UPLOAD This Into Your Brain

Article first published as TV Review: UPLOAD on Seat42F.

WARNING: The following contains spoilers from the first three episodes.

Greg Daniels, co-creater of The Office and Parks and Recreation, is back on television with the new Amazon Prime half-hour dramedy, UPLOAD. Set just over a decade in the future, it tells the story of a world in which the dying can upload their consciousness into the digital realm – for a fee. And like the apps of today, it’s connected very closely with anyone you want to interact with (even back in the real world), and has plenty of in-game purchases available. But there a dark underbelly to the satiristic story.

Robbie Amell (The Flash) stars as Nathan Brown, the protagonist who is killed in a malfunctioning self-driving car. He ends up in the app thanks to his rich girlfriend, Ingrid Kannerman (Allegra Edwards, Briarpatch), who wanted to marry him, but whom Nathan was trying to work up the nerve to dump. Once there, Nathan tries to accept his new status while feeling more and more isolated in the real world. Complicating this are missing memories and unanswered questions surrounding his demise.

Nathan is aided by Nora Antony (Andy Allo, Chicago Fire), the customer service representative that serves as his ‘angel’ in the afterlife. Nora is frustrated with her job and lousy corporate culture, but is drawn to Nathan, despite his unavailability, and finds personal motivation in building a relationship with him. (Jim Halpern, anyone?) Nora notices strangeness in Nathan’s case before he does, but is she really in a position to do anything about it?

UPLOAD is funny. One might even add a very to that statement. There are many visually humorous aspects to the situation present, and there’re some biting observations about modern society, especially concerning tech and corporate culture. This is a meaner, more raw version of what Daniels was saying in The Office, and it’s easy to appreciate the thought process that went into the making of this show.

However, sometimes believability is sacrificed for a laugh. Take, for instance, the scene in the pilot in which Nathan is shockingly uploaded. It’s hard to believe a hospital would have a window and allow family to witness such a thing, or that those who did witness were not prepared for the sight. We also are expected to believe that Nora suffers no direct repercussions for some of the acting out she does on the call center floor? And Ingrid unfortunately only becomes more cartoonish as the series unfolds.

One such thing that struck me very odd on the first viewing was Nathan’s behavior just before upload, but this has been explained away by further plot developments.

I like this show quite a bit, and it’s easy to devour in twenty-five minute chunks. (The pilot is double-length). The actors are universally charming, and the mystery adds a compelling through-line to a very interesting take on a man-made afterlife. Elizabeth Bowen (Resident Alien) may just out-Melissa-McCarthy Melissa McCarthy as amateur investigator Fran Booth. Owen Daniels (Space Force) is soooo creepy as the A.I. servant. There are also lots of answered questions that beg to be explored. A lack of aging and development in the app, for one.

But I do wonder just how amazing it could be with a few of the wrinkles ironed out. With just a bit more development time to really figure out those weak spots, I think this might even rise to the level of The Good Place, created by fellow Office and Parks alum Mike Schur (though of course the content is vastly different, despite both being about the afterlife). It is so close to being one of those shows you tell all your friends about. But it falls just slightly short, which doesn’t make it unwatchable, but definitely sparks a bit of longing for what might have been.

UPLOAD’s first season is available now to stream on Amazon Prime.

Back in THE FLASH

Article originally published as THE FLASH Review "The Man Who Saved Central City" on Seat42F.

The Flash -- "The Man Who Saved Central City" Pictured: Grant Gustin as Barry Allen/ The Flash -- Photo: Cate Cameron /The CW

Last night’s season premiere of THE FLASH on CW picks up six months after the spring finale. The metropolis wants to honor “The Man Who Saved Central City,” meaning the titular superhero, but Barry (Grant Gustin) doesn’t feel like he’s the one who deserves the credit. After all, both Eddie (Rick Cosnett) and Ronnie (Robbie Amell) gave their lives in the fight, so Barry understandably is reluctant to receive praise. But the problem goes much further when he won’t allow anyone to help him be The Flash anymore and he encounters a villain, Atom-Smasher (wrestler Adam Copeland), whom he cannot defeat himself.

