magical and hopeful spirit about it that is sure to intrigue many viewers, feeling like a heart-warming story that is sanitized, but not so much that it distracts. The acting seen so far is solid, and the story is interesting. Set in the woods, it also looks beautiful. There’s lots to praise SWEET TOOTH on.

I would be surprised if this series doesn’t have legs. Reviews have been good so far, deservedly so, and I was easily sucked into the story. I’m sure I’ll watch further installments before the end of the day. With a first season of only eight episodes, it should be an easy, enjoyable binge.

SWEET TOOTH’s first season is available now on Netflix.

SHADOW AND BONE A Bit Hazy

 Article first published as SHADOW AND BONE Review on Seat42F.

Netflix released the much-anticipated SHADOW AND BONE this past Friday, based on the best-selling Grishverse books by Leigh Bardugo. The eight-episode first season combines elements of multiple books set in the universe, primarily Shadow and Bone, following a young woman with hidden magical abilities, and characters from Six of Crows, about a gang of thieves. I have not read any of the books in the series, so my review comes from a perspective of just evaluating the show on its own, rather than how it does or does not follow the novels.

SHADOW AND BONE is a young adult fantasy series, a popular genre. Its darkness is more Game of Thrones than Harry Potter. Its world is harsh and deadly, and its villains are everywhere, holding lots of power and influence. In this society where wealth talks, it makes sense that the hero, Alina Starkov (Jessie Mei Li, All About Eve), is an orphan foreigner, outside the spheres that control things. Thus, it’s a classic tale of an outsider rising up and threatening the balance, a state that would be cheered by many a commoner, but the elite will stop at nothing to prevent.

Alina thinks she’s an ordinary cartographer, and her only concern in life is to stay near her best friend, Malyen “Mal” Oretsev (Archie Renaux, Voyagers). Thus, when Mal is assigned to go through The Fold, a dark, deadly, magical realm that divides their country in two, Alina is determined to go with them. Though her machinations mean her whole unit must endure the danger. Good thing she doesn’t seem to care about them much, because they are soon torn asunder, which is when Alina’s superpowers reveal themselves, saving much of the group in unexpected fashion.

The events described above trouble me for several reasons. Alina is supposed to be the hero of SHADOW AND BONE, yet she shows non consideration for the lives of almost anyone else. Yes, a hero’s journey often finds them overcoming their failings, but to have a hero who is so self-involved to the point where many of her comrades are just canon fodder is pretty bad upon any examination. Also, the problems in The Fold start when a young man lights a lantern, drawing attack. Which begs the question, given the obviousness of the mistake and its big implications for the crew, why even carry a lantern? And if there’s a good reason to do so, why was it not drilled firmly into the heads of the travelers not to light it? It was mentioned once, and given the disaster that follows, that wasn’t nearly enough.

Alina’s display of light, outing her as a mythological Sun Summoner, draws the attention of General Kirigan (Ben Barnes,Westworld), who wants to use her for his own purposes. It also propels a gang of thieves, Kaz Brekker (Freddy Carter, Free Rein), Inej Ghafa (Amita Suman, The Outpost), and Jesper Fahey (Kit Young, National Theatre Live: Julius Caesar). Initially these three are on their own plot thread, but soon enough seem destined to be drawn into the central one. This rounds out the central cast.

The world portrayed in SHADOW AND BONE seems both relatively small and not explained enough in the first couple of episodes. We know the country is divided in half by a magical realm which hasn’t always been there, and they can’t go around it because of enemies in the north and mountains in the south. Other than that, it’s not completely clear what other nations play a part and how, though there are definitely others. The series could have benefitted with a prologue better explaining the locations in which this story is set.

Other than that, I found it a bit bland. It looks fantastic, to be sure, but I wasn’t excited or drawn in. Some of the characters are charming, but not enough of them to make the series compelling. They lack the complexity of GoT or other similar offerings. I find myself struggling to care what happens, or even understand the implications of everything going on. It’s confusing and doesn’t have the magnetism required to motivate figuring it out. I have a feeling readers of the series, who already know the universe, will enjoy this a lot more, but for the newbie who isn’t already familiar, it’s confusing and a bit boring. I don’t think I’ll be finishing the season.

SHADOW AND BONE is streaming now on Netflix.

