Lying Down With FLEABAG

Article first published as FLEABAG Review on Seat42F.

Launching as an Amazon Original, though also a British series that already posted to online streaming service BBC Three, all six episodes of FLEABAG come to American audiences on September 16^th. Set in present-day London, it’s the story of a young woman who isn’t handling the death of her best friend very well. Told in semi-non-linear fashion, it’s about grief, feminism, millennials, sex, and so much more.

FLEABAG is created by Phoebe Waller-Bridge (Crashing, The Iron lady), who also stars as the titular character. When we meet her, she’s a mess but we don’t know why. She treats her sensitive boyfriend, Harry (Hugh Skinner, W1A), and her sister, Claire (Sian Clifford, Paddy), poorly, using them and then pushing them away, and not really seeming to take their feelings into account at all. Her father (Bill Paterson, Outlander) has it even worse, with Fleabag causing friction in his relationship with her godmother (Olivia Colman, Broadchurch). Fleabag herself will sleep with just about anyone and seems to barely get by day by day.

But then, we learn about Boo (Jenny Rainsford, Prometheus), her guinea pig-obsessed best friend and business partner who perished. Did Boo kill herself, or was it an accident? This is in doubt. Since Boo is the only character we ever see happy (in a number of interspersed flashbacks), it makes the situation even more puzzling.

The fact that Fleabag lost Boo does not excuse her behavior, at least not all of it. Fleabag is rude, self-centered, and semi-psychopathic. And yet, viewers will want to cut her some slack because of Boo’s death. Everyone deals with grief in different ways, and maybe Fleabag is acting out from deep emotional pain. After all, she’d have no one at all if she were always so awful, right? Maybe…

Waller-Bridge gives a stunning performance, one that constantly keeps you guessing about whether you should like the protagonist or not. Her snide comments and looks at the camera, a la House of Cards, help us get inside her head and earn some sympathy. And yet, they also betray that she may be just as horrible as she outwardly acts.

I watched two episodes to try to figure out the fascinating dichotomy. I did not manage to, though I’ll be watching the additional four installments to see if they can shed any more light. Instead of answers, we get a complex woman that feels completely real, both a product of her time and a reaction against it. While it’s hard to like Fleabag too much, she begs you to try to peer into her soul, and it’s difficult to look away. She is one of the most interesting, enigmatic character studies I’ve seen in a long time, which is probably why I liked the show so much.

If you are casually pulling up a scene or skimming through FLEABAG, you are likely to wonder why in the world you’d ever want to watch such a thing, which is what my wife asked me ten minutes into episode two (she missed the pilot). But if you’re willing to devote the time and attention this dramedy deserves, it seems to me there is much richness to be mined, and certainly a ton of originality, which is lacking from most other shows.

I don’t know if there’s any hope of FLEABAG coming out of the funk she’s in, or if this is her natural personality and always has been. I hope it takes her awhile to figure herself out, though, because this is something I’d like to watch for a few years, not just one afternoon.

FLEABAG will premiere on Amazon Prime September 16^th.

Pick Some FLOWERS

Article first published as FLOWERS Review on Seat42F.

Premiering stateside on May 5^th is the British sitcom FLOWERS. A very dark, very off-beat comedy show about a messed up, three-generation family, it will make you both uncomfortable and amused, though the balance between the two may vary moment to moment. It’s an original work that is hard to compare to any existing show, despite the familiar family format, and while I don’t yet know if I should recommend it or not, two episodes into the six episode run, it is certainly something worth taking note of.

The patriarch is Maurice Flowers (Julian Barratt, The Might Boosh), a children’s author who tries to kill himself in the opening moments of the show. This in of itself is a startling beginning, with the strange verses of his literature serving as voiceover to the events. And while we’re told Maurice is a successful writer, the content of the stories we hear seems questionable and certainly speaking to much deeper levels than most works geared towards kids.

Maurice’s wife, Deborah (Olivia Colman, Broadchurch, The Night Manager), is completely oblivious to what her husband is up to, but she willfully goes that way through life. It looks like she’d rather be happy than knowledgeable, and in dealing with her family and friends, looks at the bright side rather than the honest one. Her attitude is obviously a façade, clearly failing to convince even herself of her rosy perspective, and there is always the sense she is barely a few seconds away from losing it.