“The Man Who Saved Central City” is a great character-driven hour for Barry. His despair and urge to pull away in order to protect his loved ones is understandable, and one virtually every superhero goes through at one time or another. Thankfully, unlike, say, Arrow, Barry is much more accepting of the help others want to force upon him, and it only takes him a single hour to change his mind. Not that Iris (Candice Patton) and Joe (Jesse L. Martin) give him a choice in the matter.

Barry isn’t the only one who has split off from the group. Caitlin (Danielle Panabaker) now finds Star Labs too painful to be in, constantly reminded of Ronnie. She blames herself from not leaving town with him when he asked her to go. As such, she’s accepted a job with a different lab and hasn’t kept in contact with anyone. It only takes one visit and heart-to-heart from Barry, though, to make her feel better. After all, the whole team needs to stick together, and she’s soon back where she belongs.

These elements show us how different THE FLASH is from Arrow and other superhero ventures. It has become in fashion to have our heroes be moody loners, and in many cases, that’s fine. But it’s also refreshing to get a lighter touch sometimes, and Barry is the type of individual this fits well with. The show can be dark in sections, but a thread of optimism runs through it and is an essential part of this series.

“The Man Who Saved Central City” is pretty cool overall. I like that it waits to show us Ronnie’s death, doling out details sparingly at first, but not to the point where it gets annoying. I enjoy very much Barry’s dream sequence at the beginning where he’s stopping Captain Cold (Wentworth Miller) and Heat Wave (Dominic Purcell) with the help of his full team, making good use of recurring players. Cisco’s (Carlos Valdes) new job with the force is fun, and it’s gratifying to have Dr. Stein (Victor Garber) join the team. The idea that Barry is secretly rebuilding the city at night is neat, too, something most superheroes wouldn’t think to do.

Dr. Wells’ (Tom Cavanagh) presence hangs heavy over the season premiere. We see him in Barry’s dream, and in a video will. Both times he seems kinder, not the evil villain from the end of the season. Is THE FLASH seeking to redeem him? The video he leaves, which provides evidence that frees Henry (John Wesley Shipp) from prison, reaffirms this. I’m not opposed to such a reverse course as long as it’s handled well, giving reason to forgive him before his memory is improved upon. Will he still be around this season to keep the rebranding going, or was his name only in the opening credits for this one last hour?

Despite everything great about “The Man Who Saved Central City,” though, there are two glaring flaws that hurt the episode. One occurs when Joe, Cisco, and Iris openly discuss Barry being The Flash in the middle of the precinct. Aren’t they concerned about blowing his secret identity? Other officers have to hear them, and the last time I checked, only a small circle of people know that Barry is The Flash and it should stay that way. The second is that, right after getting out of prison, Henry leaves town with no explanation.

Henry’s excuse that he’ll get in Barry’s way of becoming who he’s meant to be is crap. Sure, he might be a distraction for a bit, but how does Henry being around impede Barry’s mission? Barry has lots of help, and none of them get in the way. Why doesn’t Barry push for further explanation? And where is Henry going? What else does he have to go to after fourteen years in jail? How is he going to start a new life elsewhere with nothing to his name?

Still, even with these missteps, THE FLASH is generally strong. It’s an entertaining show that has good story and characters. That makes it a show I look forward to each week.

THE FLASH airs Tuesdays at 8 p.m. ET on the CW.

Not Yet TOMORROW, PEOPLE

Article first published as THE TOMORROW PEOPLE Review on Seat42F.

The CW doubles down on the Amell family this fall by launching THE TOMORROW PEOPLE, starring Robbie Amell (1600 Penn), airing on the same night as Arrow, which is fronted by Robbie’s cousin Stephen. To make things more confusing, Robbie’s character is named Stephen. Both shows are action-packed and dabble in abilities not normally attributed to human beings, but both are grounded in the real world, as well.

