Don't “Damnatio Memoriae” MANHATTAN

Article originally published as MANHATTAN Review on Seat42F.

“Damnatio Memoriae” is a Latin phrase that means a person must not be remembered. As MANHATTAN returns for a second season on WGN America, the premiere episode bears that title, and many in charge of Los Alamos would like Frank Winter (John Benjamin Hickey) to be forgotten. The hour does the opposite, though, with Frank’s absence felt in both big ways and small, and frequently mentioned. The more things change in the desert, the more Frank is ingrained in the minds of them all.

I expected MANHATTAN to feel like a different show without Frank (who isn’t the only cast member gone when the sophomore run begins), but it really doesn’t. Characters come and go on MANHATTAN, and while Frank is central in the first year, there are other important players who are still around. As such, while Frank (and Daniel Stern’s Glen Babbit) will be missed by the fans as well as the other characters, MANHATTAN must continue.

“Damnatio Memoriae” begins with the testing of the atomic bomb, before jumping back in time fifteen months. While it’s not news to the audience that the bomb actually gets made and works, something taught in history classes all over the world, the show uses a subplot with Russian spy Jim Meeks (Christopher Denham) to build suspense. The flash-forwards also seem to promise Frank’s return. Are these events set for the season finale, or much later? We’ll have to wait and see.

In the present, Charlie Isaacs (Ashley Zukerman) has been promoted to head up the implosion project, now the focus of the camp. He bristles against how he gets the job, but he takes to the new-found authority with startling ease. From going head-to-head with the mysteries spy hunter Occam (Richard Schiff), to lying to the staff about Frank’s whereabouts (or so Charlie thinks), Isaacs quickly becomes comfortable with his position. He may not have wanted this turn of events, but they suit him well.

Part of Charlie’s stepping up could be because he learns that his wife, Abby (Rachel Brosnahan), is pregnant. She may not give their marriage a second chance, but Charlie is going to be a parent, and that rearranges one’s priorities. But even before that he shows the tenacity, strength, and willingness to play the game that is needed. I have to say, I’m a little surprised, especially knowing the mistakes he’s made in the past. Some people just rise to the occasion, though.

Frank may be gone, but his wife, Liz (Olivia Williams), is not. Told she must stay in Los Alamos because of what she knows, she is demoted in her living quarters and not given any information about what happened to her husband. She’s essentially an unwilling prisoner at this point, but I give her credit for not giving up and managing to get her daughter transferred away, despite the efforts of Dunlavey (Jefferson White), who is by no means a worthy opponent.

The major character introduced in “Damnatio Memoriae” is the new head of the base, Col. Darrow (William Peterson, CSI). Darrow comes into quite a mess, and while he won’t get everything under control right away, he does get a chance to assert his authority with Crosley (Harry Lloyd). This scene tells viewers right away the type of commander Darrow is, and he’s one that should not only get things running much more smoothly, but also will not be trifled with. The time for nonsense is over.

Being on WGN America, many people may not yet have heard of or given a chance to MANHATTAN. It is a terrific human drama, though, and while not wholly historically accurate, with fictional characters put into real events, is a fascinating look at the type of place in which the bomb was built. It’s definitely worth watching.

MANHATTAN airs Tuesdays at 9 p.m. ET on WGN America.

THE DOVEKEEPERS Review

Article first published as THE DOVEKEEPERS Review on Seat42F.

CBS presents the miniseries THE DOVEKEEPERS this week. The four-hour story will be split between two consecutive nights, and tell the based-on-truth story of several women living in the first century A.D. who end up at Masada during the famous siege. Based on the novel of the same name by Alice Hoffman and produced by Roma Downey and Mark Burnett, the goal seems to present a piece both historical and biblical.

