PUBLIC MORALS Cartoonish, But Good

Article originally published as PUBLIC MORALS Review on Seat42F.
 

TNT goes in a bit of a different direction with PUBLIC MORALS. A 1960s-set crime drama from Edward Burns (Saving Private Ryan, The Brothers McMullen), it tells the tale of cops and robbers in New York City. It’s the Mad Men era, but this is the other side of the tracks, those lower income people who think the laws are guidelines, not hard and fast rules. Does the series work?

Well, at first I was taken aback by the style. It’s very specific and consistent, but comes across as cartoonish. I don’t necessarily think that’s a bad thing, though. After watching the pilot, it is clear that the characters and plot are in this same vein, so the costumes and set decoration match the tone that the series is going for well. While PUBLIC MORALS is a hyper reality, no one ever said every TV show must be totally grounded.

The main reason I quickly got over my hesitation and embraced PUBLIC MORALS is because of the cast. Burns not only writes and directs, but stars as Terry Muldoon, who isn’t in charge, but is definitely the most defined force in this world, feeling totally authentic for the piece. Burns has surrounded himself with an excellent ensemble including Michael Rapaport (Justified), Robert Knepper (Prison Break), Ruben Santiago-Hudson (Castle), Neal McDonough (Desperate Housewives), Brian Dennehy (First Blood), Elizabeth Masucci (Shame), Timothy Hutton (Leverage), Wass Stevens (The Wrestler), Katrina Bowden (30 Rock), and more. Many of these supporting players are doing some of the best work I’ve ever seen from them, and those that already have impressive resumes feel like they get this project and meld in seamlessly.

Together, they create a complex world that thrives on shades of gray. As Burns says to his son, the line between hero and asshole is a thin one, with the cops substituting the letter of the law for their own moral code, and working hand in hand with the bad guys when the bad guys stay in line. There are a number of differing relationships between the characters, and PUBLIC MORALS does a good job of painting its reality in just that first hour.

Once introduced to the status quo, the show also spends little time upheaving it. A new officer joins the plain clothes force, and it’s hard to tell if he’s going to be on board with their schemes or a hindrance. Someone who seems like a main character in this initial installment is killed off at the end, which will surely shake up several of the other players and provide a driving force through the season.

PUBLIC MORALS isn’t as brilliantly groundbreaking or as beautifully artistic of many of the cable shows on the air, and it feels a bit strange to be praising it, as those high-quality, original dramas make up much of what I gravitate towards. TNT doesn’t really have any of those, so that’s not surprising. Not everything that happens is realistic, and while some of the story is a slow boil, there’s a lot of fast talking and bits of action, too, so it never gets boring. True Detective or The Killing, this is not.

However, the program knows what it is and makes the best example of the genre that it can, and there’s a lot to be said for that. When coupled with magnetic personalities that suck the viewer right into the world, I find little to complain about. Honestly, I went into this expecting little, and now plan on setting a season pass on my TiVo because I really want to find out what happens next. That’s just about all I can ask for from a pilot, and I look forward to seeing what they do with the rest of the season.

PUBLIC MORALS premieres Tuesday, August 25^th at 10 p.m. ET on TNT.

MOB CITY a Dark, Intriguing Place

Article first published as MOB CITY a Dark, Intriguing Place on TheTVKing.

Not long after AMC kicked showrunner Frank Darabont off of The Walking Dead, a show he developed, rumors swirled that he would make a television comeback. For fans of the zombie series or the movies Darabont has made, which include greats like The Green Mile and The Shawshank Redemption, it's with great satisfaction that we tune into his newest creation, Mob City, which premiered this week on TNT.

Like The Walking Dead, Mob City is an experiment. Six episodes are being produced for the first season as TNT tests the waters with something totally unlike its normal slate. Mob City is a period piece, mostly set in the late 1940s with flashbacks to earlier times, that explores the world of crime in Los Angeles. It's a serial drama, weaving many characters together with interesting, twisty plots. It's also done a bit in the noir style, which you don't see a lot of on television today.

