THE 100 Bats Far Above "The 48"

Article first published as TV Review: 'The 100' - 'The 48' on Blogcritics.

Warning: The following contains some spoilers from the season premiere of The 100.

CW’s The 100 is back for a second season this week. As the premiere episode opens, our cast remains scattered after the chaos of the season-ending battle last spring. Clarke (Eliza Taylor) and forty-seven others have been taken below ground by a group of survivors trying to live much the same way people used to on Earth, hence the title of the hour, “The 48.” Octavia (Maria Avgeropoulos) lies dying from the poison arrow she is shot with, Raven (Lindsey Morgan) is stuck with an unexpected companion, and Bellamy (Bob Morley) tracks a captured Finn (Thomas McDonell) through the forest.

Clarke’s subplot gets the biggest focus, as one might expect, since she is the main protagonist. She wakes up in a white room, confused, not knowing where she is or how she got there. The 100 does a good job of communicating the terror of being in an unfamiliar environment, letting the audience see things through Clarke’s eyes, and only after a bit of action do we find out what’s going on.

Clarke soon meets Dante (Raymond J. Barry, Justified), the leader of the so-called Mountain Men. He and his people are generous, offering the ‘rescued’ teenagers clean clothing and good food. Much of the group is very happy to be there, but Clarke is suspicious, believing the whole thing is too good to be true. “The 48″ doesn’t tell us whether or not Clarke is right, as most smartly-written dramas keep us guessing, letting things unfold in such a way that Dante could be a hero, a villain, or something in between. It will be interesting to see how things with him play out.

Clarke’s story is intriguing, but The 100 is smart to divide its cast because it allows for other avenues to be explored at the same time. Various combinations of personalities can be tossed together, played with for awhile, then remixed to keep the story interesting. For example, Murphy (Richard Harmon) winds up spending time with one of our main group. No one likes him, but by constructing the story in such a way that a beloved cast member is forced to spend time with him, it allows the conflict needed for drama and keeps things moving along. Thankfully, “The 48″ doesn’t end this pairing in a predictable way, either.

What many viewers will be wondering throughout this initial installment is, where are those that fell to the ground from space? Abigail (Paige Turco) and Marcus (Henry Ian Cusick) do show up about two-thirds of the way through the episode. I won’t spoil where they enter or what they do, but one thing is definitely clear: their presence marks a shift in the balance of power. The kids, despite having been back on the planet for only a short time, have their own hierarchy and rules now. Does anyone really think their parents and elders will just join that framework? Of course not. Which makes for another thread I’m anxious to see more of.

Finally, there is one main character who appears to be done in last year’s season finale but is definitely not. I was quite surprised to see this person pop up in “The 48″ and I’m not sure exactly why the writers have decided to keep them. Yet, like most of the other story lines, this one is mysterious enough to draw one in, and I definitely look forward to seeing how the writers get this person out of the corner they’ve written them into.

I’ve striven to tease without revealing, but I found The 100‘s season premiere quite good. It picks back up nicely from where it leaves off, and it begins a number of new plots that should serve the show well.

The 100 airs Wednesdays at 9:00 p.m. ET on the CW.

Count to 100

Article first published as THE 100 Review on Seat42F.

THE 100 is the best show currently airing on the CW. I say this confidently having only seen a single episode, and without the first installment having been publicly aired yet. It still hits a few of the basic groaner elements that the teen-focused network always hits, but overall, it’s much more intelligently written and complexly laid out than anything else on that channel. It took a considerable amount of will power to sit down and write this review now, instead of marathoning episodes two through six first.

The premise itself is really cool. Earth was decimated in a nuclear war nearly a century ago, and 4,000 survivors from a dozen international space stations are all that remains of the human race, living in a massive structure in orbit known as the Ark. With resources running scarce, and reluctant to reveal this to the general populace, the leaders of the Ark decide to send one hundred juvenile delinquents down to the ground to see if the globe is livable again.

These kids are picked because they are expendable, criminals locked up for various offenses. The criminal justice system on the Ark has been wheedled down to just two penalties: an internment for minors and death for adults, no matter what the infraction. Hence why none of the away team is over the age of eighteen, though all are nearly that old, meaning a very high percentage of the youth get into trouble and face punishment in this society.