The Dovekeepers stars Rachel Brosnahan (House of Cards) and Cote De Pablo (NCIS) as two women telling their tale to a judgmental Roman scholar (Sam Neill, Jurassic Park, Peaky Blinders). This is a pretty strong central trio, as two of the three are nearly inarguably very good actors and the third is at least decent. They are all well cast in the roles they inhabit. They are joined by an ensemble, but principally Kathryn Prescott (Finding Carter) and Diego Boneta (the upcoming Scream Queens), so it seems to be they did a pretty decent job casting this piece.

The tone reminds me very much of last year’s The Red Tent. It features strong women, the central players, who listen to their heart (and perhaps a certain other organ) in making decisions. It paints them as heroic and noble, though they engage in adultery and other unsavory acts. They pray to a god whose orders they do not obey, and live in a time where such misdeeds could garner very severe punishment. So I guess we’re supposed to admire them for sleeping with married men at a time when women could be killed or ostracized for such a thing, it being brave to buck society’s rules and morals? I don’t agree with the punishment of the day, but the crime isn’t exactly to be admired, either.

The male characters are much less developed. Several are mere eye candy, while one serves as little more than a narrator to THE DOVEKEEPERS. It’s hard to attack THE DOVEKEEPERS on this, given the number of works out there where the opposite is true, but it certainly doesn’t paint as complex and fully fleshed out a world as it could.

Honestly, THE DOVEKEEPERS is a soapy women’s film with lots of romance and plenty of obstacles preventing happy endings. This is not something I am all that into, but the Hallmark Channel and Lifetime have proved there is an audience for this type of fare, and this miniseries falls somewhere between those two’s offerings, less cheesy than either, and a hair less melodramatic.

The bible-reading crowd are also likely to enjoy it. It is very in-fashion right now to do new adaptations of religious stories or other tales from that era. This is set shortly after most of the New Testament, but finds personalities with the same superstitions and beliefs as those in that tome, being set in the same part of the world. As such, it feels like it is very much a part of this same genre, even if technically it is not, complete with dreams and visions to match the other unworldly mindsets of the era.

Yet, from a storytelling perspective, THE DOVEKEEPERS is just not that great. The pacing is slower than it needs to be, and the narrative follows a very specific point of view, likely alienating those who don’t share it. Situations are presented in a very black and white fashion, with characters that disagree with the protagonists clearly painted as being in the wrong, even if it is easy to feel they are not. Such a powerful bend works well for a target audience, but not for the public in general. THE DOVEKEEPERS is just not complex enough to hold many potential viewers’ attention.

Which is not to say it’s a total waste of time. I’ve cited a couple of groups that will enjoy it, and I expect it will have plenty of viewers. It’s not for everyone, but since the airwaves are not exactly flooded with this type of fare, those in the niche it fills are likely to be appreciative.

THE DOVEKEEPERS airs this Tuesday and Wednesday nights at 9 p.m. ET.

HOUSE OF CARDS Season Three Premiere

Article originally written for Seat42F.

 

WARNING: This review contains spoilers from the first two episodes of the third season of HOUSE OF CARDS. Also, if you haven’t watched the first two seasons yet but plan to, don’t read this article.

Netflix’s HOUSE OF CARDS return was highly anticipated, and thankfully it comes back strong. With thirteen episodes available immediately for streaming, many will binge watch their way through in a weekend, unable to wait to see what happens next. Hampered as I am by my wife, who loves the show but detests the binge, it may take me a few weeks to see how things end. But beginning with the first two hours last night, I’d say this season is off to a good start.

The premiere, “Chapter 27,” is very heavily about Doug Stamper (Michael Kelly). When season two ended, Doug is beaten up in the woods by Rachel (Rachel Brosnahan) and left for dead, and many viewers, myself included, feared he had passed. “Chapter 27” shows us that he is not dead, but is going through a months-long recovery process to heal his mind and body, only to find out that Francis Underwood (Kevin Spacey), now President of the United States, doesn’t want him anymore.

I know, that’s not what Frank says, but it’s clear to both the audience and to Doug that that’s what has happened. Frank doesn’t do weak, and by allowing Rachel to get the best of him, Doug has proven himself inadequate for the task at hand. Frank hopes that tossing a few sweet words will pacify his former closest advisor, and Frank does have his press secretary, Seth Grayson (Derek Cecil), keep an eye on Doug. But this is likely more because Frank is protecting himself than any lingering concern for Doug.