Around this couple, who are celebrating an anniversary, revolve their grown-but-still-living-at-home twin children, egotistical inventor Donald (Daniel Rigby, Flyboys) and musical lesbian Amy (Sophia Di Martino, Casualty). Donald and Amy both happen to be interested in the same girl, Abigail (Georgina Campbell, After Hours), whose plastic surgeon father, George (Angus Wright, Maleficent), will not stop his inappropriate flirting. Plus, there’s Maurice’s senile mother, Hattie (Leila Hoffman, How Not to Live Your Life), Maurice’s almost-servant-like assistant, Shun (creator Will Sharpe), and a handful of other bizarre personalities that flit in and out of the story.

If this sounds like a lot, trust me, it is. Watching FLOWERS makes it feel like even more, the constant fast pace and dense plotlines making your forget each installment is a mere twenty-three minutes in length. It’s like walking into a crowded room where everyone is talking loudly and trying to sort out exactly what is going on and who everyone is.

And yet, the more I watched, the more I liked it. Behind all the weirdness is a group of complex human beings with rich emotional layers, and they are all hurting in their own ways. Each is doing their best to get along in life, or end it, with little idea of how to do so. They (mostly) keep chugging along anyway, despite constant setbacks. The FLOWERS family, while not exactly likeable, become very sympathetic in a short amount of time.

Mixed with this is zany, madcap comedy, often of misunderstandings and errors, which makes their existence seem like hyper-reality despite the grounding. This is what happens when various mental illnesses collide, often more disturbing than funny, even though the situations themselves are humorous. This structure makes it hard to process or binge watch FLOWERS, and yet, also makes it so unique that I am drawn to continue viewing, if only to reward the huge risk making a show like this is.

Well, that and I would watch the excellent Colman in anything. This is off-type for her, and it’s rewarding to see her rise to the occasion.

FLOWERS will be available on Seeso (NBC’s new streaming comedy channel, available through Roku and Amazon) in the United States beginning Thursday, May 5^th.

Check In With THE NIGHT MANAGER

Article first published as THE NIGHT MANAGER Review on Seat42F.

AMC recently co-produced a six-episode miniseries with the BBC, and beginning this week, less than a month after it completed its run in England, Americans will get their first look at the tale. Titled THE NIGHT MANAGER, it is based on the novel of the same name by John le Carre (Tinker Tailor Soldier Spy), first published in 1993, and updated to seem more timely. Essentially, it presents a cat-and-mouse game of two vastly mismatched partners who just might somehow be a perfect pairing.

The hero of the piece is Jonathan Pine (Tom Hiddleston, The Avengers), a former British soldier who now handles things after dark at a very upscale hotel in Cairo, Egypt. An accidental run-in with a woman who is connected to the seedy underworld sparks feelings of protectiveness in Jonathan, and it isn’t long before he becomes involved in international espionage, given face by MI6 agent Angela Burr (Olivia Colman, Broadchurch).

Cue the villain, Richard Roper (Hugh Laurie, House), who values money above people. Traveling with an entourage, which includes girlfriend Jed Marshall (Elizabeth Debicki, The Great Gatsby) and protector Corky (Tom Hollander, Rev.), Roper comes in contact with Pine, who knows Roper is responsible for some unfortunate things Pine cannot get over. Thus begins their competition.

Hiddleston and Laurie are absolutely phenomenal in the leading roles, as one would expect. Hiddleston is the star, with his Pine as every bit as sympathetic and heroic as Loki, the character he is best known for playing, is scheming and twisted. Laurie has the smaller role, especially in the first hour, but that makes his screen time even more powerful, grabbing attention the moment he shows up.

With two such talented performers leading the story, it’s little wonder that the series is incredibly captivating. They’re the type of men who could carry a single-set, small drama, and given the larger world stage (THE NIGHT MANAGER hops countries a few times), they still steal focus from the impressive scenery.