Overall, I'd say this experiment works. The first two instllaments (the initial season will air over three weeks in two hour blocks) are very good, introducing us to characters who we quickly come to care about, but aren't always sure of their motivations. There's a healthy level of mystery to the plot that will draw viewers in, even before they decide if they like the program or not.

Mob City is a little slow-paced, but not as much as, say, Boardwalk Empire, another period piece that does decently well over on HBO. There are a few shootouts and dead bodies in the first night alone, with more to come. The danger and threat level, especially for a limited show, is relatively high, even if several of the main characters are based on real people whose ending may be known. At least those historical figures aren't so famous that everyone knows their tale before the show can tell it.

The cast is truly excellent. Darabont keeps a few of his Walking Dead buddies, with Jon Bernthal playing the lead, Joe Teague, a mostly-good cop who has connections to the mob world, Jeffrey DeMunn as Hal Morrison, head of the task force tracking the mob, and Andrew Rothenberg in a recurring part working for Hal. Robert Knepper (Prison Break, Heroes) does what he does best, playing demented villain, while Gregory Itzin (Covert Affairs, 24) tackles a familiar part as a crooked politician. Neal McDonough (Justified, Desperate Housewives) proves he can do hero as well as he has done bad guy in the past, and Milo Ventimiglia (Heroes, Gilmore Girls) meshes well as Joe's war buddy, now working for the other side.

Believe it or not, while those are the most familiar faces to me, that isn't even all of the wonderful actors starring in this show. Edward Burns (Saving Private Ryan) and Jeremy Luke (Don Jon) play infamous mobsters Bugsy Siegel and Mickey Cohen, respectively. Alexa Davalos (Reunion, Angel) is perfect as the token girl in the cast, a strong woman who tempts Joe to cross the line. Jeremy Strong (Zero Dark Thirty), Mekia Cox (Undercovers), Mike Hagerty (Wayne's World), Daniel Roebuck (Lost), Ernie Hudson (Ghost Busters), and comedian Dana Gould also have recurring roles. With such a deep bench, all of them fantastic, there will be no shortage of wonderful character moments, even after a few of them tragically die.

In the first episode, Joe is approached by a stand up comedian named Hecky Nash (Simon Pegg, Shaun of the Dead, Star Trek), who wants Joe to protect him as he tries to blackmail the mob. Joe agrees, but upon learning a key thing about Hecky, which I won't spoil because it takes awhile to come out, turns on him, a fact Joe is not able to reveal to his bosses, even as he tells them everything else. Yet, Joe isn't about to get himself onto the mob's payroll, and they don't appreciate his refusal, thus beginning a delicate dance between the two sides, with Joe in the middle.

I really like the flashback stuff. In episode one, we see the origins of Bugsy and Sid. While their scene doesn't really inform too much in the present storyline, it is pretty cool. Better, the second hour gives us insight into McDonough's William H. Parker, which is much more relevant. Taking that break, giving us the back story, is useful when used sparingly in this manner.

Now, there are a few gratuitous scenes. The aforementioned opening to the pilot, "A Guy Walks Into a Bar," involves some violins and a baby carriage that make the moment memorable, but don't necessarily scream realism. Later, there's a bit with Sid in a confessional booth at a church that seems purposely designed to shock and offend. Maybe these aren't necessary, but they do put off a tone and style that will set Mob City apart, and do fit the comic book-noir mashup that seems to be happening.

Overall, I really enjoyed the first two episodes, and I look forward to seeing what Darabont and his highly talented team will do with the rest. It's definitely already the best series on TNT. Mob City airs Wednesdays at 9 p.m. ET.

You might be tempted to join this CULT

Article first published as CULT Series Premiere Review at Seat42F.

Grade: 88%

As the CW’s new pilot of CULT, entitled “You’re Next,” begins, Detective Kelly Collins (Alona Tal, Supernatural) searches for her missing sister, whom was last seen in the company of cult leader Billy Grimm (Robert Knepper, Heroes, Prison Break). Kelly thinks Billy has taken her little sis to strike a blow against Kelly personally, since she also used to follow Billy, and he didn’t take her leaving well.