Not Quite THE ONE

 Article first published as THE ONE Netflix Review on Seat42F.

One of Netflix’s newest series is THE ONE. A British sci-fi crime drama, THE ONE is set in the near future where a company has found a way to match someone with their soul mate using DNA testing. As presented, the test only gives each person a single perfect match. If both people submit to the test, then that match is shared with them. In this world, there has been a HUGE spike in divorce, causing political unrest. But the head of the company calls this only a slight adjustment, and says divorces will be almost nonexistent after society adapts. Who is right, and what other ramifications are there to this technology?

The description above seems idyllic. I certainly wished for such an easy way to find someone in my younger, single days. But since perfect worlds make bad stories, given the lack of drama, THE ONE of courses only uses that as an overlay. Seemingly perfect worlds with a lot of bad stuff going on under the surface are a more familiar genre, and this show is definitely an entry in that one.

What surprises me the most is how much of the plot isn’t really about the system of perfect matches itself. That’s certainly present, and the system is manipulated by the cynical and the guileless. However, much of the driving story is made up of other tensions that happen around the system but not as much because of the way the system works. Which is too bad because I really want to know why only one person matches with you in the entire world and what happens if that person is no longer around? Can’t there be a second tier for those whose match are dead? Are there not other great matches?

Rebecca Webb (Hannah Ware, Boss) currently runs the primary company in THE ONE. She touts the success of her own relationship as being a product of that system, though like much of what she says, that is a lie. Instead, she is concerned only with making her system prevalent throughout the world, no matter the cost. Whether this is because she really believes in it or because she’s greedy, it’s hard to say. Flashbacks reveal some personal drama and her connection to a dead body that threatens to derail everything.

Another lead in THE ONE is Kate Saunders (Zoë Tapper, Mr. Selfridge), a cop who is surprised that her own match is a woman. Although she has dated both men and women, she expected to be paired with a guy. She is absolutely delighted with her pairing, though, until things take a tragic turn. Might this motivate her in looking into Rebecca? It’s not a focus in the first three episodes I viewed, but it seems like a logical next step.

Rounding out the trio of central women is Hannah Bailey (Lois Chimimba, Trust Me). Lois feels insecure in her marriage to Mark (Eric Kofi-Abrefa, Harlots), and after watching her best friend’s union fall apart because of THE ONE’s system, decides to proactively protect herself. So she submits her husband’s DNA and tracks down his match. Which of course inadvertently brings her husband and the other woman into contact with one another. Are any problems after this Hannah’s own fault? Will her husband fall in love and leave an otherwise happy relationship? Are they really happy if she’s this insecure?

The questions posed in THE ONE are interesting and worth exploring. There are many ways to go with this, and I’m glad it stays relatively focused on three plot lines for the initial eight-episode run (or at least the three episodes I’ve seen). Yet, I don’t find it as compelling as I’d expect to. It’s more a feeling than a concrete set of gripes I can list. Tone or pacing may play a part, but it’s just an overall impression I’m left with. It seems a well enough made and acted show, and I’m somewhat interested. But there’s something about it that feels less the sum of its parts and keeps it from rising to a must-see series.

THE ONE is streaming now on Netflix.

BRIDGERTON's History That Never Was

 Article first published as TV Review: BRIDGERTON on Seat42F.

On Christmas day, Netflix dropped the eight-episode first season of BRIDGERTON, a gift to many viewers. Created by Grey’s Anatomy’s Shonda Rhimes, this period piece is soapy drama from the Regency era of English history beginning around 1813. Part Pride and Prejudice, part Gossip Girl, the costumes and performances (not to mention narration by Dame Julie Andrews as Lady Whistledown) make it seem classy, even as its modern pacing will help it appeal to more modern audiences.

The story of BRIDGERTON begins as the local young ladies are introduced for courting season, essentially a period of open dating and marriage proposals. The Bridgerton family is one of the most powerful in town, and daughter Daphne (Phoebe Dynevor, Dickensian) even catches the eye of Queen Charlotte (Golda Rosheuvel, Lady Macbeth), making her pairing most promising. That is until her older brother, Anthony (Jonathan Bailey, Broadchurch), now head of the household, sabotages her prospects, leaving her with a single, unattractive suitor. Luckily, Daphne’s mother, Lady Violet (Ruth Gemmell, Deep State), plots with her friend, Lady Danbury (Adjoa Andoh, Fractured), to pair Daphne with Simon, the Duke of Hastings (Rege-Jean Page, For the People), who is refusing the marry, and just happens to be Anthony’s best friend. Simon and Daphne see right through the matchmaking, but decide that a fake relationship would serve them both.