I mentioned in the opening that the story has been updated, but not to worry, the changes are not startling nor distracting. The televised version of THE NIGHT MANAGER plays upon Egypt’s Arab Spring and the Syrian crisis. Since the novel came out more than two decades ago, those weren’t elements in the original work. But while I have not read the book, I think it’s smart to make the surrounding details more relevant to the moment, giving easily understood context to the larger picture, even though the main points are the characters, whom could exist the same in any number of settings.

Besides our leads, the three other main players are amazing as well, and the supporting cast includes the likes of Tobias Menzies (Outlander), David Harewood (Homeland), Alistair Petrie (Rush), and Russell Tovey (Being Human). If these are the kind of people coming in to play the smaller roles, I think that’s a sure sign the program is heading in the right direction.

Pretty much every direction THE NIGHT MANAGER takes is correct. The pacing is slow enough to dwell in the appropriate moments, but stays far ahead of boring. The locales are sweeping and beautiful. The hotels that Pine works at are extravagant masterpieces. The score accentuates without distracting. Honestly, other than the fact that the story being told is longer than would fit, THE NIGHT MANAGER could make a very well-regarded motion picture. After only viewing a single hour, I am totally hooked and convinced the entire half dozen installments will be well worth your time. I’m putting them on my schedule.

THE NIGHT MANAGER premieres Tuesday at 10/9c on AMC.

Was GRACEPOINT Worth It?

Article first published as Was 'Gracepoint' Worth It? on Blogcritics.



WARNING: If you intend to, but have not yet, watched the full first seasons of Broadchurch and Gracepoint, you’ll probably want to bookmark this column and come back after you’ve seen them. Major spoilers are contained within. You’ve been warned!

When FOX decided to remake the British series Broadchurch, starring the same lead actor no less, my first thought was, “Why?” The original is in English and was produced recently, a second season not even out yet. It’s also brilliant, a compelling, twisty drama with terrific acting and a gripping story. Now that all of Gracepoint has aired and a second season is a pipe dream, we are left with the question, was this project worth viewers’ time? Spoiler alert: my answer is no, definitely not.

The first thing that strikes me about Gracepoint‘s pilot is just how similar it is to Broadchurch. The producers deviated very minimally from the source material. The problem with that is, every time an element goes head-to-head in an obvious comparison, Broadchurch wins. Every single time. Why try to copy a successful series if you can’t do it better or offer a fresh viewpoint?

A large part of the inferiority stems from the cast. I’m not talking about David Tennant, who overcomes bad hair coloring and being forced to speak in an American accent to give us a performance that is essentially as good as when he played the role the first time. He’s a reliable, consistent, impressive actor. I’m also not talking about Anna Gunn. I love Olivia Colman and I wouldn’t say Gunn is better, but she’s as good and Gunn proves here that her Breaking Bad gig will be followed by a long, respectable career. Pretty much everyone else, though, especially the victim’s family, just do not stack up to the originals.

Had I not seen Broadchurch, I would likely have loved Gracepoint from the start. It’s a solidly-written story, and as I mentioned, the leads are terrific. The case has lots of mystery surrounding it, and it’s like an East Coast version of The Killing, a series I adore. Any cringe worthy moments in the early installments are purely colored by my memory of the first edition.

As the season unfolds, I do get drawn into Gracepoint. It doesn’t make many major changes, but it does have a couple of extra hours (being ten episodes instead of eight) to fill, so a bit of layering is added in. Around the mid-point, it starts to look like it may veer off entirely and be it’s own beast, and that gets me excited. I enthusiastically told a friend who was holding out to give it a chance. This experiment may end up being a good one to watch after all.

Then I arrive at this week’s season finale. From the start of the series, we had been promised a killer different than the one in Broadchurch. There is foreshadowing in earlier episodes that this will not be the case, but I assume the writers are being misleading, not truly setting up the reveal. Halfway through the finale, Gracepoint had returned to a nearly carbon-copy of Broadchurch and the same perpetrator is arrested.