So CULT is a crime drama then, with the heroes having to do battle against a mysterious sect that brainwashes their followers and makes them disappear?

Not even close. Instead, the version of CULT that stars Kelly is a series called CULT that exists within the world of CULT, both of which air on the CW. And Billy, while just an actor named Roger Reeves, also pops up everywhere in the real world, presumably mostly in advertisements for the show, layering the same level of creepy that he has done on screen, until one is convinced he may be connected to actual crimes. Confused yet?

Well, that’s not even the half of it. Former reporter Jeff Sefton (Matthew Davis, The Vampire Diaries) is looking for his own brother, Nate (James Pizzinato, Alcatraz), whom has gone off the grid in a large and bloody way, and, get this, Nate is a super fan of the CULT within a CULT. All of the clues Jeff finds point to the fact that the show is more than just a show, and there are shady people out there who take the whole thing very, very seriously.

Plus, both the fictional and real CULT bear the same title and ending cards.

CULT is the epitome of meta in an internet age where meta is the trend. The makers of CULT are hoping that real life fans get involved in the show, though hopefully not in a criminal way, as the fans in the show do, and make this part of their lives. Every word supposedly means something, every scene contains a clue, and an intricate web of mystery is being spun. This is pounded in viewers’ heads so fervently that there is no way to miss the point.

Now, this is the CW, so there are limits into what CULT will do. However, given that the cast isn’t dominated by a bunch of teenagers, romance is barely a whisper in “You’re Next,” and the writing in the first episode seems smart and tied together, this could just be something different that broadens the network’s appeal.

Obviously, the CW is hoping to capture the same population segment who enjoy The Vampire Diaries and other supernatural dramas, even reusing performers from their other franchises. But they are also building something special, something that could itself garner a cult following, and something that might make a splash in the television landscape.

One example of what I am talking about is when, late in the hour, we learn that Jeff is fired from his job at a reputable newspaper because he fabricated a source for a story. This means that Jeff is not a reliable witness, and thus, even viewers may doubt his sincerity and motivations. It’s a nice twist that could keep the direction of the plot shrouded in darkness. But instead of embracing it full on, the show has a character named Skye (Jessica Lucas, Melrose Place, Cloverfield) who believes in Jeff, and thus, we believe in him, too.

Skye works for the network, which gives the series an excuse to venture on set frequently. She is a lowly researcher, though, so her position is expendable, and she can miss work for periods of time without arousing suspicion. It’s a good role to cast her in, someone who has reason to be suspicious about the real-life following, who is open to conspiracy theories, and who has a believable inside track.

While CULT only boasts four main characters, there are a myriad of other players, such as: Marc Segal (Andrew Leeds, Bones), a network executive who wants to help CULT blow up; Kirstie (Marie Avgeropoulos, The Inbetweeners), an apparent cult member who arranges for Marc’s kidnapping; Detective Sakelik (Aisha Hinds, True Blood), the cop assigned to Nate’s disappearance, and who has a tattoo that might connect her to the villains; and Gary Fisher (Tom Amandes, Parenthood, Eli Stone), who works for CULT and dismisses Skye’s concerns out of hand.

What this means is there are a lot of different directions that the story can go, and keeping viewers guessing will be a main draw of CULT.

Only time will tell if CULT can pull off what they’re trying to do. The first episode is promising, but sustained surprises over time is much more difficult, and it’s unknown if it can maintain the quality. A great genre series is a marathon, not a sprint. But at least CULT is coming strong out of the gate.

CULT airs Tuesdays at 9 p.m. ET on the CW.

Breakout Kings delivers respectable "Pilot"

     After an extremely disappointing first foray into scripted television with The Glades, A&E is trying its hand again with a rejected FOX pilot, Breakout Kings. The differences between the two are enormous. Breakout Kings would be better compared to Leverage, except the pilot has me thinking Kings will be a darker, edgier, better developed version. Which is good, because I got bored with Leverage and stopped watching awhile ago. Unlike Leverage, the main characters are immediately given some real depth. Plus the cast is just plain better.