THE TOMORROW PEOPLE introduces us to the next stage of mankind’s evolution in the “Pilot.” Genetic mutations are creating a new form of the species with three abilities: telekinesis, telepathy, and teleportation. Stephen Jameson is one such person, though he doesn’t understand that as the show begins, accidentally teleporting in his sleep to end up in bed with the neighbors, even when he straps himself down. This is causing no end to the stress and frustration of his mother, Marla (Sarah Clarke, Covert Affairs, 24), and Stephen’s own bad attitude about his situation has driven away all of his friends, save Astrid (Madeleine Mantock, Casualty).

Is Stephen’s tale a metaphor for adolescence, hit a little too squarely on the nose? Well, yes, but then again, so are a myriad of other shows and books involving super humans and supernatural types. THE TOMORROW PEOPLE is a superhero tale, though one more firmly rooted in science than most, and set during the present day as homo sapiens boldly move into the future and the next stage of life as we know it. And while Stephen is a familiar “savior” type, I still find him interesting.

It may be a stretch to define THE TOMORROW PEOPLE as realistic. After all, for decades much the same developments have been predicted by the more fanciful dreamers among us. But there’s just enough authenticity and earnestness present to make for a convincing plot, dare I say a step higher in ambition than the fare the CW is mostly known for? I’m not saying THE TOMORROW PEOPLE quite hits that upper level, but at least it’s trying.

Stephen isn’t left to fend for himself in the “Pilot,” soon introduced to two distinct groups, each offering a choice. The first is made up of other teenagers, instantly recognizable to viewers as the “good guys.” The faces THE TOMORROW PEOPLE focuses on in this gang are Cara (Peyton List, Mad Men), Josh, (Luke Mitchell, Home and Away), and Russell (Aaron Yoo, 21). They have a secret base in the subway tunnels, complete with other fellows, whom are just extras thus far, and a super-computer named Tim. They want Stephen to live with them.

What’s interesting to me is how underdeveloped these characters are, and that’s the “Pilot”’s biggest weakness. Yes, the trio who are main characters have their own personalities, but they don’t have a clearly defined mission, other than just to try to find others like themselves. They need Stephen because of who his father is, but don’t have a cohesive plan on how to recruit him and get him to help them. They just expect Stephen to go along with whatever they say. And they seem to have no lives or relations outside of this group.

Stephen has a second option in Dr. Jedikiah Price (Mark Pellegrino, Being Human), the man at the head of Ultra. Ultra wants to protect mankind by neutralizing the powers of THE TOMORROW PEOPLE, and uses some of those abilities for its own purpose. It’s shady, both in description and action, and so we immediately know these are the villains.

Stephen doesn’t immediately recognize that, though, even when Jedikiah’s claims seem suspect. Considering himself a member of the human race, although many on both sides insist that he’s not, Stephen is sympathetic to Jedikiah’s mission statement, even after he is mistreated by Ultra.

Now, there is a perfectly reasonable explanation as to why Stephen would work for the bad guys, secretly staying friends with John, Cara, and Russell: Jedikiah can hurt Stephen’s family and friend. With something to lose, Stephen is vulnerable to manipulation. The “Pilot” makes it seem like Stephen realizes this, and may decide to cooperate with Jerikiah as a ruse, to protect those he cares about. Yet, the story is murky on this, making it feel like Stephen betrays those we want him to work with, even as the show doesn’t quite lay all this out.

It’s this lack of definition that seems the most obvious failure of THE TOMORROW PEOPLE. A few extra scenes, some more dialogue, and the vulnerabilities in the “Pilot” can be patched up. Which is why I think this will probably be a pretty good show, even if the first episode is only good, not great. That, and Jedikiah is a little too evil for my taste, leaving me wishing the complexity he exudes could be taken further, but there is wiggle room to grow.