Nearby family, the Featheringtons, is headed by Baroness Portia (Polly Walker, Rome), who has three daughters she’d like to see married off. This includes young Penelope (Nicola Coughlan, Derry Girls), who isn’t even interested in boys yet, and wishes she could delay a year like her bestie, Eloise Bridgerton (Claudia Jessie, Dixi). The girls would rather look at books, and are terrified when Portia’s new charge, Marina Thompson (Ruby Barker, Wolfblood), is revealed to be pregnant, wondering how that could happen outside of marriage so they can avoid it themselves.

And all of this drama is captured by Lady Whistledown, who distributes gossip pamphlets that the upper crust devour, all the while wondering at her identity.

These details are merely scratching the surface of BRIDGERTON, which is very involved and has a lot of characters. However, it doesn’t get bogged down by this, keeping its focus on a few, and using the supporting players appropriately where needed. The pacing isn’t too fast, but it isn’t slow, either, an enjoyable romp that should expand beyond the appeal of most shows set in this era.

One glaring question I had going into BRIDGERTON is how the series would deal with race, seeing as how I couldn’t imagine Shonda putting forth an all-white cast, as one might expect for a program set in this era, other than seeing a minority as a maid or other ancillary role. The answer is, the show doesn’t deal with it. Certain families in the series, including the Queen and the Duke himself, are just Black and there’s no comment one way or the other. Ethnicity doesn’t seem to play into the attraction of one character to another, nor does it influence the social structure displayed. Basically, it’s a reimagining of history that allows performers or all colors to participate and ignores what actually was, to its credit. I hope more shows follow suit.

I loved Downtown Abbey, but am not a fan of P&P nor most other shows like this. Yet, I do love Shonda, and I found this cast of mostly-unknowns (to me) to be charming and compelling. At eight episodes, it’s an easy season to swallow, and I can easily see myself finishing it, even as I had no plans to before watching. I wouldn’t call it must-see, but it is good, and if you like some soapy historical stuff, BRIDGERTON has you covered.

BRIDGERTON is available now on Netflix.

Fly AWAY

Article first published as TV Review: AWAY on Seat42F.

This weekend, Netflix released AWAY, a drama revolving around the first manned mission to Mars. A five-person, internationally diverse crew is sent on the trip, and problems, both the personal and the technical, plague them. Back on Earth, the supporting characters have their own challenges, while being called upon to help the travelers from a great distance.

It isn’t clear what time period AWAY is set in. From all appearances, it’s today, with no notable technological advancements in television, cell phones, or other everyday objects. Yet, there is some serious technology available for a moon base and Mars mission, and inexplicably those in space can pull out their phones and talk to people on Earth whenever they want, which seems extremely advanced and far from what we have now. So I’m left assuming this must be some sort of alternate dimension from our own, where technology evolved a little differently, though that isn’t made clear.

This isn’t the only thing AWAY can’t seem to decide. Sometimes it’s an astronaut- (and other terms for the other team members) fueled action adventure, with disaster lurking. Other times, it’s a family and co-worker drama, with personal issues coming front-and-center. Sometimes it seems to be a tale of international cooperation, while at others, it’s an illustration of how different various cultures can be. AWAY is a lot of things, which isn’t in of itself a bad thing, except they seem so disjointed that it feels unfinished or not a purposeful choice.

I started off knocking the series, so I should say, despite those flaws, I am enjoying it after three episodes. There are some interesting issues raised and plot points explored. I am glad that AWAY is not afraid to linger on long scenes when the story calls for it, but not jam such in unnecessarily for arguments or calls home. The direction is solid and the production looks amazing, with movie-quality special effects and sequences.

