THE PURGE Of Story Over Action

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

THE PURGE is a movie series that is now being continued on the small screen, currently airing on USA. The premise involves a radical group called the New Founding Fathers of America taking over the government and instituting a holiday that shares a name with the series. Once a year for twelve hours, all crime (including murder and rape) is made legal, with emergency service workers going off duty. The rich huddle in their protected homes, while the poor are often the participants and the victims.

In this framework, viewers of the TV program meet a number of characters. Miguel (Gabriel Chavarria, East Los High) is a United States Marine who has come home looking for his sister on Purse Night. Said sister, Penelope (Jessica Garza, Six), has joined a cult that sacrifices themselves to those celebrating the event. Jenna (Hannah Emily Anderson, Jigsaw) and Rick (Colin Woodell, The Originals) consider themselves good people, but find themselves rubbing elbows with the morally questionable, especially Albert Stanton (Reed Diamond, Agents of S.H.I.E.L.D.), as they seek funding for their business venture. Jane (Amanda Warren, The Leftovers) usually plays by the rules, but decides to take on her boss (William Baldwin, Dirty Sexy Money) when she has the chance. And there are others, but these are the primary players in the first three episodes, those made available to critics for screening.

None of these characters are in the movies, but some of the organizations and concepts are. Unfortunately, if you haven’t seen the films, as I have not, the series doesn’t take the time to make the rules clear. Yes, it’s easy to understand that people are very violent and are allowed to get away with it for a night. But there are lots of details left out that apparently one would need to have seen the movies to understand.

This does detract from the enjoyment of THE PURGE. As a concept, I find it very interesting. Many have touched on such a thing before, including an episode of the original Star Trek back in the 1960s (which Ben Stiller’s production company is named after). And the show does seem like it will explore some of the concepts in the way (I assume) the movies didn’t have time to do. Morality plays that make you question your values and realign your viewpoints in the face of a much-changed world are in vogue; just look at The Walking Dead.

To its detriment, THE PURGE doesn’t embrace this as fully as it should. Instead, it seems like much more screen time is given to the senseless violence and quick thrills. While these are absolutely necessary to properly tell the story, it’s the balance that feels off, holding the show back from being as good as it could be.

That being said, it is still enjoyable popcorn television. It does touch on some of the things that should be explored further, and hopefully if it gets multiple seasons, they will be. It doesn’t feel too limited by the constraints of basic cable, which generally don’t allow shows to get too gory or intense (AMC and FX historically taking a lot more liberties than this network, USA). It finds a way to skirt that line, keeping it relatively tame while not feeling like it is.

If you like the movies, you’ll probably like the television show. If you don’t like the movies, I’m guessing you should stay away. But if you haven’t seen them, check this out and make up your own mind. Is it worth getting through the brutality to get to the scenes where the characters really dig in? I think it probably is, especially if this world is allowed plenty of time to develop, and you may agree.

THE PURGE premiered last week and airs Tuesdays at 10ET on USA.

No FEUD Over This One

Article first published as FEUD Review on Seat42F.

Ryan Murphy, who has had great success with the anthology series format on FX in American Horror Story and American Crime Story, brings his next show to television tonight in FEUD. The first season is subtitled BETTE AND JOAN, and covers the film the two legendary actresses made together, What Ever Happened To Baby Jane? As you might expect, FEUD is excellent.

Jessica Lange (Big Fish, Horace and Pete) has been Murphy’s muse before, and as a grand lady herself, it makes sense for her to play Joan Crawford, the catalyst that gets the plot moving. Once a big Hollywood star, now a widow who hasn’t worked in awhile, Joan is disappointed by the dearth of strong roles for women of a certain age and sets out to force her own picture through. Latching onto the book What Ever Happened To Baby Jane, she recruits director Robert Aldrich (Alfred Molina, The Normal Heart, Spider-Man 2) and her long-time rival, Bette Davis (Susan Sarandon, Thelma & Louise, The Lovely Bones), to help with her comeback. That’s where this story begins.

I cannot emphasize enough the quality of acting in FEUD. Alongside Molina, we get Judy Davis (Maria Antoinette), Jackie Hoffman (Birdman), Stanley Tucci (Spotlight), Alison Wright (The Americans), Kathy Bates (American Horror Story), Catherine Zeta-Jones (Chicago), Reed Diamond (Underground), Kiernan Shipka (Mad Men), and more. Each delivers a quality, layered performance that greatly enhances the world of the series and puts the audience right into this time and place, both familiar and interesting.

None of these actors compare, though, to our two leads. Sarandon and Lange are masterful here, as they have been so often in the past. These are two ladies who can capture a moment like few others. There’s a bit in the pilot in which Lange, as Crawford, has to act in a scene for the movie, and she is brilliant, highlighting the actress as much as the character.

There’s a certain parallel that cannot be avoided that Sarandon and Lange are women of a certain age, just as Bette and Joan were. The difference here is that they can get good work, as evidenced by both FEUD and all of the other projects they continue to do. The very existence of this show proves how far things have come.

Yet, at the same time, the sexism highlighted in FEUD is still an issue, timely in its expression. While Hollywood may be getting better, there is still a long way to go, and with the current political climate, some of the small-mindedness is currently front and center.

