JONES-ing For Some JESSICA

Article first published as TV Review: JESSICA JONES Season 2 on Seat42F.

Marvel’s JESSICA JONES is finally back for a second season on Netflix! The more-than-two-year wait between seasons can be explained by the aggressive Marvel Netflix production schedule, which saw four additional shows premiere since then, including a team-up between Jessica and other heroes, and a second season of an older series, Daredevil. With crossovers between the casts, it would be difficult to shoot them all at once. Though given how quickly the shows are being released now, I wouldn’t expect such a long break the next time.

Back to the series at hand, JESSICA JONES seems not to have missed a step as it begins season two. Jessica (Krysten Ritter) is haunted by the fact that she killed Kilgrave, making her, in her mind, a killer. To cope, she’s drinking a LOT, even for her, and refusing cases she might develop an emotional attachment to. Her sister, Trish (Rachael Taylor), has taken the opposite tact, jumping fully into investigating the past, though admittedly Trish didn’t murder anyone. And Malcolm (Eka Darville) tries to build up Alias Investigations as a business, despite its salty owner. Even Simpson (Wil Traval) pops up to show us how he’s doing after the events of last season.

It seems like not as much time has passed in the world of JESSICA JONES as it has in the real world, but that’s OK. Some time has gone by, and big events stick with you for weeks, months, even years. So it makes total sense that the emotional state of many of the players is influenced by season one, even if it’s been a bit.

Speaking of emotions, despite her estrangement from Jessica, Jeri Hogarth (Carrie-Anne Moss) remains very much a part of the series. Her scenes are separate as she deals with some very tough medical news in not-so-healthy ways. But I’m interested to see where she will tie into the central story.

Season two doesn’t have such a clear villain to focus on as Kilgrave was. Instead, there’s a shady company known as IGH that seems to serve as the antagonist. But it doesn’t come out of nowhere. These are the people that gave Jessica, and others, powers. There’s a twenty-day span spent in their care that Jessica doesn’t remember. Why did they release her? What was their purpose? Jessica doesn’t know and so we don’t, though it seems certain we will find out as time goes on, especially with Trish on the case.

It isn’t necessarily a novel idea to dig into a lead character’s past to mine drama. But given how detached Jessica is in her daily life, it feels like a good road to go down for her. She isn’t going to speak her feelings to anyone, nor the audience, so by placing her in a position where she’s forced to confront her internal struggles, JESSICA JONES lets us learn a lot about the character. Physical artifacts force their journey along to nice effect. It’s far more interesting than just seeing her fight some baddie.

JESSICA JONES is the story of more than one broken character, but each have their own unique story. While they cross many times, there’s also a feeling of aloneness more present than with some of the ensemble casts of other series, even other Marvel Netflix series. This alone-while-with-someone take is something many viewers can relate to. Seeing Jessica, Trish, Malcolm, and Jeri deal with it also inspires us in a way heroes don’t usually do. JESSICA JONES shows us a different kind of inspiration, and it’s welcome.

Given the complex story and the deep emotional content, even though I’ve only viewed two hours thus far, it seems certain JESSICA JONES will maintain its quality through a second run. Even if it’s hard not to miss the magnetic persona of Kilgrave, whose specter hangs over the story.

JESSICA JONES season two is available now on Netflix.

Marvel's JESSICA JONES

Article originally published as JESSICA JONES Review on Seat42F.

The following review is very light on spoilers, so please read on!

After the success of MARVEL’S DAREDEVIL last spring, many have waited with bated breath for the next installment in the studio’s Netflix universe. It arrives this Friday in the form of JESSICA JONES, a noir detective series that gets a lot darker and a lot scarier than anything Marvel has done before. And, as one might expect, it is excellent.

JESSICA JONES begins with the titular character (Krysten Ritter, Breaking Bad, Don’t Trust the B-) working as a private eye in Hell’s Kitchen. As is familiar to the archetype, Jessica is a hard-drinker, trying to escape demons from her past, while being excellent at her job. This feels a bit like Veronica Mars, a show Ritter did an arc in, and viewers think they know what they’re getting.

Not even a full hour in, though, JESSICA JONES takes a twist into new territory. It isn’t that the show abandons the early tone or style; it still infuses what comes after. But while the series begins rooted in a genre we’ve seen before, it expands the horizons of those bearing witness to the proceedings in short order.

Part of this is because JESSICA JONES is kind of a horror show. Kilgrave, a.k.a. The Purple Man (David Tennant, Doctor Who, Broadchurch), is the scariest villain I’ve ever seen in the superhero realm, and what he does is more disturbing than the fare fans are used to. This is not a Marvel series appropriate to watch with the kiddos. Instead, it features what appears to be an unstoppable bad guy who does things far worse than simple violence permits, making for a premise that will send chills up and down and back up your spine. He is terrifying.