The cast is also terrific. I’m not a big Hilary Swank fan in general, but the Million Dollar Baby does a great job with the part of Emma Green, captain of the mission and lead of the series. The pressure Emma is under in a job where she will never please anyone is easy to relate to, and the stress it puts her under is very understandable. Her husband is played by The Good Wife’s Josh Charles, and his struggle after a stroke is engaging to watch. Their daughter, Alexis (Talitha Eliana Bateman, Annabelle: Creation), is also quite an interesting character, well performed, though her scenes often feel the most stuffed-in.

The rest of the crew are played by Vivian Wu (The Last Emperor), Ato Essandoh (Chicago Med), Ray Panthaki (Marcella), and Mark Ivanir (The New Pope), and each do an admirable job. Their characters are complex and layered, and I’m glad AWAY is getting around to revealing a lot about each, one per episode, as the story unfolds. I find their portions more compelling than Emma and her family, even though I like both halves.

AWAY presents an intriguing tale with well-developed players and looks fantastic. If it could lock in just a little more on some of the details, such as what it wants to be exactly, it could be pretty darn good. I don’t think it’ll be one of those cultural touchstones that everyone talks about or rated must-binge. Nor should it be binged, as the episodes are at-times dense and should be allowed to rest before jumping into the next. Yet, I think most people that do check it out will probably be satisfied with the drama shown. I am, and I think it quite likely I’ll finish the entire season in a week or two.

The first season of AWAY is available on Netflix now.

Enlist in SPACE FORCE

Article first published as TV Review: SPACE FORCE on Seat42F.

Greg Daniels, who adapted The Office for American audiences, has been busy, with new two shows hitting streaming services in as many months. One was Upload, which I reviewed back in mid-May, and the other is SPACE FORCE on Netflix. I’ve had the chance to watch all ten episodes, but will talk about the show mostly generally to avoid spoilers.

SPACE FORCE stars Steve Carell as the manager of a department, just like The Office, but this series isn’t nearly as funny as that one was, or even as amusing as Upload (despite sharing the delightful Owen Daniels in underrated roles). Though, I’m not convinced it’s meant to be. There are outrageous things that happen and eccentric characters. Yet, the tone the lead character sets for the piece and some of the events of it keep things more reigned in.

As the series begins, General Mark Naird (Carell) is promoted from the Air Force to lead the new branch of the military, Space Force. And while his fellow branch heads (Jane Lynch, Patrick Warburton, Noah Emmerich, and others) make fun of him for it, Naird takes the job seriously and does his best. He finds ways to work the scientists who have such different mindsets than he does, and struggles to be a good father to his daughter, Erin (Diana Silvers, Ma).

But it’s not easy. As mentioned, the generals rag on him endlessly, as does their boss, John Blandsmith (Dan Bakkedahl, Veep). Not to mention, the unnamed POTUS is likely the same one we have today, temperamental and petty, though with the events of this year out of the mix (for now, anyway). Mark’s assistant, Brad Gregory (Don Lake, Zootopia), may have saved his life once, but is woefully incompetent. The social media guru, F. Tony Scarapiducci (Ben Schwartz, Parks and Recreation), is more hindrance than help. And last, but far from least, Mark’s wife, Maggie (Lisa Kudrow, Friends, The Comeback), is in prison for the next 40-60 years for reasons not revealed to the audience in season one.

As mentioned, the SPACE FORCE base is comprised of scientists, who you might think are cold and unfeeling based on stereotypes. One could also say the same about military officers. Yet, while outward displays of affection are rare, possibly one of the elements that keeps this series low key, we see some very sweet moments. There’s great stuff between Mark and his daughter. There’s arguably even better stuff between Mark and the head scientist, Dr. Adrian Mallory (John Malkovich, Billions, Being John Malkovich). The two have a terrific bond that is often awkward, but really makes up the emotional core of the series. A secondary romance between Mallory’s second, Dr. Chan Kaifang (Jimmy O. Yang, Silicon Valley), and Captain Angela Ali (Tawny Newsome, Bajillion Dollar Propertie$) is also touching.

This human companionship, the scenes where characters connect, is SPACE FORCE’s redeeming quality. Amidst the chaos and the colossal screw ups and the infighting and competitiveness, there are people with hearts who are trying to do a great job. That provides an in for viewers to connect to, and with excellent acting, it’s easy to forget about how few times you’ve laughed out loud.

Which is not to say SPACE FORCE isn’t funny. It’s just more strange funny than obviously humorous. I wouldn’t call its style subtlety, necessarily, but it is a bit sneaky. It’s clever, but not overly so. More just bizarre, really.