For a while, it looks like Doug may go the way of reporter Zoe Barnes, a major character who is killed in the season two opener, though Doug seems likely to go by his own hand or drug use, murdered by Frank’s inaction rather than Frank’s action. But Doug has surprising self-control for an addict, measuring out very small doses of alcohol, and he has surprising optimism for someone who so intimately knows Frank, holding out hope he will be called upon again. Maybe he will.

It’s actually a little frustrating that HOUSE OF CARDS devotes so much of its first hour back to Doug Stamper. I like Kelly’s performance, of course, and his story is very engaging, a good way to skip over a few months without abandoning them all together. But as the installment goes on, I can’t help but wonder what HOUSE OF CARDS’ leading couple is up to, something we see only sparingly.

The second hour takes the teases we get about Frank and his first lady, Claire (Robin Wright), and develops them much further, with the leads taking back the spotlight. Claire is trying to be ambassador to the UN, something Frank’s Republican opponent, Mendoza (Benito Martinez) says he won’t block, but he sort of does. Frank, meanwhile, is trying to push through a massive jobs bills that guts entitlements while fighting a DNC leadership that doesn’t want him to run for election in 18 months.

Claire deserves something more than the ceremonial First Lady position, but I don’t know if she can handle what she dreams of, the first time we’ve really seen her limitations. Mendoza does test her, but he doesn’t seem to be malicious towards her, though the civility could just be a cover, as it is for Frank. Instead, Claire kills her own chances, and I’m surprised the vote ends up being as close as it is, especially with the DNC upset at Frank. Claire is the sympathetic of the two, and I feel bad for her when she fails, but by getting the job in a back-door move by Frank, doing an end run around Congress, I feel she is leaving her husband vulnerable and setting herself up for more negative criticism and likely failure.

Frank is also in dire straights for most of “Chapter 27” and “Chapter 28.” He is blocked at every turn by the opposition and his own party, something he doesn’t understand. The thing is, though, we’ve watched Frank for two seasons at lower levels of government. He recruits pawns; he doesn’t make friends. He also makes plenty of mistakes (does anyone else assume a reporter will run up to get a picture of Frank’s dad’s grave and find the urine after the season-opening scene?). Frank is a very smart operator, and he does find a path forward by the end of the second episode that feels momentarily triumphant (what a great speech!), but I think much of these two hours expose his weaknesses that will lead to his eventual downfall.

It’s bizarre to think that Frank is a Democrat given his lack of empathy for the people, his disregard for social safety nets, and his obsession with jobs. I believe HOUSE OF CARDS may put him in that party purely to keep Republicans from dismissing the show and to do something surprising. Sure, there are calculating, jerk left-wingers serving in government, but his personality and values so much more lines up with the current GOP. This disconnect feels wrong in “Chapter 28,” the first major misstep HOUSE OF CARDS seems to make in three seasons. Well, that, and the fact that they show Stephen Colbert (himself, or his on-air persona from The Colbert Report’s version of himself) still being on the air in 2015, which is very regrettably not true.

Still, it’s very easy to be drawn into this story, so well crafted and acted. Frank and Claire are far from the heroes viewers root for, and yet their enemies are frequently despicable themselves, and so you end up hoping the Underwoods will find success. I don’t think they will end season three on a high note. I’m guessing with no foreknowledge or without having seen the end that this will also be the show’s last, purposely designed as such, despite its popularity and critical acclaim. But I’m very interested to see how they will be taken down and by whom, assuming they are their own worst enemies. By the end of “Chapter 28,” all I wanted to do was watch “Chapter 29.”

The entire HOUSE OF CARDS third season is available now on Netflix.

MANHATTAN Ignites

Article originally written for Seat42F.