Those themes aside, though, FEUD would stand on its own in any time simply because it involves terrific performers doing impressive things in a highly-stylized, yet crumbling, world. The glamor that everyone wants to pretend is there stands in stark contrast to the reality of pretend that reigns in Los Angeles. FEUD shows us both sides, the charade and what’s behind it, in delightful ways. Far from being fake, the actress’ (and others’) attempts to present their best selves is calculated and says a lot about the authentic personalities behind it, which each shot seemingly carefully constructed for maximum dynamic impact.

I’ve only watched one episode so far, but I can already tell that Ryan Murphy has done it again. Far from complaining about all his varied works on the network, I appreciate that he keeps churning out such good stuff with such a strong cast month after month. We’re in the golden age of television, and FEUD is a worthy example of that era. Expect to see it garner a lot of nominations, and hopefully even wins, come award season.

FEUD: BETTE AND JOAN premieres tonight at 10/9c on FX.

Going UNDERGROUND

Article first published as UNDERGROUND Review on Seat42F.

WGN America’s newest series is UNDERGROUND. Set in the pre-Civil War Days, it follows a swath of representative Americans, both black and white, slaves and free, at a pivotal, conflict-ridden time for our country, just before full-scale war erupts. It’s a period we’ve seen before, most notably in Roots, but never in a successful, ongoing weekly series, which should allow the writers and performers to get much deeper into the personalities and complexities of the era than has been done before.

UNDERGROUND stars Aldis Hodge (Straight Outta Compton, Leverage) as Noah, a smart man who is tired of being forced to serve a master, but who knows it wouldn’t be productive to openly rebel. Instead, he plays the game, pretending to be obedient, even while making secret plans to flee the plantation and head north, using the Underground Railroad referred to in the show’s title.

Noah is not going to go alone, which might be a good or bad idea, depending on how it plays out. Among his possible traveling companions are: Rosalee (Jurnee Smollett-Bell, True Blood, Friday Night Lights), a timid house slave and protective older sister; Moses (Mykelti Williamson, Justified, 24), who allows the others to believe he can read, even though it’s his wife, Pearly Mae (Adina Porter, True Blood, The Newsroom) who has been educated; and Cato (Alano Miller, Jane the Virgin), the collaborator who wants to go so he isn’t punished in their place after the others are gone, if he doesn’t turn them in first.

To represent the dominant race of the time, UNDERGROUND has August Pullman (Christopher Meloni, Law & Order: SVU, Wet Hot American Summer), John Hawkes (Marc Blucas, Buffy the Vampire Slayer), and Elizabeth Hawkes (Jessica De Gouw, Dracula). John is a lawyer and an abolitionist, who is offered the job of campaign manager by his brother (Dollhouse’s Reed Diamond), a Northerner who has moved South and now owns the people John is fighting to free. John’s wife, Elizabeth, seems mentally unstable, though, putting additional pressure on John. And August is… well, I’m not sure if he’s a help to runaways or a slave catcher yet, but I’m sure we’ll soon figure that out.

As you can see, there are a number of different parties represented, and that gives UNDERGROUND a full feel, in a good way. The focus is on the African-Americans, as it should be. However, no one portrayed are just stereotypes, with complex realities warring with individual morality and circumstance. Each individual, including a number of those not listed above, stand out and are quickly memorable.

The production is equally well done. Filmed in the American south, one can feel the sweat dripping when characters are out in the fields, and the landscapes are beautiful. There’s a gritty realness to it, and the costumes and sets are clearly well thought-out.

The music in UNDERGROUND is probably the oddest part of the show. At times, it is appropriate for the year, including in singing some of the more spiritual songs. But at other times, modern numbers are mixed in that really kind of pull one out of the moment. The lyrics of these fit the story, so it’s not like they’re just pop songs to punch things up, but at the same time, they clash in such a way that doesn’t quite feel right to me.

The music is the only complaint I have, though. Overall, I found UNDERGROUND to be a compelling narrative with plenty of quality in the cast, the story, and the style. The drawback is minor enough to overlook, and it’s debatable whether it really is a negative, even if I don’t understand why it’s present, at least not yet. I do recommend this one, and will probably watch more of it soon.

UNDERGROUND airs Wednesdays at 10/9c on WGN America.

WAYWARD PINES a Murky Place

Article originally published as WAYWARD PINES Review at Seat42F.

Carla Gugino & Matt Dillon Wayward Pines

 

WAYWARD PINES, premiering this week on FOX, is the story of a Secret Service agent who, while looking into the appearance of two fellow agents, becomes trapped in a mystery-laden town. Produced by M. Night Shyamalan (The Sixth Sense) and based on the book series by Blake Crouch, it’s a dense thriller that poses far more questions than it answers, at least initially.

My first impression is that Wayward Pines is trying too hard. The pilot, “Where Paradise Is Home,” rips off the beginning of Lost; you’ll know immediately what I’m talking about when you see it. Except, instead of being set on an untethered island or trapped under a dome (like CBS’ Under The Dome, which it will compete with this summer), it takes place in the small town of Wayward Pines, Idaho – a place that is completely isolated in a valley, cut off from the rest of the world. So yeah, it’s just like those other two, at least in this one regard.