Reviews for SPACE FORCE have been mixed, but honestly, I’m fully on board. The ensemble is terrific, the storytelling is interesting, and the acting as absolutely fantastic, as you would expect from this cast. Go in expecting The Office and you’ll be disappointed. But go in with an open mind and withhold judgment, and you may agree.

The only regret I really have is that Mark’s father, Fred (Fred Willard, Modern Family, Jimmy Kimmel Live), won’t be able to return for a second season, and will have to disappear off screen.

Other than that, and especially with the giant cliffhanger of an ending, I’m ready to re-enlist for another mission. SPACE FORCE’s first season is available now on Netflix.

UnLOCKE With a KEY

Article first published as TV Review: LOCKE & KEY on Seat42F.

Netflix now has season one of LOCKE & KEY, a new drama adapted from a graphic novel series. After the horrific murder of the Locke family’s patriarch, the rest of the clan move all the way across the country to their family estate, Key House. The house is old and mysterious, and is soon discovered to host a bunch of magic keys, each with their own special property. Magic can be wonderous, but it also be dangerous, as the Locke children soon find out.

The tone and style of this show makes clear even before the scary elements show up that horror will be a major part of the show. It’s highly stylized, like a number of strong horror contenders of recent years, with the fantasy component overlaid. This combo isn’t everyone’s cup of tea, for sure, but to my sensibilities, if you can mix these two in a quality manner, you’ve got a solid starting point for a series. LOCKE & KEY succeeds on this front, instantly being a show that draws you in and makes you want to learn about its world.

Children-led programs are a whole other can of worms, and in my opinion, harder to make work, Lemony Snicket and Stranger Things aside. However, LOCKE & KEY does this decently well, too. It might help that the two older children, Tyler (Connor Jessup, Falling Skies) and Kinsey (Emilia Jones, Utopia), are teenagers. It might also help that Jessup, at age twenty-five, is actually well into adulthood, and Jones will be eighteen by the time a second season is filmed. They play younger characters convincingly, but also have some prior experience that has helped them become good performers. The youngest Locke, Bode (Jackson Robert Scott, It), is also pretty decent.

The rules LOCKE & KEY have for children and adults are confusing, though. After experiencing the effect of a key, their mother, Nina (Darby Stanchfield, Scandal), quickly loses all memory of the thing. And yet, it’s pretty clear that their father, Rendell (Bill Heck, The Ballad of Buster Scruggs), remembered, as does their uncle Duncan (Aaron Ashmore, Killjoys), who is still around. Other adults do, too, so it’s not just a bloodline thing. Perhaps the inconsistency will be explained eventually, but in the first few episodes, it detracts from the believability of the world.

The primary villain revealed so far is Dodge (Laysla De Oliveira, The Gifted), who was introduced as Bode’s echo in a well before tricking him into letting her out and giving her a key that can take her anywhere. She seems convincingly sinister, even if she doesn’t kill the child right away, and her connection to the Locke kids’ dad’s killer leaves many unanswered questions. I think it’s hard to strike terror without being cartoonish when dealing with a bad guy who battles kids, but De Oliveira does it, delivering a stand-out performance in the show.

I will say, LOCKE & KEY doesn’t overall feel like a kids’ show, and that’s to its credit. It’s certainly not geared for young children to watch, with actual harm and violence. I could use a little more development for Nina and Duncan, but while watching, I often forget that most of the characters on screen are minors. The story is compelling enough to stand on its own in the genre, and doesn’t feel like it needs that extra hook, and so doesn’t put any great focus on it. I appreciate that.

I’m slightly torn on LOCKE & KEY, mostly because of the major weakness pointed out above. But it has a lot going for it, and like I said, the specific style of it appeals to me very much, so I’ll keep going. If you’d like to join me, you can stream all ten episodes of the first season now on Netflix.

LIVING WITH YOURSELF Review

Article first published as TV Review: LIVING WITH YOURSELF on Seat42F.