After that, there is a big twist in that the person who is charged didn’t actually kill the boy. But he’s still guilty of criminal acts and deserves to rot in jail. I guess this is how Gracepoint gets around the “same killer” charge, but it feels like a technicality more than an actual change, just broadening the circumstances surrounding the death a little more, rather than making it drastically different.

I do believe that if Gracepoint were to get a second season, there is the possibility to overcome the comparison issue. The fact that Danny’s best friend accidentally does the deed, his child molester father is (nobly?) taking the blame, and his mother is covering up the true crime are all rich veins to tap. Danny’s mother’s partner clearly grows suspicious of the outcome at the end, threatening to put fixing his life on hold, though he definitely should not, to further pursue the case. But since the running time of the season is almost out at this point, there’s no time to really explore any of that, and Gracepoint ends on a semi-cliffhanger that will most likely never be resolved because the ratings are pretty bad.

Without this further exploration, most interestingly Ellie (Gunn) hiding things from Carver (Tennant), Gracepoint doesn’t have a lot to set it apart from Broadchurch. If the original had been subtitled, one may argue Americans are too lazy to read them. If the shows went completely separate ways in their second years, a case could be made that they really are different stories. If we lived in a pre-Internet age and Americans didn’t have easy access to the original version, it would be somewhat, flimsily arguable to make our own, homegrown, series. As it stands now, though, Gracepoint is an inferior copy of an easily obtainable show with very few significant differences. So what was the point?

No official word on Gracepoint‘s renewal has been released, but I’m pretty sure it’s not coming back, and it does not really deserve to do so.

Broadchurch season two premieres in February on BBC America. Please check it out.

More DOCTOR WHO Fun With THE FIVE(ISH) DOCTORS REBOOT

Article first published as TV Review: 'The Five(ish) Doctors Reboot' on Blogcritics.

Amid all the 50th anniversary Doctor Who hoopla this weekend, there was released a half-hour production that got much less attention than other most other events. It didn’t even make it on air in the United States. For any fans of the classic show, or the genre of comedy in general, The Five(ish) Doctors Reboot is must-see.

Written and directed by Peter Davison, The Five(ish) Doctors Reboot finds Davison, Colin Baker, and Sylvester McCoy anxiously awaiting news about whether they will be included in The Day of the Doctor. Months pass and the phone doesn’t ring. The BBC offices and Steven Moffat begin avoiding their calls.

These are sad, old men, past their prime, and wanted by no one, including their families. They are obsessed with their glory days, unable to let that defining role of Doctor Who go, and desperate for attention that doesn’t come.

This may sound depressing, but it’s not because the half hour is absolutely hysterical. It’s pretty apparent that this is a campy romp, not a biographical story. The actors are game to make fun of themselves in a public forum, and these parts really work because they cut close enough to home to be relatable. Like Matt LeBlanc in Episodes are James Van Der Beek in Don’t Trust The B—- in Apartment 23, the characters are almost parodies of themselves, not their actual personalities.

We know this because of how pathetic they become. No self-respecting men of notoriety would hold picket signs championing themselves, all alone, in front of a TV studio. Or bum a ride from John Barrowman, who forces them to listen to his singing. Or lock their wife and daughters into their house in order to relive old episodes. Or constantly remind everyone that they are in The Hobbit. Or steal Dalek costumes in the hope they can sneak on set and make it on screen. Or call one’s daughter, Georgia Moffett, in the hospital room where she is giving birth and ask a favor of her husband, David Tennant. It’s absurd, in the best of ways.

Other familiar faces, including Russell T. Davies, Paul McGann, Matt Smith, Jenna-Louise Coleman, Peter Jackson, Olivia Colman, and Ian McKellen gamely participate, each poking fun at themselves as much as at the old men. If you’re eagled-eyed, you might spy offspring of two of the older, departed Doctors, really making this a full tribute, with more of the cast returning than in the official episode. Each of these are wonderful scenes, a nod to all the Doctor Who fans watching. But the stars of the show was Davison, Baker, and McCoy, and they are spectacular to watch, even without the slew of terrific cameos.

In the end, the guys get their wish. I wouldn’t reveal the exact circumstances, but there is a sweet twist which proves once and for all that they were able to gain access to the set, and surely are not loathed by the production staff. This capper is necessary because, even though I enjoy watching them bumble and suffer, the tone is a light one, and no one wants to see these guys we love fail. It just wouldn’t be right.