Our hero is Ethan Burke (Matt Dillon, Sunlight Jr., Wild Things), and “Where Paradise Is Home” revolves around him, telling a disjointed, nonlinear story. He’s married to a woman named Theresa (Shannyn Sossamon, Mistresses), but cheated on her with his former partner, Kate (Carla Gugino, Entourage, Watchmen), who shows up where you might not expect her. Almost immediately, he makes a connection with a bartender named Beverly (Juliette Lewis, Secrets and Lies, Christmas Vacation), so I guess perhaps hero is too strong a word. Let’s just call him the protagonist.

What does any of that have to do with the story? Well, something. There’s a Truman Show-esque twist that ties Ethan’s messy love life into the town, but to what end, I have no idea. Nor do I know why someone says Beverly isn’t really a bartender, nor why Nurse Pam (Melissa Leo, Treme, The Fighter) acts in such a sinister manner, nor why Sheriff Pope (Terrence Howard, Empire, Iron Man) won’t help, nor why Reed Diamond (Franklin & Bash, Moneyball) has been cast as a toymaker. The only thing that makes much sense is Toby Jones (Captain America) playing a psychiatrist, which seems perfectly natural.

I love dense, genre mystery shows. If you give me a solid cast and a well-thought out story, I couldn’t possibly be any happier watching television. I’m much more reticent to jump into WAYWARD PINES than others of its ilk, though. Part of it is that they are selling themselves as a “Twin Peaks-like” drama and stealing so much from other stories along the way. Now, some of that may come from the book; I haven’t read it so I don’t know. But the way the program is presented doesn’t even feel like those involved are trying to do something new.

It also concerns me to see the cast list. They’re almost universally strong performers, so that makes me think perhaps I should give the material a chance. But part of being so strong is that many of them have other jobs on currently running shows. Wayward Pines season one is announced to be only ten episodes, and presumably, subsequent seasons could be equally short to allow scheduling to work out. I just can’t see all of these people agreeing to stretch themselves so thin over any extended period of time, though.

WAYWARD PINES has a lot of good ingredients. The question will be, did the chefs take some liberty with the recipe, tossing in the unique spices that will make it a fresh and delicious dish (like Lost), or did they follow the book exactly, making something bland and derivative (like Under The Dome)? The answer to this will be what makes or breaks this show.

WAYWARD PINES premieres Thursday at 9 p.m. ET on FOX.

"What" Agents of S.H.I.E.L.D. Has "Become"

Article originally written for Seat42F.

 

MARVEL’S AGENTS OF S.H.I.E.L.D. goes into its winter hiatus strong with “What They Become.” It’s a showdown above the hidden city as Daniel Whitehall (Reed Diamond), The Doctor (Kyle MacLachlan), and Director Coulson (Clark Gregg) all try to push their own agendas. Well, Coulson’s agenda is just to stop the other two before they bring about a cataclysmic event, but with the infighting among The Doctor and Whitehall, it becomes an all-out brawl. No one is listening to orders, and one of our heroes doesn’t make it out alive.

MARVEL’S AGENTS OF S.H.I.E.L.D. sometimes lets plots fester too slowly, but that complaint cannot be lobbied against the current arc, which has unfolded quickly and excitingly. The writers have kept the adrenaline pumping and the twists coming, including learning we’ve already seen Skye’s mother (Dichen Lachman) this week, which feels more like one of their films than a twenty-some-installments-per-year television show, a good thing for this particular series to do. By the end of the hour, I’m left quite dissatisfied with the three month break, wanting to watch the next chapter immediately, so they’ve done their jobs well.

It’s been cool to see Skye’s (Chloe Bennet) growth throughout the show. She’s gone from an angry, insecure rebel to a polished, tough agent in a year and a half. Before May (Ming-Na Wen) trains her, she may not have been able to stand up to her father, The Doctor, so easily, nor would she have shot Ward (Brett Dalton) as she does, without blinking. She’s become someone who can take care of herself, and separated from the group, that really comes out in “What They Become.”

I’m eager to see the next stage in Skye’s evolution. “What They Become” ends with her transforming into something else entirely. It appears she is a being with superpowers, which will take an emotional and physical toll on her, but like a polished diamond, likely send her out the other side better than she came in. She has the presence to handle such a change now, as she did not before, and given who she is, it’ll be interesting to see how she chooses to use what she has.

It’s unlikely the new Skye will want to include her dad in her life, but may be forced to in order to find answers. Coulson beats The Doctor in one-on-one combat, but surely Coulson doesn’t kill him. If The Doctor is the only one (besides the faceless man in the epilogue) that can explain things to Skye, then she may need him, at least in a prisoner-behind-glass sort of arrangement, which MARVEL’S AGENTS OF S.H.I.E.L.D. has done before pretty well.

It’s sad that the cost of that transformation is Trip (B.J. Britt). He doesn’t die in a heroic, noble sacrifice. He dies doing his job and rushing to a friend’s side, unaware of the danger. Nor is Skye able to warn him, not knowing herself what is coming. His demise is purely an accident, one that will make Skye less likely to embrace her new self, as it’s a cost she wouldn’t choose to pay. It’s also a way for the series to lose an important, beloved player for a real emotional impact without touching its core cast, which makes sense from a practical standpoint.

Skye isn’t the only one that transforms, though. Right beside her, Raina (Ruth Negga) goes through a similar metamorphosis. We don’t understand Skye’s connection to Raina yet, but it’s fascinating the role that Raina plays in the show. She’s practically ever-present, and every time one might assume her story is over, MARVEL’S AGENTS OF S.H.I.E.L.D. brings her back to the forefront in a fresh development. She’s the villain that is always around, not purely evil and bent on world domination, but someone far less moral than our heroes, and one who gets in their way. Unlike Skye, Raina is eager for her change, and will probably be more willing to use any new powers she has gained. What are Raina’s goals now? Does the team need to stop her?

There are a plethora of wonderful, smaller moments in “What They Become,” too. From charged scenes between Bobbi (Adrianne Palicki) and Hunter (Nick Blood), to a re-appearance of Mac (Henry Simmons), who looks like he may now be back to normal, to funny dialogue that the Koenigs (Patton Oswalt) toss to Trip, every scene is valuable. These bits are as important as the big stuff in keeping the series consistently engrossing and enjoyable, and they are very present in this truly excellent mid-season finale.

MARVEL’S AGENTS OF S.H.I.E.L.D. returns in March on ABC. In the meantime, the network will air the seven-week MARVEL’S AGENT CARTER beginning in January.

"Enter" MARVEL'S AGENTS OF S.H.I.E.L.D.

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 9 Ye Who Enter Here on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. tees up a heck of a winter finale next week in its latest installment, “Ye Who Enter Here.” The team locates the hidden city and immediately goes to it, Hydra hot on their heels. Secrets are stumbled upon and the game unfolds unpredictably as the show rockets through plot at a quicker pace than it ever has, while still maintaining some good character-driven stuff.

It’s hard to tell how many of Whitehall’s (Reed Diamond) moves are planned and how many are on the fly in “Ye Who Enter Here.” He uses the S.H.I.E.L.D. tracking device in Raina (Ruth Negga) to follow her to the city and get her back, but is that something he figures out late in the game, or does he set Raina up in an elaborate machination? It certainly seems like Whitehall is thinking on his feet, which is a welcome leveling of the playing field, Hydra having been working at a distinct advantage for most of the season.

Of course, that advantage may be regained by the end of this hour. With both Raina and Skye (Chloe Bennet) in Hydra’s clutches, thanks to a newly recommitted Ward (Brett Dalton), Hydra hovers over the mysterious location and has The Bus at its mercy. At this point, Whitehall might be smart to kill everyone, which is exactly what he orders, though we don’t yet have the chance to see it play out.

Certainly the entire S.H.I.E.L.D. team will not be killed; without them, there would be no show. However, MARVEL’S AGENTS OF S.H.I.E.L.D. doesn’t shy away from knocking its leads out of their current orbits. Ward’s reveal as a villain is an example of that, and in the latest installment, Mac (Henry Simmons), who is not a main character but has become a much-valued member of the team this year, is changed, possibly forever, and possibly killed.

We’ve only scratched the surface of the hidden city so far. Mac is the first one down, after the drones lose power, and he transforms into some kind of super human. We don’t know why or how yet, but no amount of pleading with him will awaken the real Mac from this berserker body that attacks everyone else. The confrontation ends with Bobbi (Adrianne Palicki) accidentally sending Mac falling down a shaft, which he may or may not survive, given his new state.

Coulson (Clark Gregg) seems a little callous when he tells Bobbi simply that that wasn’t Mac. He’s right, but we don’t know if Mac still exists inside the body or if Mac’s personality can come back to the surface. I certainly hope it does, as I would miss that character. But I’m more disturbed by Coulson’s transformation than Mac’s, as Coulson needs to still care deeply about his people, even if he’s finally finding the distance of leadership he also needs.

If Mac is gone, Fitz (Iain De Caestecker) is in trouble, as Mac is the one friend keeping Fitz going. Fitz and Simmons (Elizabeth Henstridge) finally talk about the state of their broken relationship, but rather than hammer it out and make up, Fitz announces he’s transferring to the garage with Mac. It’s a heart-breaking development, even if it makes sense, because Mac really helps bring Fitz out of his shell and begin to heal. If Mac is out of the picture, Fitz might need Simmons back, whether he wants to admit it or not.

There are signs that a reconciliation is possible. Simmons has her own friends, too, sharing great scenes with Trip (B.J. Britt) and Bobbi in “Ye Who Enter Here.” But she also has time for Fitz, and seems less happy with the dissolution than he does, a decision he makes unilaterally. She still finishes his thought at the city entrance, so their bond is still there. I just can’t believe they are fully over, in large part due to the truly excellent chemistry the two performers share.

I can’t help but feel that Skye is key to what will happen next. She’s now a prisoner, but this week’s episode shows she’s progressed enough in her combat training to handle herself in a tough spot, so that’s not super worrying. Raina makes a number of references to Skye being special, something more than human, but not alien. Fans of the Marvel comic books are full of theories about Skye’s connection to the Inhumans, a subspecies of Homo sapiens created by the Kree, who are mentioned in “Ye Who Enter Here.” That is fascinating and I’m excited to see what introducing the Inhumans will do not just MARVEL’S AGENTS OF S.H.I.E.L.D., but the whole Marvel franchise. However, I’m much more interested in Skye’s personal journey and how it may shift due to this.

I can’t end my review without mentioning how awesome it is to have Patton Oswalt playing not one, but two Agent Koenigs this week. The humor he brings to the proceedings is simply invaluable, and the man simply radiates talent. He is able to get a bit dramatic when confronting the killer of one of his brothers, and I think that’s a good layer for the Koenigs to have, but it’s also very valuable to have him tease others about how many brothers there are and have each of the two siblings featured this week claim the other is shorter. This is gold that show should continue to mine. He would make a valuable main character addition if they can lock him down.

MARVEL’S AGENTS OF S.H.I.E.L.D. has had an interesting fall run, perhaps not as intense as last spring’s story, but with some wonderful fresh faces and the foundation of another big arc. I am confident that next week’s fall finale is going to be a memorable one.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

MARVEL'S AGENTS OF S.H.I.E.L.D. Want "Things"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 8 The Things We Bury on Seat42F.

ABC’s MARVEL’S AGENTS OF S.H.I.E.L.D. looks into “The Things We Bury” this week. Coulson (Clark Gregg) pushes the team to find the city he’s been sketching, which draws them into a secret about Hydra hidden for decades. At the same time, Ward (Brett Dalton) pays his brother, Christian (Tim DeKay), a visit to talk about a troubling childhood memory.

Little did viewers know that when Ward tells a story of brothers at a well last year that it would have such lasting effects. It’s a tragic tale, to be sure, but one that has apparently stuck with Ward even more deeply than he let on. Having escaped from confinement, he captures his brother and forces Christian to admit the truth about what happened. For some reason, it’s vitally important to Ward that Christian fess up.

But with Ward clearly off his rocker, is Christian finally admitting something he lied about, or is he just saying what Ward wants to hear? That’s impossible to tell. We know this event hurt Ward, but we don’t know why yet. Is this something intended to be explored further, which it begs to be, given its importance to a core character? Or will it be dropped now that Christian is (unfortunately) dead, the purpose Ward needed him for fulfilled?

Everything in MARVEL’S AGENTS OF S.H.I.E.L.D. seems to come back around, which gives me hope for the above question. More central to this element in “The Things We Bury,” though, is Daniel Whitehall (Reed Diamond). Daniel is alive back in the time of Agent Carter (Hayley Atwell) and the founding of S.H.I.E.L.D. This installment shows his experiments with the obelisk, his triumphant mission to unlock the secrets of youth from an ageless woman (Dichen Lachman, Diamond’s Dollhouse co-star, also killed off too soon), and how he escapes confinement, decades after being locked up.

Whitehall is a great villain because of the rich history and his connections to the past. “The Things We Bury” gives us a quick version of his story, and may be the only exploration of his past we’re going to get. But it’s enough. We understand his motivations, we understand his arc, and we understand what our heroes are facing. What a terrific, developed character!

Whitehall works through agents, though, rather than running into the field himself. When Coulson and company arrive at a base in Australia to search for the lost city, it’s not Whitehall who is there to confront them, but Skye’s father, The Doctor (Kyle MacLachlan). The Doctor is a cool henchman because he has his own purpose and goals, but serves Whitehall well at this juncture. There is always the potential for The Doctor to step up into his own, however that seems unlikely, given the way he interacts with others. He likes to manipulate and play games, but he doesn’t seek to conquer anyone. At least not yet. The city could change that.

I do wonder if Coulson should take a lesson from Whitehall about sending others to do the dangerous work. Coulson is a good man who wouldn’t ask his people to do anything he wouldn’t do, which is fine. And he’s eager to uncover the truth, so has a hard time holding himself back. But he is the director of S.H.I.E.L.D. now. That’s an important position in an agency that’s only beginning to rebuild itself. I’m not saying it wouldn’t find a way to go on without him, but right now he’s pretty instrumental in what S.H.I.E.L.D. is doing. He shouldn’t be on the front lines. He’s too important.

“The Things We Bury” is a solid episode with lots of fun moments, which MARVEL’S AGENTS OF S.H.I.E.L.D. wonderfully blends together with the darker and more dramatic plots. I love the tension between Bobbi (Adrianne Palicki) and Hunter (Nick Blood), and how that resolves. It’s cool how Fitz (Iain De Caestecker) worries us when he can’t quite hit a time target, only to reveal he’s healed enough that he’s been using his bad hand to challenge himself. These little bits give the series that special kick it needs, and combined with the whole, make for a show I usually look forward to watching.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

AGENTS OF S.H.I.E.L.D. Escapes the "Wolfhouse"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 5 A Hen in the Wolfhouse on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. pumps up the fan base with last night’s episode, “A Hen in the Wolfhouse.” In the exciting installment, much comes together as several of our central cast are imperiled or find their secrets dragged out into the open. Relationships are paid off and the danger level is heightened, which is probably what viewers of the superhero film spin-off have been hoping for.

To start with, Simmons’ (Elizabeth Henstridge) position within Hydra is compromised at the worst possible time, just after the evil new security chief, Bobbi Morse (Adrianne Palicki, Friday Night Lights, About a Boy) shows up to hunt down a mole. Corned by Bobbi, things look dire for Simmons, and one can imagine this poor women being tortured. Simmons isn’t built for torture.

Then, lo and behold, Bobbi is secretly S.H.I.E.L.D., too, sent by Coulson (Clark Gregg) to protect Simmons! This not only shows us that Coulson still does are deeply about his people and makes backup plans for them, something in doubt in his new role as he distances himself, but also leads to some really great action sequences as Bobbi gets them away from Hydra. Not to mention, Hydra has been beating on the good guys, and “A Hen in the Wolfhouse” shows S.H.I.E.L.D. winning a hand. It’s gratifying all around.

Bobbi is a fun character, tough and caring, totally badass. Most of the team quickly takes to her when Coulson announces she’s joining them. The exception is Hunter (Nick Blood). Bobbi, it turns out, is the awful ex-wife Hunter constantly moans about. Is Hunter’s bitterness justifiable? We aren’t yet privy to the details of their union. It seems like Bobbi doesn’t hold the same grudge, since she is the reason Coulson recruited Hunter in the first place. Still, it’s great to see entertaining conflict between the two characters.

Another clash comes as Skye (Chloe Bennet) continues to push Coulson to reveal where the symbols she’s working on are coming from. Coulson is defensive, even after May (Ming-Na Wen) recommends he come clean, a real sign as to how much May has warmed to Skye. Eventually, Coulson has no choice because Skye is smart enough to figure things out, and soon she’s in the loop.

I like the tension between Coulson and Skye. Coulson is a good father figure to the young agent, whose own father (Kyle MacLachlan) hasn’t been around. Skye is angry that Coulson shuts her out, as she should be, but Coulson has his reasons. I see why May wants Coulson to bring Skye into his confidence, as she can help, but I also see why he resists, not just to cover his own butt, but to keep a needed hierarchy in place in the organization. It’s a complex situation, one MARVEL’S AGENTS OF S.H.I.E.L.D. handles well, from the fall out to the confirmation that the fighting doesn’t destroy their underlying bond.

Another mystery opens up with this development, though: Skye has taken the same drug Coulson took, so why isn’t she scratching symbols? Skye’s backstory has been a long-running mystery on the show, one in which we only get small pieces at a time. By relating this now, and having her psychotic villain dad looking for her, the show is signaling a deeper delve into things. Given her father’s powers and Skye’s immunity to the chemicals, might she be of alien origin? That would be really cool! And there isn’t another conceivable explanation offered as of yet.

Unlike the rocky stuff above, Simmons and Fitz’s (Iain De Caestecker) reunion is a happy one, mostly. Fans have been longing for the two to get back together. However, what comes after the pair being in the same place again remains to be seen. Will this screw up Fitz’s budding friendship with guys in the group? How will the real Simmons being there impact Fitz’s hallucinations of her? Will Fitz stay upset about Simmons abandoning him? Did Simmons have a choice about leaving? They come together too late in “A Hen in the Wolfhouse” to begin exploring this yet.

All of these characters are handled extremely well this well, authentic to who they are, but also moving them forward. The same goes for recurring players like Raina (Ruth Negga), trapped between Whitehall (Reed Diamond) and Skye’s dad, who both wouldn’t mind seeing her dead. Coulson might be inclined to help her, but only if she brings some benefit to him, since she hasn’t done anything to earn Coulson’s trust in the past; quite the opposite.

Every hour of MARVEL’S AGENTS OF S.H.I.E.L.D. can’t be as intense as “A Hen in the Wolfhouse.” Sometimes, the story needs to move slower so it can explain things. But overall, this is a very good show, and having episodes like this one pays off the patient fans who have been following along in a big way. It’s appreciated.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

MARVEL'S AGENTS OF SHIELD "Face" Another Challenge

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 4 Face My Enemy on Seat42F.

On MARVEL’S AGENTS OF S.H.I.E.L.D., in an episode titled “Face My Enemy,” Coulson (Clark Gregg) and May (Ming-Na Wen) go undercover to obtain an artifact that has the same strange markings Coulson has been carving. They are hampered by a familiar face with unknown motives. Meanwhile, Fitz (Iain De Caestecker) may be the only one who can save the rest of the team when The Bus is sabotaged. But with his mental problems, is he up to the task?

“Face My Enemy” isn’t a relatively big episode, by any means. There are some nice character moments, but little movement on the larger arcs, the script mostly focused on a mission-of-the-week. This is disappointing as AGENTS OF S.H.I.E.L.D., like most shows, works best when it favors the overall story, rather than a procedural format. Hopefully, as in some of the rough episodes early in season one, the seeds planted this week will blossom into something more enticing as the year unfolds.

In looking at the characters, Fitz has the best plot. He is still stammering, still hallucinating Simmons (Elizabeth Henstridge), and growing very frustrated that he is no longer valued. I think he’s wrong that the others don’t care him, as they will do whatever they can to help, but he’s right that his importance is minimized, with a new lab being built without consulting him. These decisions may make sense logically, but Fitz’s feelings should be considered, too.

Fitz is determined to prove himself to be valuable once more. It’s no easy task, but an excellent opportunity presents itself when several lives, including his, are put on the line. Operating under pressure and strict time limits is a constant part of the job, and that’s when it’s most vital that Fitz step up. Thankfully, he does, working with Hunter (Nick Blood) in a couple of moving scenes that show Fitz not only getting better, professionally speaking, but starting to form new bonds of friendship, which will serve him well in his re-integration to the team.

At the same time that everyone on MARVEL’S AGENTS OF S.H.I.E.L.D. is able to stop worrying about Fitz, they need to start worrying about Coulson. Coulson clearly wants to help himself, going out into the field personally to recover the artifact in “Face Me Enemy,” rather than just sending his people. Yet, he himself wants to discuss contingency plans, naming May heir apparent, a mantle she doesn’t want to shoulder, as she’d rather devote her resources to taking care of Coulson.

How much should one really be worried about Coulson? He keeps saying he doesn’t want to end up like Garrett, but Garrett was part of Hydra long before he took the medication. His issues went far deeper than the connection he shares with Coulson. Coulson may lose his judgment and reasoning skills, but as long as May is able to help him step down from the Director job, he doesn’t need a bullet in the head, Coulson’s suggestion for dealing with the problem. Why is he thinking in such extremes?

I sincerely hope MARVEL’S AGENTS OF S.H.I.E.L.D. doesn’t remove Coulson from the game. It’s hard to imagine the show without him, the writers already bringing him back from death to star in it. The characters on this show are not static, but there are plenty of directions to take Coulson in without killing him. Whether he is healed or descends into madness, there’s no reason to get rid of him any time soon.

Besides, Coulson will be needed. Whitehall (Reed Diamond) is demanding Raina (Ruth Negga) give him back the mysterious obelisk, and it looks like she’ll have to if she wants to live. In Whitehall’s control, there is no telling what the strange device will do. We’ll need all hands on deck, including Coulson’s.

Is it just my imagination, or is something sparking a little bit between Skye (Chloe Bennet) and Triplett (B.J. Britt)? There’s nothing overt, but an underlying tension seems to be present, and I’ll take this pairing. They are both young, hot, and capable. Why not?

There are plenty of enticing things in “Face My Enemy,” from the “reveal” of Talbot (Adrian Pasdar) to be Hyrda, to the reveal that he’s not actually Hydra, to May fighting a woman disguised as May (both played by Wen), to some lovely dialogue between May and Coulson. For an episode that really doesn’t go far enough into the mythology, it’s still pretty entertaining.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

S.H.I.E.L.D. Comes Back From the "Shadows"

Article first published as MARVEL'S AGENTS OF S.H.I.E.L.D. Review Season 2 Episode 1 Shadows on Seat42F.

MARVEL’S AGENTS OF S.H.I.E.L.D. is back! Airing last night, the second season premiere, “Shadows,” picks up several months after the shocking events of last spring’s finale. Director Phil Coulson (Clark Gregg) has stepped away from the team to run the entire new S.H.I.E.L.D. agency. Everyone, which includes quite a few more people than the original team, now works out of the secret base known as The Playground. And some characters are much-changed.

The episode begins with a glimpse of Agent Peggy Carter (Hayley Atwell) and the Howling Commandos in 1945, a welcome connection to the upcoming miniseries, Agent Carter, that will air when MARVEL’S AGENTS OF S.H.I.E.L.D. goes on winter hiatus. Peggy and her crew are capturing an artifact from Hydra officer Daniel Whitehall (Reed Diamond, Franklin & Bash, Dollhouse). In the present day, S.H.I.E.L.D. and Hydra (including a still-youthful Whitehall) hunt the same object, which is now controlled by the government and Brigadier General Glenn Talbot (Adrian Pasdar).

The dynamic between the three organizations, S.H.I.E.L.D., Hydra, and the U.S. military, will definitely be giving the show plenty of legs to run on this season. As it stands now, Hydra is winning, with the larger, globally-expansive network, while S.H.I.E.L.D. is rebuilding desperately. One would think it makes sense for the American government to side with S.H.I.E.L.D., but those in charge of the troops, specifically petty Talbot, have been burned when S.H.I.E.L.D. collapsed, and are justifiably wary about getting in bed with them again, especially after such a public campaign against them. It’s an unstable mix, which can only result in entertaining showdowns.

Poor Coulson is stuck in a terrible situation. Not only is he struggling to recruit enough reliable people to help build the organization Fury has entrusted him with, but now he has to look at the bigger picture, which means weighing his personal feelings for his agents against what has to be done in the war game. This means he has to endanger people he cares about, as well as send them into extremely uncomfortable situations they don’t want to be in. Coulson still isn’t a bad guy, but he’s sure to tick off some of our heroes when putting the world ahead of them, which will spark good, authentic drama.

Skye (Chloe Bennet) is now a full-fledged agent, working under the tutelage of May (Ming-Na Wen). That doesn’t mean she’s ready, though, when Coulson sends her to pump Ward (Brett Dalton), imprisoned in The Playground, for information. She’s still deeply wounded by the turncoat, and can’t stomach to look at him long, even as he tries to promise her secrets on her origin. She’s much better at the physical stuff, surprisingly.

Ward is very different now. His driving purpose seems to be his love for Skye, which she is certainly not returning. His suicide attempts and unkempt appearance indicate he’s given up on rejoining Hydra and may not care about it at all, now that his mentor is dead. I’m not sure where MARVEL’S AGENTS OF S.H.I.E.L.D. is going with him, but I’m very glad he’s been kept around and allowed to be a dynamic character. His psychosis is a delicious thing for the actor to play, and he’s doing a fine job of it so far.

Even more startling than the new Ward is Fitz’s (Iain De Caestecker) mental state. We know he’s injured, but for most of “Shadows,” it just seems like he stutters a bit. It isn’t until the end of the episode that viewers are clued in to the fact that Simmons (Elizabeth Henstridge) left the base some time ago, and her appearances in the hour are hallucinations. This indicates far deeper problems, with no one quite trusting Fitz to do his job any more, but still keeping him around out of loyalty. How long will it take Fitz to recover, or will he ever? (I’m going to guess he’ll return to form by mid-season.)