Jessica also has a very rich backstory that is barely teased in the initial episode. We know she has undergone some trauma; that’s clear from the way she lives her life, trying to get past something that has scarred her soul. But the more we learn about her, the more it makes sense that she’s this screwed up. Some characters have reasons for doing destructive things and we forgive them for it, but for Jessica to even continue existing in the world as she does makes her far stronger and resilient than your average person.

This means Jessica’s abilities are not limited to the physical. Her superpowers are not the point of JESSICA JONES, and we get them in small doses, not showy sequences. It’s not even immediately clear what she can do, other than lift cars and jump high. Yet, those aren’t the most impressive things about her, which is a departure for a comic book adaptation.

Jessica isn’t alone in her world, much as she usually acts like she wants to be. She has a sort-of boss, Jeryn Hogarth (Carrie-Anne Moss, The Matrix, Vegas), an estranged friend, Trish Walker (Rachael Taylor, Grey’s Anatomy, Crisis), and a neighbor without boundaries, Malcolm (Eka Darville, The Originals). She also (sort of) meets a bartender by the name of Luke Cage (Mike Colter, The Good Wife) who is probably more compatible with her than either expects, and who will be headlining the third Marvel Netflix series next year.

Given the pedigree of the cast, made up almost entirely of actors I already admire and respect, it’s not a surprise that the performances are every bit as excellent as the production. Ritter has needed a vehicle to show her ranger for awhile, and this is it. Tennant completely transforms into a monster unrecognizable, and I’ll never watch him the same way again. The scenes with Colter already have me excited for his turn in the lead. This is high quality television period, not just for its genre or when compared to its peers, but across the entire spectrum. I would posit it is the pinnacle of everything Marvel has done thus far, and a promise of continued greatness.

All thirteen episodes of JESSICA JONES’ freshman run will be live on Netflix this Friday. I recommend you watch as many as you can this weekend, lest you be lost when your friends and co-workers are talking about this on Monday, as they most definitely will be.

666 Park Avenue an address to avoid

Grade: 91%

ABC’s is sticking with the magic and supernatural that worked for Once Upon a Time last year in its new drama, 666 PARK AVENUE. Set in the Upper East Side of Manhattan, the series follows the residents of the Drake, a building that sits at 999 Park Avenue (the opening reveals the 999 on the wall casting a 666 shadow). It is a mysterious, old thirteen-story tower full of secrets and a dark power. It can make your dreams come true, if you’re only willing to give up everything.

As the “Pilot” begins, young, fresh, bright-eyed couple Henry Martin (Dave Annable, Brothers & Sisters) and Jane Van Veen (Rachael Taylor, Grey’s Anatomy) arrive in New York City, and soon land the job of building manager for the Drake. They are given this opportunity by the owner, Gavin Doran (Terry O’Quinn, Lost), who sees some potential in them. And also something he wants.

The rest of the hour is a seductive dance. Gavin and his wife, Olivia (Vanessa Williams, Desperate Housewives) shower Henry and Jane with gifts and invitations to status-making events, showing them a world they could live in, if only they were a little richer. It’s assumedly all part of a game, as Gavin is determined to take their souls. Will these Midwestern folks be able to resist the allure of what Gavin is offering?

This is an age-old tale, but just because the premise is a bit dusty, doesn’t mean that the execution isn’t fresh. Indeed, by casting four recognizable and very talented faces to play this out, 666 PARK AVENUE succeeds in making something creepy and intriguing, sensual enough to draw viewers in, helped along by the tone and beautiful setting. Yes, it will cost Henry and Jane dearly if they engage with Gavin, which they surely will continue to do, but mightn’t it be worth it?

No, it’s not. As we see in the opening, Gavin is most definitely bad, and normal people wouldn’t stand a chance against him. It’s unclear whether his power stems from himself or the building, which he bought decades ago, as the dragon symbol in the basement and cult-ish history reveal that these arrangements existed well before Gavin’s time. Unless he’s really, really old.

666 PARK AVENUE balances the fine line between giving away too much too soon, and stating the series’ purpose. There is plenty for viewers to wonder about after watching the first hour, but one may also feel like they know the general rules of the place. The overall package is delivered with the right level of danger, and just a handful of glimpses, some a little lingering, at the hidden majesty of the building. Is Gavin the devil? Does he work for him? Or is the Drake a seat of evil that whoever sits in it will have to obey?

While the four mentioned above are the leads of the piece, there are quite a few other people hanging around the address, and they will likely come into play more as the show goes on. Tony (Erik Palladino, ER) is the doorman who wishes he could be building manager, but claims to not hold a grudge against Jane and Henry for getting the job. Nona (Samantha Logan) likes to swipe small valuables, and seems to know more of what’s going on that she pretends to.