Looking at the poster of Netflix’s new series LIVING WITH YOURSELF, you might think you know what the show is. After all, Paul Rudd (Ant-Man) has made plenty of comedies, and many of us know what those are. They’re familiar and amusing, but not usually ground-breaking or particularly memorable. I’m not picking on Rudd here, and I enjoy the genre he works in, but there’s a certain predictability to a lot of that resume. Toss in the clone aspect, and it seems like it’ll contain even fewer surprises, with the duplicate jokes having been done on numerous occasions in the past.

If that first paragraph describes your initial thought, as it did mine, you could not be more wrong. LIVING WITH YOURSELF is a very complex and rich tapestry of a world and story, with characters who go through complicated issues and question their identities. It’s funny, sometimes, but that’s beside the point, as it is so much more than that. Like The Good Place, it makes you think about what it means to be a good person, and this one also gets into motivation, the paths not taken, how experience shapes us, the idea of a soul, being one’s best self, and a lot more.

Rudd is excellent as Miles Elliot, maybe the best role in his career thus far. Or rather, roles, as he plays two versions of Elliot. One has been worn out by some tough things in life, frustrated with his job, and fighting with his wife. The other has the exact same memories, but a fresh body unencumbered by aches, pain, and stress, giving him a totally different viewpoint. He’s the idyllic Miles, the person Miles could be if he started over with a clean slate. It’s interesting just how much an attitude makes a different, but it requires a huge thing like being cloned in order to gain that new attitude. It’s a testament to Rudd just how different these two parts seem despite being essentially the same individual.

The cloning process itself opens up all sorts of questions. The operation is secret and shady, and at least some clients don’t realize the operation involves killing the original human after the copy is made. In Miles’ case, an error causes the death not to stick, and thus the problems are born. These two Miles share one car, one job, one social security number, which isn’t a practical way to live. And they both want that one life. Not to mention, the guys that run the cloning experiment (James Seol and Successions’s Rob Yang) have their own stuff going on.

In early episodes, Miles’ wife, Kate (Aisling Bea, The Fall), seems like the one glaring problem with the show. Not because of anything Bea is doing (or not doing), but because she isn’t developed at all, playing a pretty straight-forward, one-note spouse, the type present in so many shows and films. But by the fifth half hour, which centers on Kate, LIVING WITH YOURSELF proves the final piece of its worthiness by giving Bea a showcase to shine. As soon as her part of the story is filled in, the plot gets even better, really fleshing out the world in a needed way. We quickly care as much about her life as we do Miles, and that makes things so much more satisfying.

Other characters, including Miles’ co-worker Dan (Desmin Borges, You’re the Worst) and sister Maia (Alia Shawkat, Arrested Development) add little bits that will surely pay off, and there is a fair amount of mystery baked in, too. It’s a delightful, engaging mess of a world, one that feels very lived in.

I cannot recommend LIVING WITH YOURSELF enough. This show is excellent, stand-out in a landscape filled with great programming, and has something new to say. Season one is streaming on Netflix now, so go check it out.

Elect THE POLITICIAN

Article first published as TV Review: THE POLITICIAN on Seat42F.

Ryan Murphy, Brad Falchuk, and Ian Brennan, the minds behind FOX’s former shows Glee and Scream Queens, have re-teamed for a new Netflix drama entitled THE POLITICIAN. Like their previous efforts, this one centers on young people who act in hyperreal ways, working hard towards single-minded goals with little regard for who they hurt. These kids act like unscrupulous adults, but the show doesn’t prove they aren’t, instead existing within the high stakes laid out by the protagonists, no tongue in cheek wink that the real world will make this all seem trivial in retrospect.

There is a particular style and tone to THE POLITICIAN. Murphy and Falchuk work with high production concepts in American Horror Story, Pose, and their other television series. But this one is a bit different. It’s more like a Wes Anderson flick than their usual work, down to the young, precocious male lead, characters standing stock still in specific places, and the occasional shot of a furniture description page. THE POLITICIAN’s characters aren’t as odd as those in an Anderson work, and it can sometimes take a viewer out of the story here. But overall, it’s mostly a quality work.

Ben Platt (Pitch Perfect) stars as Payton Hobart. Adopted by the ultra-wealthy Georgina (Gwyneth Paltrow, Avengers) and Keaton (Bob Balaban, Gosford Park), Payton feels less valued than his parents’ biological twins, Martin and Luther (Trevor and Trey Eason). Perhaps to make himself noticed, Payton makes it his mission in life to become president of the United States. His immediate focus: win the presidency of his student body. Which is easier said than done with pretty boy and popular kid River Barkley (David Corenswet, Moe & Jerryweather) standing in his way.