Perhaps The Five(ish) Doctors Reboot is not an official part of the anniversary, and maybe it won’t be remembered as fondly as the actual special. But it’s not something I’m likely to forget, and by posting it on the BBC’s website, the network seems to give it their blessing. I definitely recommend checking it out here. (this link will only work for a limited time)

BROADCHURCH Not Warm, But Welcome

Article first published as BROADCHURCH Not Warm, But Welcome on TheTVKing.

BBC America viewers are halfway through the first series of the British show Broadchurch as of this past week. The hour-long drama is similar to The Killing, revolving around a single murder of a young boy over the course of the eight episode run, and depicting his family as well as the police looking into the death. At this point, the list of suspects is long, but the number of important clues are sparse.

Broadchurch is an excellent entry to the crime genre. It boasts strong storytelling, with natural twists, and numerous threads intertwined. The acting, done by a roster that includes several familiar faces, is fantastic, and the series lets us dwell on characters as appropriate. However, it also avoids the slow pacing that turned some (not including myself) off of The Killing, and will almost certainly solve the case at the end of hour eight.

The lead detective is DI Alec Hardy (David Tennant, Doctor Who), a man with a past. It is clear that whatever demons dwell within him, owing to an old case he screwed up, are catching up now, as he falls and hits his head, which is presumably connected to pills he is taking, mixed with alcohol. The question we're faced with is, will he self-destruct before he can finish the job? Tennant very rarely lets Who slip into the role, showing fans something new with this part.

Alec is assisted by DS Ellie Miller (Olivia Colman, Twenty Twelve), who is inexperienced in such grisly murders, but is intelligent and capable. This week, Ellie invites Alec over for dinner, which he awkwardly agrees to. This not only allows them to bond a bit, but we see a lighter side of Alec as he drinks with Ellie's husband, Joe (Matthew Gravelle, The Bible). Alec and Ellie are a bit of an odd couple, but are likely to succeed together, both being beneficial to the other.

Of course, Ellie is distracted by her very personal connection to the small town scandal, her son, Tom (Adam Wilson, Mr Selfridge), being the dead boy's best friend, leaving her in an awkward position when talking to the victim's mother, Beth (Jodie Whittaker, Wired). It's an interesting dynamic, when the police, by virtue of the size of the village, have feelings about those involved, and it's part of what makes Broadchurch so good.

Another thing the show does well is deal with the aspects of this type of murder. For instance, this week Beth finally agrees to talk to Karen White (Vicky McClure, Line of Duty), a big-paper journalist who is working with the local press. Karen isn't pushy, and seems sincere when pleading with Beth to do the interview, pointing out that press attention could help motivate witnesses to come forward and the truth to come out, and she's not getting that support now. But are Karen's motivations merely selfish? The pack of pushy reporters who follow behind her aren't so kind to the family, and Karen doesn't do a good job of preparing Beth for that backlash. It's a tricky business.

There is also a fake psychic who convinces Beth he wants to help, but whom Ellie reveals as a charlatan. It's a shame such jerks prey on those who are grieving, but this is a fact of life, not often seen in standard cop procedurals, so it's interesting to be brought in here. Plus, the psychic character is fairly convincing, even for those skeptical, so it's easy to see how a desperate Beth would fall for his charade.

I also love the way Alec goes to church just to spy on the locals, hoping to figure out who is responsible. It's a smart, though cynical, viewpoint, aided by the other characters' treatment of religion in general, attitudes that are just now catching on on this side of the pond.

Among the prime suspects right now are: Mark (Andrew Buchan), the victim's father, who was having an affair with hotel manager, Becca (Simone McAullay, Blue Heelers); Jack (David Bradley, the Harry Potter films), the victim's newspaper delivery boss, who claims his recently uncovered past as a sex offender isn't what it appears to be; Susan (Pauline Quirker), the scary owner of the cabin that is likely the crime scene, and who goes by a different name than she used to; and Rev. Coates (Arthur Darvill, Doctor Who), who doesn't have an alibi, and just feels slightly creepy.