It’s a bleak portrait, one of a crumbling race. I love a good dystopian tale as much as the next person, and there are some nice bits of Battlestar Galactica, a terrific series taking place after mankind is almost extinct, mixed in, including actor Alessandro Juliani. With the stress level so high, it’s no wonder the teens act out, and so this all makes perfect sense in the framing of the enticing tale.

Even better, the politics of the commanders are explored. Current Chancellor Jaha (Isaiah Washington, Grey’s Anatomy) is hopeful the mission to Earth will save his people, and he’s supported by his doctor, Abigail Griffin (Paige Turco, Person of Interest). But Jaha’s second-in-command, Kane (Henry Ian Cusick, Lost), is much more pessimistic, and plans to start weeding the survivors, writing off the kids entirely.

I wish more of THE 100 centered around the adults. This arc easily makes up the best scenes of the pilot, and all three performers mentioned in the above paragraph are very good. While out of contact with those on the surface, they have to make tough decisions with little information, and the drama gets quite intense in the initial hour. I do wonder how the power struggle, which includes main characters on opposite sides so you know it’ll be drawn out, will shake down.

The only weakness readily discernible in this part of the show is the unequal way in which the law is applied. That would never stand in such a fragile balance, as the civilization teeters on the brink of anarchy. It’s necessary for the story, as presented, to break these rules, but one wishes the writers had come up with something a little more brilliant.

The stuff on Earth is a little weaker, mainly because it plays into the CW’s formula of having children act like grownups, and some of the personalities border on unrealistic. Clarke Griffin (Eliza Taylor, Neighbours), Abigail’s daughter, is our plucky hero, determined to succeed, noble and compassionate by nature. She is joined by the chancellor’s son, Wells (Eli Goree, Emily Owens M.D.), who got himself sent down on purpose to protect Clarke, feeling guilty for his part in what went down with Clarke’s recently executed father. There’s also wild, reckless Finn (Thomas McDonell, Suburgatory), but he quickly fills the role of nice guy putting on a front, making the girls swoon, and not causing any real mischief.

While these three teens are good, others are less certain. Octavia (Marie Avgeropoulos, Cult) is tasting freedom for the first time, having been imprisoned all her life just for being illegally born, though she has a better disposition than her brother, Bellamy (Bob Morley, Home and Away). As justifiable as the chip on his shoulder is, Bellamy shouldn’t throw in with creepy John (Richard Harmon, Continuum) as he does, as that spells nothing but trouble for them all. John and Bellamy don’t exactly enact The Hunger Games, but they do establish a (less violent) rule of those on the planet, and that will serve up the tension needed in the story.

I do think some of the stuff the kids encounter is pretty cool, including some unexpected changes on Earth, and a journey fraught with hidden dangers. As much as the adult section is superior, the younger generation shows promise, and as the talent hones their acting chops, they could hold their own on the show in a year or two. Yes, I know the youngsters are the ones referred to in the title, but in the premiere, at least, the mature players hold just as important a role.

For now, the worst parts I can see of THE 100 are still as strong as the better elements of most of the CW’s fare, and the scenes that are amazing raise it up. I’m not saying it would dominate on another network, though it could get by on any of the broadcast ones or even SyFy, but for the CW, it’s at the top of the pack.

THE 100 premieres Wednesday at 9 p.m. ET on the CW.

CONTINUUM Leaves Us Hanging "Second Time"

Article first published as CONTINUUM Leaves Us Hanging "Second Time" on TheTVKing.

The Canadian import Continuum, which U.S. viewers get to watch on SyFy, recently brought its second season to a close with "Second Time." It's an episode of big reveals, major developments, heartbreak, and cliffhangers. Thankfully, the show has been picked up for a third year, or it would be a really bad place to stop.

Right off the bat, we learn something new in the future scene at the beginning: Kiera's husband Greg (John Reardon) is involved in old Alec's (William B. Davis) plot to send Liber8 back in time. This is huge! It means Kiera's family isn't just wondering what happened to her. Why did Greg go along with this, and what has he done since to get Kiera back? This is now a plot I want to see.