There are others involved, of course. Payton wants cancer patient Infinity Jackson (Zoey Deutch, Ringer) as his running mate to get the sympathy vote, not being aware of what Infinity’s Aunt Dusty (Jessica Lange, American Horror Story) is up to. River’s girlfriend, Astrid (Lucy Boynton, Gypsy), is a serious impediment, and Payton’s girlfriend, Alice (Julia Schlaepfer, Charlie Says), might be one, too. Payton’s advisors, McAfee (Laura Dreyfuss, Glee) and James (Theo Germaine, Adam), don’t always see eye to eye.

Yes, Payton has advisors. The election is treated almost as seriously as an adult campaign would be, and the stakes are just as high if Payton wants to achieve his dreams.

Platt is perfectly cast, playing a role so close to his Tony-winning turn in Evan Hanson. There’s even a dead guy and a crisis of conscience for him to play off of. The rest of the cast seem similarly well suited to their roles.

If I have one complaint about THE POLITICIAN, it’s that it seems very convoluted. There’s a lot going on, and circumstances change quickly with each new twist, of which there are many. Plenty of small moving parts could blow up and derail things at any time. However, other Murphy projects have been similarly dense and came out pretty well, so I think it’s best to have patience and wait. Besides, the character study of Payton seems rich on its own, at least from the first couple of episodes, and may be worth it even if the overall plot is less than satisfying, as has been the case on a couple of seasons of American Horror Story.

If you like Ryan Murphy and flair, you’ll probably like THE POLITICIAN. If you don’t like his other work, don’t expect anything too different here. Not that Murphy is one-note by any means, but he does what he does very well, and this is another variation on those themes.

THE POLITICIAN’s eight-episode first season is available now on Netflix.

Entirely (UN)BELIEVABLE

Article first published as TV Review: UNBELIEVABLE at Seat42F.

Warning: The following contains spoilers from the first two episodes of the series.

Recently, Netflix launched an 8-episode miniseries titled UNBELIEVABLE. Based on a true story, it tells the tale of multiple rapes that occurred a few short years ago. Taking the perspective of both the investigator and victim, it’s a slow-burn drama that dwells on the emotions involved and how complex such situations can be. It’s a deeply affecting series, and one that should help those who have been lucky enough to avoid such experiences personally better understand what can happen.

Episode one focuses almost solely on Marie (Kaitlyn Dever, Justified), a young teen transitioning out of foster care. A man comes into her apartment at night, ties her up with her own shoelaces, and does what he wants to her. Or so she says. After repeated interrogation, her story begins to fall apart, and she tells the police that she made the whole thing up. But did she?

There have been accusations lobbied against rape victims for failing to come forward or not being consistent in their stories. Marie shows us just how that can happen. A woman who has been through a traumatic experience is forced to relive it again and again, questioned until she starts to doubt her own memories, and made to feel like she’s done something wrong. Under that kind of pressure, the best of us may crack, and most of us would avoid going through it if we could. It’s such a monumental task she’s faced with, through no fault of her own, that one cannot blame her when she fails to live up to ideals.

Frustratingly, that means Marie becomes a pariah and the man gets away with it. This is not justice, nor a happy ending. This is dark, raw, and painful. Episode two picks up a short time later. Karen Duvall (Merritt Wever, Nurse Jackie) is looking into the rape of Amber (Danielle Macdonald, Patt Cake$). At the same time, Grace Rasmussen (Toni Collette, United States of Tara) works her own case. Unbeknownst to them, they are likely hunting the same criminal, and even more elusive is that it’s probably the same person that assaulted Marie.

Some of the things above are assumptions at this point, as I haven’t watched all eight installments yet, but they seem pretty clear. UNBELIEVABLE isn’t so much a mystery as it is an examination of trauma and realistic heroism while the procedures of the law take an agonizingly slow time to work themselves through. It’s not your typical crime series, but one welcome on my screen.

Dever is fantastic, as always. So are Wever, Collette, and Macdonald, as well as fellow cast members Elizabeth Marvel (House of Cards), Brent Sexton (The Killing), and Bridget Everett (Camping), among others. Kudos to whoever assembled some of the finest performers who aren’t yet household names, though a couple are well on their way. Even as the pace sometimes seems to crawl along, it’s easy to get sucked into the Emmy-deserving performances.