WGN America is making huge plays these days to elevate itself from ‘superstation’ to full-fledged cable network, including creating their own content. Their first original drama, Salem, is good. Their second, MANHATTAN, which premiered last night, is even better.

Set in Los Alamos, New Mexico, which was unnamed in the 1940s when this story takes place, the series dramatizes the invention of the atomic bomb, with a focus on those who helped design and formulate it, as well as their families. A highly secretive project, the men and women employed by the U.S. government at this isolated site were among the best and the brightest. Their spouses often were not, and were not even trusted with knowing what the employees were desperately working on, racing against Germany to end the war.

MANHATTAN is besieged by the ticking clock. The Americans believed that Hitler was also working on the bomb-to-end-all-bombs, and that he was close to finishing it. Thus, they are spurred on not only by patriotism, which nearly all of them possess in spades, but also by the fear of the consequences should they lose the race. As one character muses when his daughter wants to go to college in New York, to paraphrase, ‘A densely populated city on the East Coast? No way.’

The pilot, “You Always Hurt the One You Love,” introduces us to a lot of characters, but thankfully, it keeps the core cast small enough to handle. There’s: Frank Winter (John Benjamin Hickey, The Big C), a brilliant scientist leading a small team competing with Akley’s (David Harbour, The Newsroom) much bigger, more well-funded one; Frank’s wife, Liza (Olivia Williams, Dollhouse), a botanist with a PhD who isn’t allowed to plant crops in the complex; new recruit Charlie Isaacs (Ashley Zukerman, Rush), who is physically nauseated when the purpose of the place is revealed; and Charlie’s wife, Abby (Rachel Brosnahan, House of Cards), who wants to go home, and will likely get Charlie into trouble.

These four are surrounded by a large group of wonderful players, including Daniel Stern (Home Alone, City Slickers), Josh Cooke (Dexter), Harry Lloyd (Game of Thrones), Eddie Shin (Men of a Certain Age), Michael Chernus (Orange is the New Black), Christopher Denham (Argo), Katja Herbers Alexia Fast (Jack Reacher), Richard Schiff (The West Wing), and Mark Moses (Mad Men), but keeping these two couples at the core helps ground the narrative.

Many issues are brought up and dealt with in MANHATTAN, even when just considering the pilot. There’s the military state, security that may be over the top or could be construed as necessary, depending on your perspective. There’s the political nature of the hierarchy, as Frank finds out when he approaches Oppenheimer (Daniel London, Mildred Pierce) with a better idea than Ackley’s, but is shot down anyway. There is the splintering of marriage when trust is broken, mainly because of the constraints of the job. There is the constant threat that even the best intentions could get one into serious trouble, and rumors and gossip spread quickly. There is the challenge of living in a new environment in the middle of nowhere, a major stressor on those who aren’t in the office at all hours.

Yet, despite the extremely full hour-plus running time, MANHATTAN is not overwhelming. Instead, it presents a complex structure with interesting topics and people, an authentic-seeming look at an important part of history. The moral quandaries of The Manhattan Project are still debated today, so MANHATTAN, besides being an entertaining drama, is also a way for modern people to sort out mixed feelings about it, and also get some historical perspective. I find myself thoroughly engrossed and excited about this series.

MANHATTAN airs Sundays at 9 p.m. ET on WGN America.

HOUSE OF CARDS Season 2 Finale Review

Article first published as HOUSE OF CARDS Season 2 Finale Review on TheTVKing.

Everyone watches House of Cards at different speeds. Some will plow through a batch of thirteen episodes within two days of its release. Some may watch a single hour per week, like most TV shows air. I decided to go for a middle ground when picking when to post this review. If you watched two episodes per week every week since season two was posted, you'd be right at the season finale now, as I am.

IMPORTANT: If you have not watched all of season 2 of Netflix's House of Cards yet, I recommend stopping here. Important story points will be spoiled if you continue. You have been warned.