I understand why Kiera (Rachel Nichols) doesn't suspect Greg is involved in sending her back, though, even though the panic in his face is what tips her off about the time travel device. She turns and sees Kagame (Tony Amendola) pull something from his pocket, and may think Greg has only witnessed the same thing. As such, this new reveal adds to the story, but does still fit in the continuity.

In the past, we recently see Kiera go selfish, abandoning Emily (Magda Apanowicz), who dies, while chasing her chance to get home. Up til now, Kiera is the hero of Continuum, and she makes sacrifices to save others. In a moment of weakness, and it really is just a moment, Kiera puts herself first and tragedy strikes. It's depressing because one cannot really blame Kiera for her actions, and yet we are shown there is a cost of not acting the hero.

Actually, one person may blame Kiera, and that's Alec (Erik Knudsen). It's hard to pinpoint Alec's shifting loyalties in "Second Time," as he seems to be manipulating multiple players in the game. In the end, though, he gets what he ultimately wants, which is the chance to go back in time and save his love, Emily, even though that leaves Kiera abandoned in the present. Alec is not an unselfish hero.

Many stories take their protagonists to a dark place during the journey, a time when they will make the wrong choice and do the wrong thing. Kiera and Alec both go through this at the end of season two, which is OK, because there will be a third season in which they can redeem themselves. Ultimately, they must live up to the unrealistically high standards fans of this type of drama expect them to be, but they can stumble along the way. Which is why "Second Time" doesn't feel like an ending.

That being said, I do hope Alec saves Emily. I absolutely adore Apanowicz in everything I've seen her in, and her passing is predictable and sad. If Alec can reverse this, Continuum will have a chance to bring her back and do something special with the actress, using her as she deserves to be used, rather than wasted in a small arc.

The thing that may end up saving Alec and put him back on the right path, besides Emily, is his family. We now know that Jason (Ian Tracey) is Alec's son, sent back by old Alec, though present-day Alec doesn't know this, believing Jason to be his father. Jason kind of hangs back, observing, but should step in when the time arises to fix things.

I am undecided about Escher (Hugh Dillon), who claims to be Alec's father. We have seen no proof of this, and it's not clear whether Alec believes Escher or just uses Escher to get back in time. As such, Escher remains a wild card, one that cannot be figured out yet.

Kiera's family may be in the future, but she has somebody in this time that cares about her, too, and that's Carlos (Victor Webster). Carlos gives up his life and his career to help Kiera, and then has to go on the run. This exposes a depth to Carlos's feelings about Kiera that was not obvious before. Might Carlos be a real love interest if Kiera decides she is never getting home? Or if she learns of Greg's hand in what befell her?

Carlos is on the run now, and instead of going to Kiera, whom he thinks is going home, he hides out at Julian's (Richard Harmon) house. This is brilliant, with no one ever suspecting Carlos would reach out to the person who has caused him so much trouble professionally. And Julian gets the chance to prove he isn't evil and stands by his peaceful posture by turning the other cheek. This is a really interesting twist, one that should have cool ramifications for both roles.

When season three begins, the most immediate issue will be for Kiera, Jason, and the other time travelers to escape. They are captured and locked up by the freelancers, taken to a secret prison. No one knows where they are, and unless Alec returns, no one may even know they are missing.

This gives all of the people from the future a commonality, which could be beneficial. Kiera has battled with Travis (Roger Cross), who has no love for Kellog (Stephen Lobo). Now, all three (if Travis is alive), along with the other members of Liber8 and Jason, may have to work together, or may just find time to bond in captivity. This could absolutely change the dynamics of the show.

And what of Dillon (Brian Markinson)? He appears to be one of the good guys for so long, but "Second Time" shows him using a new play book. Is he connected to some sinister people? Is he being manipulated? I don't know, but he's on the wrong side of the conflict for now, and looks to be in a position to cause some serious trouble.

Continuum is exactly the type of science fiction show I love. It has an intriguing premise, wonderful characters, fantastic actors, and plot developments that are hard to see coming. It isn't afraid to switch up the rules, or completely change a character's trajectory. There are also multiple time lines and time periods, which makes the story more complex, and thus more rich. Plus, it takes time for awesome fight scenes, such as the one between Kiera and Travis. It has become a must-watch program.