If I had to compare UNBELIEVABLE to another series I’d say it’s most like The Killing, though not nearly as bleak or obtuse. There is light at the end of the tunnel, if you’re at all familiar with the true story (or television formulas). Yet, it has a similar speed, letting characters breathe more than a little. The focus is on sympathetic people, not villains, so that helps, too. Whatever you think of how that show went on, the first season was fantastic, and so is this.

In fact, I’d go so far as to call UNBELIEVABLE must-see. Even were it not important to the current societal problems, it’s an acting tour de force. For either of those reasons and more, check it out, currently streaming in its entirety on Netflix.

A Lighter DARK CRYSTAL

Article first published as THE DARK CRYSTAL AGE OF RESISTANCE Review on Seat42F.

Jim Henson’s The Dark Crystal film has quite a cult following. Many, many fans love the movie, and have watched it dozens of times a piece. Growing up, while I found it equal parts disturbing and boring, I certainly had more than my share of peers who told me I was wrong. And whether you like the story or not, there’s certainly plenty to appreciate in the sheer amount of work that goes into such a fully-realized puppet-driven world.

THE DARK CRYSTAL: AGE OF RESISTANCE is better than the movie. That is an opinion, of course, so agree or not, that is your choice. There are several things that stand out to me in forming this opinion.

One, the settings are so much richer and more beautiful. The original was post-apocalyptic, and that is a valid choice for the story being told. By setting AGE OF RESISTANCE as a prequel, the creators get to show us the beauty of Thra in its prime, and it is breath-taking. There are several distinct zones of habitat, each more impressive than the last. Setting plot aside, it has an Avatar-esque quality of something never seen before, and that’s worth watching.

Two, the voice cast is amazing. With no offense to the originals intended, as they did a fine job with their task, big talents lined up to be part of such a storied franchise. Returning and new characters alike boast big names along the lines of Jason Isaacs (Harry Potter), Sigourney Weaver (Alien), Eddie Izzard (Ocean’s Twelve), Helena Bonham Carter (Les Miserables), Caitriona Balfe (Outlander), Lena Headey (Game of Thrones), Natalie Dormer (um, Game of Thrones), Nathalie Emmanuel (yet another Game of Thrones), Toby Jones (Captain America), Theo James (Divergent), Taron Egerton (Rocketman), Gugu Mbatha-Raw (Belle), Awkwafina (Crazy Rich Asians), Alicia Vikander (Ex Machina), Simon Pegg (Shawn of the Dead), Benedict Wong (Doctor Strange), Keegan-Michael Key (Key & Peele), Andy Samberg (Brooklyn 99), Bill Hader (Barry), and Mark Hamill (Star Wars). And that’s not even a complete list.

Third, it feels like a fully realized story. It’s clear the writers have firm direction, partly because we already know the ending. But even if we didn’t, it’s clear this is well thought out, carefully crafted with rules that the series sticks to and a sense that it knows what it’s trying to do.

That is a bit of a downside, as well. After all, while would-be hero Gelflings strike out on quests to save their people from the ruling Skeksis, it’s well known that they will fail. The best these main characters that viewers are going to care about can hope for is noble martyrdom. The movie sets up only failure, and everything good in this place should be gone by the end of AGE OF RESISTANCE.IN ITThat isn’t an argument against watching DARK CRYSTAL: AGE OF RESISTANCE. After all, everyone knew the Titanic sank, and yet they flocked to the theatres to see the film of the same name. There’s a bit of a dread hanging over the story here, too, but it’s also hard to keep that in mind when it’s so easy to root for the Gelflings.

AGE OF RESISTANCE hasn’t won me over and made me a DARK CRYSTAL fan… yet. But by the time I finish it, it just might. It may take all ten installments to decide if the project was worth it, but it definitely expounds upon the universe in new and interesting ways. Had this come before the film, I’d probably have been more invested in the original follow-up. But the Star Wars prequels, this is not, and if you have even a slight bit of curiosity, I recommend checking it out.

THE DARK CRYSTAL: AGE OF RESISTANCE is streaming on Netflix now.