     The concept is that several cons will work with the U.S. Marshals to catch fugitives in exchange for reductions to their sentences. Four are chosen, but one is quickly kicked off the team, so we are left with three. Lloyd (the fantastic Jimmi Simpson, Psych, It's Always Sunny in Philadelphia) is super smart, especially at reading people, which probably contributed to whatever gambling-connected illegal activity got him into trouble. Shea (Malcolm Goodwin, American Gangster) can pick a lock or drive in a high speed chase equally well. Philly (Nicole Steinwedell, The Unit) is a sexy con woman, who regrettably will be replaced in episode two by Erica (Serinda Swan, Smallville, Percy Jackson).

     They are joined by Ray (Domenick Lombardozzi, The Wire) a loose-with-the-rules cop that once caught them, now secretly also a con, and Charlie (Laz Alonso, Southland, Avatar), the boss. The two struggle for leadership for much of the pilot, though Ray eventually defers to Charlie. This seems strange, given his personality, until the ending twist that Ray is no longer a cop, and is as much making a deal as the other cons. Also present at their office is Julianne (Brooke Nevin, The 4400, Call Me Fitz), a woman with social anxiety problems whom Ray is protective of for reasons still unknown.

     The con the group goes after in the pilot is interesting, as he is extremely smart and keeps them scrambling. However, my main interest in the case of the week is how he tests the central cast. Lloyd, Shea, Philly, Ray, Julianne, and Charlie all have to contribute to his take down, so we get an immediate look at each character's specialty, and how they will contribute to the whole. I can't imagine how effective the booted con would have been, as he appeared to be there for muscle, not exactly a need for this task force. I think his presence in the beginning of the episode is merely to show that Charlie means business and will not hesitate to remove anyone who will not cooperate.

     My main worry going forward is that Breakout Kings will devolve into a procedural. There is certainly the potential for that, but I feel the series will be stronger if it focuses on each of the central group. What is Ray's connection to Julianne? Why is Lloyd in jail? Is there a bit of a romance brewing between Julianne and Lloyd, or is he just there to help her with her issues? Why has Charlie agreed to this task force? What is the motive for participating for Ray, other than that he can be a cop again, and this was his idea? We get a little less background on Shea at this point, and I will withhold my questions about Philly, since they likely won't be answered, sadly. Erica better be as good, and that's a tall order.

     Despite my gut distaste for procedurals, a balance would work okay. There are a number of great shows that blend the serial and the procedural elements together to form a satisfying mixture. As long as there is continuous character development and unfolding background, the show can bring in a new bad guy to catch every week without being a total waste of time. Even cooler would be a bad guy who eludes them for numerous episodes, which just may be on the horizon.

     I'm very much looking forward to Robert Knepper reprising his disgustingly sleazy T-Bag on the show for four episodes. T-Bag was a main character in Prison Break, a former favorite show of mine, and Knepper was one of the best parts. It has been announced that T-Bag will be in Breakout Kings. When he last saw the one-handed molester, he was back in prison, after a couple of break outs, so I'm assuming he will escape again. This time without Michael's help. I will likely refresh my memory with some PB DVD re-watching, and I recommend you do the same. That goes double if you have never seen the show.

     Breakout Kings airs on A&E Sunday nights at 10 p.m. ET, and reruns throughout the week, so there is still time for you to watch the pilot before episode two premieres next weekend.

Article first published as TV Review: Breakout Kings - "Pilot" on Blogcritics.

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Heroes begins a brave new chapter

     Last night NBC's Heroes completed their fourth season, fifth volume.  While it was a good ending to Samuel's (Robert Knepper, Prison Break) carnival, the most interesting parts of the episode had nothing to do with this season's new characters.  Instead, Heroes will continue to fuel a new creative resurgence by making its core characters interesting again.  For example, Hiro (Masi Oka) also got a bittersweet ending to his quest, finding his beloved Charlie (Jayma Mays, Glee) had already lived a full life without him. She helped Hiro understand what Ando (James Kyson-Lee) had been hinting at, that Hiro would only interfere more with her for him own sake, not hers.