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

Moving Out of 1600 Penn

Article first published as Moving Out of 1600 Penn on TheTVKing.

NBC's 1600 Penn is considered a long shot for renewal, and after viewing this week's season finale, I can see why. "Marry Me, Baby" finds President Dale Gilchrist (Bill Pullman) making a disparaging comment about marriage. The cable news frenzy and his political opponents latch one, and one of them discovers that Dale and Emily (Jenna Elfman) may not be legally married. Since the blunder is Skip's (Josh Gad) fault, of course, he helps Winslow (Rene Auberjonois) throw them a White House wedding.

How could a president possible get elected without someone discovering this before now? It's well established that some disapprove of his marriage to the much younger Emily. Surely, someone who doesn't like Dale would have dug up this nugget during the primaries or general election, which stretch for years, and twenty-four hour news cycles will report anything to fill the airwaves. Why does it only come out now?

Worse, all will be forgiven if they just have a ceremony now. Would Dale's detractors really just accept this? For reasonable people, a paperwork mix-up is understandable, and they would look past this. But in the modern age, those in the political arena and the pundits that report on them are often anything but reasonable. This "simple fix" in "Marry Me, Baby" feels completely inauthentic and hollow.

As if that isn't bad enough, Becca (Martha MacIsaac) goes into labor in the middle of the nuptials when Skip sings her birthing song. Dale and Emily still take a second to say "I do" before rushing her to the hospital, because every bad sitcom cliche must be touched upon before the half hour can be over. But one disaster piles on top of another to build to zany and unfunny antics.

That's the problem with 1600 Penn. Despite a charming cast, it plays way too much to convention. It has the chance to be something special, given its unique setting for a half hour comedy, and yet blows it to fit into the standard sitcom mold. It's a lot like the short-lived, hilarious That's My Bush, except that That's My Bush played to such stereotypes for effect, while 1600 Penn seems to think that's what it should be doing, rather than poking fun at itself. It needs the tongue in cheekness to work.

There are a couple of moments where it feels like this might happen. It's fantastic that Dale asks if he always hoses up traffic this much after trying to make it through the snarl caused by Becca's car. This is the sort of observational stuff that really works, and the spark of something that has kept me watching, even when I often don't want to. Unfortunately, such brilliant bits are few and far between.

The horribleness continues when Skip's long-time crush, Stacey (Susan Park), confesses to liking him in "Marry Me, Baby." Where does this come from? Stacey has been a poorly developed character since day one, willingly putting herself in situations that she doesn't want to be, with no depth given to explain the contradiction. This last minute connection between her and Skip feels tacked on and ridiculous.

That being said, there are a couple of good moments in the episode. I love when Emily and Becca connect, and admit their feelings for one another. They have been dancing around this issue for longer than the series has been on, and in such an emotionally-charged situation, it's nice to see them come together, rather than keep battling one another. They probably won't be best friends, but there is understanding and affection present.

I also like the surprise that Becca's baby is born black, meaning that Marshall (Andre Holland) is the father. I admit, I did not see this coming, since Becca never even considers the possibility that the infant could be Marshall's, which makes this twist even less believable. Shouldn't she have wrestled with the possibility at some point?

However, I like it because of the implication that D.B. (Robbie Amell) has no place in the cast going forward, his only connection to the family being that he's Becca's baby daddy, and dropping D.B. is a completely unexpected move. I applaud a twist that one doesn't see coming. Of course, in the unlikely event 1600 Penn does get renewed, they will probably stretch and find a way to accommodate him, no matter how dumb the plot gets to accomplish this, and so ruin any cred they've built now.

I watched this entire season because I adore most of the cast, and they seem to be doing their best at selling the crappy material they are given, which does make the series marginally entertaining. But 1600 Penn is not a show I would recommend watching to anyone else, and also not one I will miss. I hope the talent involved, and there definitely is some serious talent here, soon bounce back in projects that make better use of them.

News of a cancellation of renewal for 1600 Penn is expected soon.