"Second Time" is a pivotal, exciting installment. I look forward to Continuum's return in 2014.

Bates Motel dreams of death

Article first posted as BATES MOTEL Review on Seat42F.com

Grade: 96%

A&E is not particularly known for their dramas. They’ve had a few scripted series up to this point, like The Glades, Breakout Kings, and The Cleaner, but they are formulaic crime dramas, not a complex, serial show that deserves attention and praise. With the premiere of BATES MOTEL on March 18th, that changes.

BATES MOTEL, as one might expect, is set at the same location as the classic Hitchcock film Psycho, and looks perfectly in sync with the earlier work. This television series is a prequel to the movie, set many years earlier. As the first episode, “Fist You Dream, Then You Die” opens, Norman Bates’ (Freddie Highmore, Charlie and the Chocolate Factory, Finding Neverland) father dies, and his mother, Norma (Vera Farmiga, Up in the Air, The Departer), moves them to a small town where she has purchased a motel and the house behind it.

The elements one would expect from such a project are immediately present. Norman is eager to please and mostly obedient. Norma is controlling and manipulative. The motel itself is cursed from the beginning, it having been taken away from a family that has long owned the land by the bank, and a descendant of that family is not happy to let it go. The tone is creepy and disturbing, but not too obviously so.

The cast does a superb job. Highmore is the right mix of good son and budding psychopath. He is trying to be a normal kid, but that’s not the way his mother has raised him, nor does she let explore that option. Farmiga captures the portrait of the type of mother that would name her son after herself. The way she coldly receives the news of her husband’s death, then later handles Norman, is compelling to watch, and surely she is making a mark on the television landscape, owning the role.

Right away, death also comes to the Bates Motel. There are strong hints that Norma might have offed her own husband, and (very slight spoiler) there will be a second body by the end of the first hour. I don’t know if BATES MOTEL is a horror show, per se, and if there will continue to be serial killings throughout; after all, no one suspects Norman long after his mother passes on. But the stage is set for what must be.

Much of the purpose of the series will be to take Norman from normal child to cold-hearted murderer. We see he has a possible support system, with girls who want to be his friends and a teacher offering mentorship. But we also see how the boys don’t take a shine to him, and how Norma cuts him off from social interaction. And then, witnessing what Norma involves him in, we see the seeds of things to come.

Not that Norma is totally obvious in her machinations. To a viewer at home, sure, we can tell she’s a horrible mother because we see it all. To a character in the show, outside of the family, she may seem a little strict, but not someone to worry about. At least, not yet.

The supporting cast is just as good as the two leads, which helps with the overall effect. After all, BATES MOTEL is set in a town, so there must be townspeople. These fellow residents pleasantly round out the world in a very authentic way without distracting or mandating plots of their own. They include Nestor Carbonell (Lost) as the Sheriff, Keegan Connor Tracy (Once Upon a Time) as Miss Watson, Norman’s teacher, and Olivia Cooke as an odd classmate. Upcoming guests (according to IMDB and Wikipedia) will include Jere Burns (Justified), Mike Vogel (Pan Am), Richard Harmon (The Killing), and even Kate Winslet (Titantic, Mildred Pierce).

“First You Dream, Then You Die” is a lot of setup, especially the beginning, but manages to not feel too much like it is. We enter at a critical moment in Norman’s life, one that will put him on a certain path, and he already begins going down that path in the premiere. The start of the action is not sudden or jarring, and yet, this pilot does a good job of actually getting into the meat of the story. Credit writing, directing, and production, as well as the performers, because this is an excellent pilot in just about every way imaginable, with a definite cinematic quality.

My only slight complaint is that there is a bit of heavy handedness present. “First You Dream, Then You Die” begins with Norman listening to dialogue on a television talking about a grown man living with his mother. Norma wears the same dress and hairstyle to dinner that the corpse at the end of the film is sporting. But while it may have been better to spread out such references through multiple episodes, instead of sticking a bunch in the premiere, it does effectively tie this project to its source material, so it’s not totally unwarranted.

BATES MOTEL deserves attention, and Highmore and Farmiga will hopefully get some Emmy credit. Which means you probably won’t want to miss a show this good. I certainly won’t.