And then there’s wannabe playwright Brian Leonard (Robert Buckley, One Tree Hill), who loves his demanding wife, Louise (Mercedes Masohn, The Finder), but is tempted by the pretty young blonde across the street, Alexis  Blume (Helena Mattsson, Nikita). This is clearly going to be an example story for the audience, showing exactly what will happen to Henry and Jane if they give in to Gavin and the Drake. Brian is tempted by both professional success, which remains elusive, and a possible affair, especially after Alexis becomes Louise’s assistant, teasing Brian constantly. How much Gavin has set this up isn’t revealed, but it’s likely that Alexis showing up isn’t a coincidence. Brian seems exactly the type who will take the short cut and instant pleasure, and so he will make a good cautionary tale.

There are two others already in Gavin’s snare in the “Pilot,” and both of their stories play out and end tragically before the end of the episode. This hints at a possible procedural element, with new characters each week. But enough of the installment is given over to the main characters to make me think that it will be mainly serial, following a couple of stories over the course of a season or seasons. The latter is preferable, and ripe for this kind of good vs. evil tale.

The premise is strong, and the “Pilot” engaging. Viewers should not be disappointed if they choose to visit 666 PARK AVENUE, premiering September 30th.

New Charlie's Angels is an "Angel With a Broken Wing"

    ABC has rebooted Charlie's Angels. In the first episode, "Angel With a Broken Wing," one of the Angels, Gloria (Nadine Velazquez, My Name is Earl, The League) is killed. The remaining two, Abby (Rachael Taylor, Grey's Anatomy) and Kate (Annie Ilonzeh, General Hospital), must team with Gloria's childhood friend, Eve (Minka Kelly, Parenthood, Friday Night Lights), to take down the man that killed her (Carlos Bernard, 24). A man that wants Eve dead, too, and doesn't mind if other Angels end up as collateral.

     This series is a popcorn drama, pure and simple. There are plenty of action packed fight sequences, and hot girls wearing sexy outfits. Even Bosley (Ramon Rodriguez, The Wire) has been made younger and much more attractive in this newest version. Considering no incarnation of Charlie's Angels is high brow drama, this works just fine. It's an updated version that stays true to the spirit of its origins. On that level, the show works pretty well, and fans should not be disappointed.

     Too bad that's really the only level it has. Taylor, Ilonzeh, and Rodriguez are very decent actors, and Kelly is no slouch. Add to that that Victor Garber (Eli Stone, Web Therapy, Alias) is Charlie, a last minute addition, and there is potential here for something really great. Just because a show is remade doesn't mean it needs to confine itself to limits of the source material. With the ingredients present, a much more delicious, satisfying recipe could come out. But it doesn't. That's not to say that Charlie's Angels isn't worth watching. It's light fair, but it's still tasty. It's just regrettable that it doesn't go the extra mile that it could. It doesn't even keep the cheeky humor of the film versions that made them work so well.

     That being said, the pilot is pretty decent. Kudos to the show for not naming the first episode "Pilot," like almost every other series. Having a title is more interesting. Add to that a nice little origin story of how Eve gets to join the team, and a great guest villain played by Bernard, and it's an entertaining hour of television. There is a definite feel that Charlie's Angels will soon settle into a boring formula. However, given that it airs on ABC instead of CBS, hopefully the writers will embrace some ongoing arcs for the characters.

     Honestly, the best thing for Charlie's Angels would be a swift cancellation, allowing Taylor to return to Grey's Anatomy and the others to seek more worthwhile employment. It's not what's in the show that doesn't work, but what isn't.

     Charlie's Angels airs Thursdays at 8 p.m. ET on ABC.

     If you like my reviews, please follow me on Twitter

Grey's Anatomy Gets Trendy

     It was a publicity stunt meant to connect the show with the times. Dr. Bailey, (Chandra Wilson) the character, tweeted during her surgeries, and internet-savy viewers could follow the tweets on a real twitter account. I signed up for a bit, but getting mostly medical jargon delivered to my phone, especially when the episode, "Don't Deceive Me (Please Don't Go)", was on (I didn't watch it live, as I don't anything - thank you TiVo!) and the tweets were coming rapidly, got annoying very quickly. I unsubscribed about ten minutes after the episode began.

     As for the story playing out on screen, it was not nearly as bad. Dr. Bailey tried to convince a skeptical Chief Webber (James Pickens Jr.) that tweeting to residents and interested parties all around the world was beneficial for everyone involved.Webber demanded she stop until, after defying his orders at the pleading of Drs. Kepner (Sarah Drew) and Lexie Grey (Chyler Leigh), he caught her, the surgery went wrong, and helpful tweets allowed a saved life.