It likely isn't any of these people, since we're still only halfway through. Anyone who has read or watched a few murder mysteries know that the killer isn't unmasked until late in the game, with plenty of red herrings along the way. My wife has theorized that Joe Miller could be the culprit, appearing the least likely at this time, but that seems too much of a stretch to me. However, I don't mind waiting to find out when the journey getting there is this good.

Something some people misunderstand about a good series such as this is that who is guilty is not the point. If it were, we'd learn who they are early on, and the rest of the tale would be about proving it. Instead, the draw is the process of putting together the clues, as that is what most of the plot concerns. In this, Broadchurch is doing a spectacular job with a complex, well-thought-out arc. This is definitely one of my favorite shows of the summer.

Broadchurch airs Wednesdays at 10 p.m. ET on BBC America.

Twenty Twelve lives on

Article first published as Twenty Twelve lives on at TheTVKing.

In the lead up to London's hosting of the 2012 Olympics, there was a British-made sitcom entitled Twenty Twelve. The two series filmed take us behind the scenes of the fictional committee tasked with planning and implementing the event, and the foibles and pitfalls they encounter in their less-than-competent work. It's a goofy, but not too slapstick, comedy that just happens to tie in to a real event. It's now available as a two disc DVD set.

My first impression of Twenty Twelve is that it's a lot like The Office. It's made in the mockumentary style, and features a number of employees who keep screwing up their jobs. A lot of what they do is have endless meetings, and the tasks are mundane, like programming traffic lights. Even the exciting stuff, like figuring out what to do with the buildings after the Olympics are over, are trivialized and made to seem unimportant based on the level of care taken to implement them.

The big difference between Twenty Twelve and The Office is that the latter featured a couple of decent workers putting up with an inane boss and some zany peers, while this series has a relatively well-put-together leader dealing with employees who don't measure up. It's a small reversal, but an important one, meaning that the issues are coming from all directions, and are plentiful. Also, the humor here is often at the expense of outsiders, the tone is a little more serious, and the scale is larger.

The cast is lead by Hugh Bonneville (Downton Abbey), who plays Ian Fletcher. Ian is in charge, but while he is good at his job, and at putting out the various fires started, he does have a messy personal life, and that is what draws him into the muck. Luckily, he has a very good personal assistant, Sally (Olivia Colman, Peep Show). Unluckily, she's in love with him.

Bonneville plays the part with such sympathy, viewers will find themselves rooting for him to succeed, and will grow as frustrated as he does with the others who work in his department. This role really gives him a chance to stretch away from the drama, and while he is the "straight" man for many of the jokes, he definitely is the main pulse of the show, too, and the reason it works.

The rest of the ensemble is talented enough to make their characters seem completely real, and audiences should have little trouble relating these dolts to people that they have encountered in the world.  There's the insecure Kay Hope (Amelia Bullmore, Scott & Bailey), who tries to keep drawing attention to her goal of sustainability; ditzy Siobhan Sharpe (Jessica Hynes, Spaced) is the stereotype of a PR rep, pretty and clueless, thinking she can ride on her looks and personality alone; Graham Hitchens (Karl Theobald, Green Wing) has the job, but not the skills, of a tech and stats nerd; there's also Nick Jellet (Vincent Franklin, The Thick Of It).

In the thirteen episodes, problems that are faced include a lost bus, a shooting, how to design a religious center that will make everyone happy, a bizarre art installation, Roman remains found in the construction zone, and a sexual health campaign. It's bureaucracy taken to the extreme, and with satisfyingly humorous results. With the witty narration provided by David Tennant (Doctor Who),  most should find these episodes at least somewhat amusing, even if it fails to break new comedy ground.

My only real complaint is that the ending doesn't tie things up. No third series has been ordered, but the lack of resolution leaves me wanting a bit more, especially in regards to Ian's romantic choices. Should future episodes be added, it would resolve this.

The only extra is cast and crew interviews. These are interesting, but a little disappointing as the sole bonus.

Twenty Twelve is available now.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter!