OUTCAST For Not Liking This Show?

Article first published as OUTCAST Review on Seat42F.

Robert Kirkman has already proven he is a master of morally ambiguous horror storytelling with The Walking Dead, my hands-down favorite currently running television series (despite the fact that I hate zombies). Now, his second comic series reaches the screen with OUTCAST, premiering this Friday on Cinemax.

Cinemax is where HBO sends their more gruesome and gratuitous-violence-driven action series, so going in, one expects a more jarring experience than AMC manages to do with The Walking Dead. That expectation is met early on, and repeatedly throughout the first hour. There is bug eating and child punching and ooze spewing and all sorts of others things that make the series uncomfortable to watch.

But there are also really good characters, first and foremost Kyle Barnes (Patrick Fugit, Almost Famous, Full Circle). Kyle was abused as a child and has been plagued by literal demons ever since. They destroyed his mother (Julia Crockett, The Absence) and his marriage, leading him to seek a hermitic existence in a dilapidated house, fine with everyone believing he hurt his daughter (Chandler Head, A Walk in the Woods). After all, that’s preferable to dealing with a reality in which supernatural forces seem to be out to get him, right?

Kyle isn’t as alone as he’d like to be (assuming he really wants to be as alone as he proports). His sister, Megan (Wrenn Schmidt, Person of Interest), brings him groceries and attempts to engage him, even as her husband, Mark (David Denman, The Office), doesn’t trust Kyle around his niece (Callie Brook McClincy, The Originals) because of what Mark believes Kyle did. A neighbor, Norville (Willie C. Carpenter, Devious Maids), offers Kyle food and the use of his car. Reverend Anderson (Philip Glenister, Ashes to Ashes) wants Kyle to help him exorcise demons, knowing Kyle is good at it for some reason.

Will Kyle come out of his self-imposed isolation? He has that option, as police chief Giles (Reg E. Cathey, House of Cards) seems content to let Kyle work with Anderson, even when that takes Kyle into the houses of local children. Though, it’s unknown if Kyle’s ex-wife, Allison (Kate Lyn Sheil, House of Cards), would consider taking him back, or even if Kyle is the one who is staying away, and I do feel like Kyle isn’t going to be happy without his family, no matter how much evil he defeats.

Basically, this is a show about a huge war between our lowly hero, Kyle Barnes, and some pretty powerful forces of darkness that have taken an interest in him.

Even with all that, though, this show isn’t for me. I thought long and hard about why I won’t be watching OUTCAST past episode one. After all, while I admittedly hate zombies and do not watch zombie movies, I love The Walking Dead. I don’t like demons and possessions, either, and avoid those films, but unlike with Kirkman’s previous work, I’m not able to overcome the grossness inherent in the genre to enjoy the story. Why?

It’s not the performances, but it could be the writing. While there is something relatable in The Walking Dead, it’s lacking in OUTCAST. You may never want to go through what the characters in the zombie apocalypse go through, but you can relate to them and understand their quandary. To me, though, I don’t find that same connection to Patrick. His worldview is just too far removed. It’s hard to say why exactly that is, but I just can’t get into this show.

If, however, unlike me, you enjoy The Exorcist, this is a deeper, more complex take on a similar story, with a lot more going on, and every bit as much gross stuff as that popular movie. OUTCAST premieres this Friday, June 3^rd, on Cinemax.

"The Deconstruction" of THE GOOD WIFE

Article originally written for Seat42F.

This week’s episode of THE GOOD WIFE, “The Deconstruction,” begins with a scene mirroring one from the pilot, this time with Alicia (Julianna Margulies) making an announcement in disgrace, Peter (Chris Noth) the supportive presence behind her. Remembering what a catalyst that event is for the entire series, it should come as no surprise that this hour marks another huge change for the show that refuses to stay stagnant, though somehow the ending still feels unexpected.

Much of “The Deconstruction” involves Alicia warring with Diane (Christine Baranski) and the firm, not because they actually have reason to go to war, but because David Lee (Zach Grenier) is playing them again, always the slimy one. It’s frustrating to watch two long-time friends who just want to be partners again furious with one another once more, and viewers will yearn for resolution. Thankfully, Kalinda (Archie Panjabi) ensures the errors are cleared up, just before R.D. (Oliver Platt) torpedoes resolution.

One cannot blame for Diane for choosing R.D. over Alicia, nor R.D. for not wanting the stink surrounding Alicia, justified or not. R.D. is making the firm huge amounts of money, and Alicia could drive away clients in her current state, not attract them. I’m just grateful Diane and Alicia can still be friends, not holding a grudge from an ugly death match. It’s too bad that David Lee gets away with his secrets intact, as he will probably cause more trouble in the firm, but the situation is wrapped up as satisfyingly as it can be with Alicia still on the outs.

Any other show would have returned the cast to status quo. THE GOOD WIFE makes the opposite choice, casting Alicia adrift with no idea as to what she wants to do next, and only two hours left in the season. One might assume she’ll be a public defender, given how she is attracted to the passion in the movie she is watching and how much she respects Prady (David Hyde Pierce), who will take the job she vacated. But Alicia is also a pragmatist, needing to make more money than that position offers, and while she offered Prady a job, there is no guarantee he will do the same. Since her exit package with the firm is void, though, she may be able to negotiate enough of a pay out to do what she wants, when she figures out what that is.

One person not around to help her any more is Kalinda. Kalinda tries to put Lemond (Mike Colter) away and pin it on Dexter (JD Williams). This seems neat in her mind, as even if Lemond kills Dexter, Dexter is a criminal who won’t be missed much. But Cary (Matt Czuchry), not realizing her plan and ever playing the noble knight, nixes that idea by telling Dexter he himself is the rat, which causes Kalinda to flee, presumably after letting Lemond know that she is responsible.

Kalinda’s goodbye in “The Deconstruction” is a sad, yet fitting, one. She gets to say her farewell to Cary, Diane, and, in a note, to Alicia, even as none of them realize what she’s doing. She’s always been a bit of a shady character, but her last act before exiting is to engage in self-sacrifice, giving up her life and her love to protect the people she cares about. Her lingering over Alicia’s photographs reveals the depths of her feeling, and Panjabi sells the moment. I hope one day we’ll see what happens to Kalinda, but I’m relieved she isn’t dead, at least not yet, and leaves on her own terms.

I don’t think Lemond will come through Cary to get to Kalinda. He should be smart enough to know that if Kalinda is going to disappear, she’s going to do it thoroughly and hurting Cary won’t bring her back. Besides, with the evidence that Kalinda gives Geneva Pine (Renee Elise Goldsberry), Lemond will be in jail. Who knows how much influence he’ll have left from behind bars?

As all this happens, THE GOOD WIFE makes time to have Diane help out a grandmother (The Big C’s Phyllis Somerville) caught with E, bringing back Joy (Linda Lavin) and introducing Reg E. Cathey (House of Cards) as a judge. This subplot is not huge, but it highlights how deep THE GOOD WIFE’s bench is and the supreme talents they can bring in, even for one-offs. Plus, the case is thoroughly engaging and exposes yet another part of the judicial system that is just not fair.

I can’t believe only two episodes remain in THE GOOD WIFE’s sixth season. It has not been renewed yet, but signs are positive that it will be. I can’t imagine the story stopping now, and would mourn it greatly if it did not come back. Every single installment, “The Deconstruction” included, is excellent and inspiring.

THE GOOD WIFE airs Sundays at 9 p.m. ET on CBS.

House of Cards Season 2 Midpoint Check-in

Article first published as House of Cards Season 2 Midpoint Check-in on TheTVKing.

Note: This review is written after having viewed season two, episode seven of House of Cards, "Chapter Twenty." If you are not that far along yet, please watch some more, then come back to this column.

Season two is shaping up to be a great one for Netflix's House of Cards. There are a number of personal stories interwoven around the main plot, but the central thrust thus far has been a war between Frank Underwood (Kevin Spacey) and Raymond Tusk (Gerald McRaney, Simon & Simon, Major Dad). Which has more influence in Washington: money or power? I believe we'll find out as this year continues to play out.

By "Chapter Twenty," Frank has successfully sabotaged Raymond's sway over President Walker (Michael Gill). Rather than being defeated, though, this makes Tusk more determined to have control, switching his allegiances to the other political party, without it being publicly obvious that he has any affiliation with either side of course. This isn't something Frank can stop, and his meeting with Tusk's business partner, Lanagin (Gil Birmingham, Twilight), as well as Stamper's (Michael Kelly) efforts with another partner, Feng (Terry Chen), come to nothing.

That doesn't mean Frank is done, by any means. Frank has wormed his way back into Walker's good graces, expertly dismantling a feud and forming a friendship. It's all an act, from Franks' perspective, just another strategic move in his game, but Walker seems completely taken in, and while money can buy elections, those still in office do have influence.

One wonders how this could end up. Frank wins by manipulation, something easy to do in the halls he's so familiar with, but much harder to do on a national scale in terms of elections. On the other hand, Tusk may be shut out of the White House, but he can buy up as many TV spots as he likes, which can sway public opinion. Frank seems to be scoring minor victories, but is losing overall. I wonder who will come out on top?

It's interesting that Frank is building a Civil War battle model in "Chapter Twenty" of a conflict that resulted in heavy losses on both sides and no clear winner. Might this be how House of Cards lets this war play out? Or is this just how Frank sees things as they are, leading to so much frustration that he smashes his work?

We don't yet know Grayson's (Derek Cecil) true loyalty, which could shift the balance. He confesses to Frank that he's been working for Remy and Tusk, but professes that he thinks Frank is the better man to back. I'm not sure if this is true or if Grayson is really good at what he's doing for Tusk. Grayson does get Remy to remove Ellis (Sam Page), an obstacle, from the Underwoods' circle, but is that Grayson playing Tusk or trying to accomplish his mission? This arc still has too much mystery to make anyone comfortable, but it's this kind of suspense that drives the series.

Luckily, Frank has something Tusk lacks: Claire (Robin Wright). Claire isn't directly involved in the current machinations, but she's there to support Frank, taking him on a run to calm him down. She also helps Frank throw a dinner for Walker and the First Lady, Tricia (Joanna Going), whom Claire befriends, giving the couple even more of a bond to the Underwoods. I've learned never to underestimate Claire, so the fact that Tusk may soon be fighting the two of them, not just Frank, is what should have Tusk worried.

I'm a little confused about why Claire is sabotaging Christina's (Kristen Connolly) reputation. Is Christina merely collateral damage, a way for Claire to get in with Tricia? Or did Christina sleeping with her boss really offend Claire so? Or does conflict in his marriage make Walker confide even more in Frank? Or maybe I just missed something.

Something that might make Frank's life more difficult would be a defection in his own ranks. Jackie (Molly Parker) doesn't seem like the loyal little soldier any more. I guess it's true; once a backstabber, always a backstabber. She has a history of this behavior. Her rebellion would only ever be a minor setback for Frank, he's dealt with worse, but she's playing with fire that could destroy her. Do not ever, ever betray Frank. He might push you in front of a subway or fake an overdose. We're not talking career suicide, we're talking literal suicide.

To make matters worse for her, Jackie is shacking up with the enemy, sleeping with Tusk's man, Remy (Mahershala Ali). I like what we see in Remy, that he's not content for casual sex, revealing something more about him than has been obvious, a noble moral compass. But Jackie is probably just trying to advance her status, and not doing a very good job of it since she doesn't fake the emotions that will help her attain her goal. She is no Frank, and these weaknesses will be her downfall.

It does appear that one of the threats to Frank, the media, has been neutralized. With Lucas (Sebastian Arcelus) discredited and in jail and no one coming to his aid, Frank may have defeated this branch of enemy. Or it may just be dormant, meant to be revived later, possibly with the help of Gavin Orsay (Jimmi Simpson), who seems sympathetic to Lucas' cause.

Amid all this chaos, love may be blooming for Stamper and Rachel (Rachel Brosnahan). Suddenly, Stamper is refusing pretty women in China (ridiculous!) and calling her just to check in. His harsh words on her voice mail are clearly just a cover, though. Who would have thought this might happen? Does it have any chance of working, Rachel being broken enough to be drawn to the man who would protect her? Or is this a distracting side story that doesn't mean much?

Speaking of odd subplots, in "Chapter Twenty," Freddy (Reg E. Cathey) finally gets his own focus. There's a really sweet scene with him meeting the Walkers, but more important, he's suddenly in the press and being offered franchise deals. Is this a sneaky plot by Tusk to knock Frank off his game, trying to steal away Frank's beloved ribs? Or is this a completely separate story? The former seems much more likely given the tight writing of House of Cards, but I appreciate that no ulterior motive has been given for Freddy's fame yet, making it seem like he's earned well-deserved recognition.

By "Chapter Twenty," there's plenty of exciting plot to watch, but no real clear vision of how the season will play out yet. This is completely fine, as House of Cards is great at tying up unexpected threads at just the right time, one in which we don't quite see it coming, but it makes sense in retrospect. It's full of incredible writing and acting, and season two has maintained the quality of the first year, even as the mystique has started to fade away, fans finally figuring out what the DNA of the show is. As long as it keeps up the good work, we should all be satisfied.

Both thirteen-episode seasons of House of Cards are available now streaming for Netflix subscribers. Join me in a couple of weeks for my season two finale review, date TBA.

"(Un)grateful" For GRIMM

Article first published as GRIMM Review Season 1 Episode 1 The Ungrateful Dead on Seat42F.

NBC’s GRIMM left us on a heck of a cliffhanger last spring, with Nick (David Giuntoli) captured and zombie-fied, and his friends surrounded by The Baron’s (Reg E. Cathey) minions. This week’s season three premiere, “The Ungrateful Dead,” picks up right where that hour left off. In fact, it picks up prior to where last year stopped, replaying the last several minutes, and then continuing on from there.

Sometimes, if a situation is particularly perilous, shows don’t mind reusing some footage again in the next episode, usually just a smidge to remind us of where things stand. “The Ungrateful Dead,” unfortunately, uses more than that. There may be a fine line in doing this, and GRIMM crosses it, making one glance at the clock a few times, wondering when we’ll get to the fresh stuff.

When we finally do, however, the episode picks up and takes off running. There’s a lot of action and a lot of development, all taking place on that same night. I complained in my season two finale review that the danger in GRIMM is usually too light, but that is not the case here, with Nick, especially, running the risk of lasting damage. Depending on how things shake out next week, there could be ramifications that matter for weeks or months.

There are a few hokey elements. The big, splashy, visually exciting sequence jut after Nick wakes up doesn’t hew too close to realism. However, overall, it definitely feels like the series is growing up, and taking all of the individual elements of the show with it.

Another thing I mentioned in my most recent review was that I wished the ensemble was beefed up and given more to do. That happens immediately in this installment. You’ll remember Nick is in a coma and destined to be a zombie of some sort when he awakes. This leaves everyone else to band together and try to save the day. They aren’t as effective as Nick himself would be, perhaps, but thankfully they are given the chance to try, which will only make fans’ affection for them grow.

This works best when they are doing something. At one point in the episode, Monroe (Silas Weir Mitchell), Juliette (Bitsie Tulloch), and Rosalee (Bree Turner) take a second to regroup and discuss course of action. This is the worst part of “The Ungrateful Dead.” The conversation needs to be had, of course, but with the immediacy of events, it should take place on the run or in a speeding car, not the way it does. But that’s the only one scene that felt truly off and frustrating.

Captain Renard (Sasha Roiz) has a great, but brief, scene in which he lets a little of his beast out. This is something GRIMM has touched on in the past, but not really spent much time with. I feel like with the direction the plot is heading in, there will be more opportunity for Renard’s “wild side” to come to the front, and I look forward to it.

Wu (Reggie Lee) shines in “The Ungrateful Dead,” even in only a small part. It’s hard to figure out how to use his character sometimes, with him not being in the loop about the supernatural stuff. Here, we see him doing police work, in charge and tough. This is a glimpse of how he must be on the job all of the time that he’s off screen, and I like it. There are definitely ways to work with this and take him a step further.

Adalind (Claire Coffee) remains apart, too, but that’s a necessity based on her arc. She is still dealing with things from last year. I won’t spoil what exactly happens with her in this premiere, but I can confirm that I think her exile is about to end, and I wouldn’t be surprised if she returns to the main fold within a week or two, hopefully in a big way.

Besides the characters, which GRIMM does well, the dialogue is outstanding. Buffy the Vampire Slayer, the most obvious, great series to compare this one to, was funny as well as scary and emotional. GRIMM has always played with the humorous elements a little, too. In “The Ungrateful Dead,” there are more than half a dozen absolutely terrific one-liners and gags. For such a dark, serious episode, that’s a welcome addition, and I think the writers are really starting to enjoy using the silly parts of the characters.

Lastly, I have also complained about GRIMM being too procedural, but said that last spring’s final two installments were refreshingly serial. So is this premiere, and the next episode will be as well, with this particular tale not over by the end of the hour. I don’t know if this is an anomaly, as sometimes show stretch themselves a bit more at the beginning and end of a year, but I hope not because these have been among the best episodes so far.

“The Ungrateful Dead” is fantastic, addressing every weak point I had previously mentioned and raising itself up overall. It may not be the best show on television yet, but it’s broken into the top twenty, and it’s heading in the right direction.

GRIMM premieres Friday at 9 p.m. ET on NBC.