     Sylar (Zachary Quinto, Star Trek) appears to finally be ready to make amends and become a full fledged hero.  This plot has been toyed with before on the show, but the writer's threw circumstances and obstacles at him to drag him back down.  Despite some bad choices (his plot for the entire first half of the season), leaving him and Peter (Milo Ventimiglia, Gilmore Girls) alone in a mind trap for five years, to their perspective, led to acceptance and forgiveness I never thought possible.  It allowed Sylar the time, free from distractions, to come to grips with who he is versus who he'd like to be, something he was already grappling with before his entrapment.  And Peter, who is often dull, got to deal with the death of his brother, and proved that he is a real hero in how he relates to others.

     The best part of the episode, however, though I never expected to write these words, was Claire (Hayden Panettiere).  She came to terms with the dark side of her father, Noah (Jack Coleman, Dynasty) and grew up enough to make her own life choice.  In fact, this development made the Volume Six teaser at the end not only Heroes's most exciting one, but also more stunning than the actual Volume Five finale.  Deciding to reveal who she was to the world at large, and that there are people with gifts walking among us will rock the Heroes universe in a way that no other plot twist has.  Again, this direction was played with earlier in the series, but abandoned.  It's nice to see it embraced.

     Sadly, there was no similar fitting revelations or triumphs for one my favorite actors, Greg Grunberg, (Alias) who plays the character of Matt Parkman, and seems to have run his course at present.  Hopefully, that will be corrected early next season.  Heroes will likely return to NBC in the fall, though the decision to renew it is not yet final.  However, if this was the end, a lot of fans will be very angry at the giant cliffhanger and enormous potential left untapped.

Heroes down but not out

    Many fans of NBC’s Heroes have fled, claiming the show will never be as good as it was in the first season. Truthfully, I feel the first season was ok, but the second season was the zenith. That was when Kristen Bell (Veronica Mars) and David Anders (Alias) joined the cast. They were signed to become full time characters, but a shortened season, because of the writer’s strike, and failing ratings interfered, and both ended up leaving early in season three. I agree, that the show has floundered unevenly since then, but don’t give up hope yet.

      This week’s episode, “Strange Attractors”, proved that the show can be good, and not just when Hiro and Ando are the focus, as the popular Japanese duo sat this one out entirely. Look for more of them next week when Hiro goes back in time save his love, Charlie (Glee’s perky guidance counselor, Jayma Mays). Anyway, Claire has FINALLY become interesting, trying to lead a normal, college life and possibly falling in love with the wonderfully understanding Gretchen (Madeline Zima from The Nanny and Californication). I hope Gretchen sticks around, and Claire goes for it. The comparisons between her and one Buffy Summers have been quite evident, but unlike Buffy, Claire’s lesbianism should stick.

      Nathan and Peter have had much reduced plots, which is welcome, as they both tend to make the plot drag. As the real Nathan is dead, one can only hope that the actor will be leaving the show soon as well. Of course, Zachary Quinto’s Sylar, living in two different places at once, is richly enjoyable. That show will never shortchange that actor if they know what’s good for them. Plus, I am really digging Robert Knepper, fresh off a fantastic four year stint on Prison Break. It’s not certain what is going on with him and his mysterious circus, but he is acting the hell out of the role.

      Unfortunately, not all is clear skies. HRG is actually trying to do good, and not doing very well at it. He has always been a favorite character, and after the dissolution of his marriage and the loss of his job, does he keep having to get beat on? Also, Mohinder has been missing for quite awhile, though word is he will be back soon. But will he be back full time, or just as a guest star? Lastly, the less they focus on Ali Larter’s character(s) the better. I think it’s time she leaves for good, though I wouldn’t object to her son, Micah, returning to the show.