“Shadow” brings a lot of new blood into MARVEL’S AGENTS OF S.H.I.E.L.D., and that’s a good thing. The structure of the show has changed, and by necessity, we need more faces to fill it. Lucy Lawless (Battlestar Galactica, Xena: Warrior Princess) is fantastic as Agent Hartley, and I’m very sad she is killed off so quickly. But we still get another appearance of a Koenig (Patton Oswalt), whom I hope sticks around as much as possible. Triplett (B.J. Britt) deserves a promotion to central cast, a full part of the team by this point. There’s also a mercenary named Lance Hunter (Nick Blood, Trollied) and a mechanic named Mac (Henry Simmons, Man Up, NYPD Blue) in the season premiere.

Interestingly, the ABC press site still only lists the six core main characters, while Blood’s name is in the Starring portion of the opening credits. The way all these new people are handled, it’s easy to be unsure about who’s a main character and who isn’t. However, given Joss Whedon’s connection to the project, I recommend not worrying about that, as he has a tendency to heavily use good performers over a long period of time, even if they are not added to the principal cast.

As you may have surmised from the above review, there’s a lot going on in MARVEL’S AGENTS OF S.H.I.E.L.D. this year, and I feel like I’ve barely scratched the surface. Of note, we also got to see a man who can change his substance, a cool jet that can turn invisible, and more glimpses of the doodle lines crazy Coulson draws. With so many balls in the air, fans are sure to be in for a heck of a fall run, jam-packed with action, story, and continued character development in TV’s current best superhero series, and that’s saying something, given the suddenly-crowded field.

MARVEL’S AGENTS OF S.H.I.E.L.D. airs Tuesdays at 9 p.m. ET on ABC.

TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha”

Article first published as TV Review: ‘Franklin & Bash’ – “The Curse of Hor-Aha” on Blogcritics.


As much as TNT’s Franklin & Bash changes, it also stays the same. It has undergone cast shifts before, but in the fourth season, which returned last night, we may see the most dramatic rotation yet. Which is why it’s extra remarkable that the premiere, “The Curse of Hor-Aha,” seems pretty much the same as any other episode of the series.

Time Jump

Right off the bat, we get a four month time jump where our titular characters are now running the law firm (although they remain living in Infeld’s beach house). Infeld (Malcolm McDowell) himself is working as an auto mechanic, having taken a blow for the Rachel King (Heather Locklear) fiasco. Rachel is locked up, so we don’t see her, and likely won’t again, at least not for a long while. Other employees are jumping ship, unhappy with the new management style, and that includes F&B’s loyal compatriots, Carmen (Dana Davis) and Pindar (Kumail Nanjiani).

What this means for Franklin & Bash is that Franklin (Breckin Meyer) and Bash (Mark-Paul Gosselaar) either need to grow up or get Infeld back. They prefer the latter, of course. In their current case, which involves “The Case of Hor-Aha,” they are as goofy as ever. In the office, they can’t stay out of trouble, which is probably why they haven’t managed to garner any respect. The new investigator they’ve hired, Dan Mundy (Anthony Ordonez, Job for Gino), is an enabler and a weirdo. Needless to say, they’re not doing well, and the firm is losing money and personnel rapidly.

Departures

It’s disappointing that Carmen and Pindar have left. We get brief explanations for both absences, and it doesn’t seem like they fled for the same reasons the others did. But they are valuable characters for the show, even if they’ve been marginalized for most of it, who will be missed. Let’s hope they at least pop back up as guest stars sometime this year.

Since it seems like getting Infeld back into his office will be an arc, rather than a quick fix, there has to be some balancing force on the show to keep the guys in line in the meantime. In the past, this has mostly fallen to Damien Karp (Reed Diamond) and a couple of different women, who are no longer around. Damien has also quit (and it’s worth noting that he is no longer listed on the cast page of the official website) and is purposely seeking cases where he can fight the guys in the courtroom, petty as ever. So obviously, the show needs a permanent presence at Infeld Daniels (now renamed Infeld, Daniels, Franklin, & Bash) to stabilize things.

Anita Joins Franklin & Bash

Enter Anita Haskins (Toni Trucks, Hostages), a well-educated, no-nonsense woman who is willing to work for them if they actually let her go to court, which they are desperate enough to do, and other reputable law firms won’t. She seems, at first glance, to be a pretty standard straight (wo-)man, there to hamper them, but not too harshly, like her predecessors. But it’s hard to tell for sure because she doesn’t show up until near the close of the hour.

Before Anita is introduced to Franklin & Bash, we see Ellen Swatello (Rhea Seehorn), previously an assistant district attorney, is now on staff at the firm. Ellen is a recurring part, and unfortunately, her new position has not come with a corresponding upgrade for the delightful Seehorn. One assumes the office isn’t going to keep both Anita and Ellen around, but how cool would it be if they did? After all, two tough females teaming up on Franklin & Bash might finally be able to rein them in.

The case-of-the-week is standard and takes up most of the running time, as usual. I like Franklin & Bash because it isn’t just a procedural, but unfortunately, it is mainly that. If you were entertained the first three years, though, you’ll probably like this one, too, because even though there has been some musical chairs among the players and a new challenge introduced, it’s still very much the show you’ve become accustomed to.

Franklin & Bash airs Wednesdays at 10 p.m. ET on TNT.