"Chapter 26" is undeniably a big one for House of Cards. Francis Underwood (Kevin Spacey) is losing his tenuous grasp on power as President Walker (Michael Gill), Raymond Tusk (Gerald McRaney), and Linda Vazquez (Sakina Jaffrey) plot to see Francis wind up behind bars, pinning the whole mess with the Chinese on him. His wife, Claire (Robin Wright), who has come through on her end of the bargain, basically tells Francis to step up, no excuses, and complete their scheme. So he does.

Claire has every reason to be frustrated with Francis. While they are a team, and have been so even more in the second run than the first, they respect one another because of their strength and commitment to the cause. Claire hurts people she cares about, playing on First Lady Tricia Walker's (Joanna Going) insecurities, secretly betraying their friendship while seducing her, all the while destroying Megan (Libby Woodbridge), a girl Claire works with. This costs Claire much emotionally, as we see in a private moment on the staircase.

Yet, Claire can live with her actions because, in her mind, the ends justify the means. She resolves not to care about others, even as she can't help but let a little humanity slip through, but in the end, she still is willing to sacrifice them. She's the queen on the chessboard, and sometimes pawns and bishops alike must take the fall.

Francis can learn a lot from his wife, and he does. Many of his power plays have been ruthless, smiling while slipping the knife between the ribs. In "Chapter 26," Francis takes a page from Claire's playbook and uses affection to win over Walker. Kind words, perfectly crafted to appeal to both Walker's ego and soul, worm their way into Walker's head and turn him to Frank's side, which, in the end, results in Francis winning the day and Walker resigning in disgrace, all the while believing Frank has only Walker's best interests at heart.

More impressive than how Frank and Claire carry out their plans is the emotional depth, not lack of emotion, in which they do it. They care about themselves and each other, and they do have things and people they value, but because their frame of reference is so different from most viewers', it's almost like the actors are playing aliens. While a select few grow wise to their methods, many others continue to believe in them. The couple is reptilian in nature, cold-blooded. They can put on a front so completely and sincerely as to draw their prey in, as a true predator does, then somehow manage to keep those masks in place. It's not only brilliant writing, but supreme acting talent that delivers the subtlety needed to pull such characters off, and House of Cards blows me away once again in this season finale.

Now, Frank is the president and the Underwoods seem to have realized their dreams. From here, Francis can't go up, so he must go down. The ending of "Chapter 26" implies that next year's third outing will be the show's last, mirroring the British model's trio of (much shorter) miniseries. Netflix could stretch things out (no ending has yet been announced), having Frank hold onto power longer, but it seems unlikely. With such a high-quality show, working through defined arcs, the end feels nigh.

Frank must lose because viewers will never be able to stomach him winning. He's too conniving, corrupt, selfish, and evil to be allowed to keep the Oval Office. As much as we root for him not to get caught because that will end the game, that is what we want to see in the end. Season two forestalled this feeling by pitting Frank against those almost as bad as he is, Tusk chief among them. Now, it's time for Francis' rule to come to an end.

There are no shortage of people who could and would bring Frank down. If they can unite, he doesn't stand a chance. Hacker Gavin Orsay (Jimmi Simpson), along with his fan-favorite guinea pig, Cashew, knows the government is bad, and seeks to free Lucas (Sebastian Arcelus), who might just be dumb and idealistic enough to go back into the fray. Jackie (Molly Parker) has a bone to pick, as do Tusk and Remy (Mahershala Ali). Rachel (Rachel Brosnahan) could be the key to finding Francis guilty of murder, and with her guardian, Doug (Michael Kelly), now dead in a surprise twist, she's available to assist. And these are only the tip of the iceberg.

Which is why I think time is running out for the Underwoods. Francis and Claire have their day, as many do, but it won't last. I will enjoy seeing them in the seat of power until they aren't any more, and will revel just as much in their downfall. Whatever twists and turns the writers come up with, season three should not be boring in getting to that final destination.

House of Cards will return to Netflix next winter.

Deal Another HOUSE OF CARDS

Article first written for Seat42F.

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

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

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

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

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

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

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

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

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

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

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

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

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