     Yeah, it was a bit of a stretch. I don't understand how all those doctors had time to follow someone's tweets when the ones portrayed on ABC's Grey's Anatomy are always running around so harried. Certainly, it was a big distraction from their jobs. But I could see med students possibly getting interested, and I could easily imagine a plot where one of the regular interns or residents on the show got obsessed with some doctor's tweets far away, so it didn't seem all that unlikely. Though, yes, it was pure pandering.

     Meanwhile, it seems that Cristina Yang (Sandra Oh) is fully back to work. While trying to score points with Teddy (Kim Raver) towards the chief resident title that one of our beloved characters will soon earn (because, of course, only the main characters in the show achieve anything at Seattle Grace-Mercy West), Avery (Jesse Williams) tossed her recent leave in her face. It appeared Cristina was having a break down after that, making Avery feel incredibly guilty. After all, he had been there to witness her trauma. But, as it turned out, she's fine, and was just faking it to gain an edge over him.

     That is classic Yang. She can let things roll off her back and play on others' feelings because she is highly competitive and cares about the job over anything else. Yes, Cristina went through a lot, and I think there will be lasting changes to her personality. But there is no reason to throw out a whole character, having been built up over the past six and a half seasons, and so I was delighted to see the first old-Cristina story this season. Very good.

     Now that Cristina is fixed, there are still a number of ongoing problems that need screen time to work themselves out. Perhaps the one most fans are passionate about is the broken relationship of Callie (Sara Ramirez) and Arizona (Jessica Capshaw). That arc got a huge leap forward this week, as Callie parked herself on the examining table of her new baby doctor, Lucy Fields (Rachael Taylor, making her debut in a multi-episode arc), and she turned her stress and worry about Arizona's future commitment onto worrying if her barely developed fetus was OK. Of course, it was; Grey's has suffered too much tragedy lately to add another to the heap just yet. But the tantrum gave Arizona the boost to really prove she was in this for the long haul. The duo are not completely good, but they are well on their way. Plus, the coming three-way parenting with Mark (Eric Dane) is going to be comedy gold!

     Unfortunately, the same cannot be said for Mark and Lexie. The baby is biologically Sloan's, conceived while both couples were broken up, but Lexie stormed out angrily after learning the 'good news'. I can see why she'd be upset, but her comparing it to the story last year, when Mark's practically adult daughter showed up, was unfair. A baby and a young adult are two totally different situations. Plus, Mark and Lexie are perfect for each other. Perhaps Lexie doesn't want or isn't ready for kids, but she can have plenty of life with Mark, too. Let's hope Little Grey comes around, because I can't take much more of Mark pining for her, and I don't see him moving on anytime soon.

     Derek (Patrick Dempsey) has begun his clinical trials on Alzheimer's patients, and as we'd seen discussed before, not brought his wife, Meredith (Ellen Pompeo), along for the ride. That is a crying shame, considering her family history. Luckily, Alex (Justin Chambers) pointed that out to him, so it looks like Meredith will soon be by Derek's side once again, professionally as well as personally.

     Does having a mother who suffered from Alzheimer's put Meredith too close to the situation? I understand why her history would distract Derek, who would be concerned about his wife instead of totally focusing on the patients. But Meredith has more than proven herself a great doctor, and so it makes sense, too, to include her, especially when she will have such strong motivation to solve the problem. Some wonderful breakthroughs have occurred in science when the researcher had family or friends giving him or her a personal stake. I think a Derek-Meredith partnership on this project will not only solidify their power couple status in the medical world, but is bound to be successful. At least, from a TV writing stand point, that seems the path to take. Let's just hope Meredith's problems getting pregnant don't screw it all up.

     Alex, one of the best characters in the series, removed himself from Derek's study after discovering that he couldn't handle lying to the patients and their families, giving them the false hope needed to make the study work. This is just one of a recent string of areas where Alex has tried his hand at something new, and found he didn't like it nearly as much as pediatrics. It always comes down to perference, never a lack of skill. I understand he is still somewhat in his student phase, but it's time to commit Alex totally to Arizona's tutelage. He is awesome in peds, and that's where he belongs.

     If you thought Owen (Kevin McKidd) seemed mysteriously absent from this week's episode, there was good reason for that. McKidd directed it, though only found out he would do so four days before the story began shooting. Add to that, this was McKidd's first directing experience, though he'd been working in preparation for awhile, he was really far too busy to be a central part of the story. I think it is a credit to him that I didn't pick out an odd directing style, but instead a great, consistent episode in a fantastic season. Though I miss Owen, I hope McKidd gets more opportunities to hone his other skill. He did a fine job, as far as I can tell.

     Grey's Anatomy airs Thursdays at 9 p.m. on ABC. If you've drifted away because of substandard plots the past couple of years, come back. The show has not only fixed its bugs, but is currently soaring.


Article first published as TV Review: Grey's Anatomy Gets Trendy on Blogcritics.

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