PICARD Engages

Article first published as TV Review: STAR TREK: PICARD on Seat42F.

I am a huge STAR TREK fan from way back. Even when I didn’t watch much television, I watched STAR TREK (admittedly, mostly the films and spin-offs; I was an 80s kid). I mourned it when it went away, and forced myself to be excited by the movie reboots of the last decade, even though I now admit that only one of the three is any good. (It’s Star Trek: Beyond, for the record, despite a few flaws.)

So when CBS All Access started bringing STAR TREK back, I was super excited. I mean, not about All Access, which is an overpriced gouging of Trek fans. But about the content. Star Trek: Discovery is amazing, a fitting evolution of the franchise that honors the legacy. The Short Treks series are more of a departure, sometimes experimental, but also very good on the whole.

And now, we have STAR  TREK: PICARD. Jean-Luc Picard is one of my favorite characters, and Patrick Stewart is a fine actor inside and outside of Trek. It’s a tall order to continue his story, and the modernization of Star Trek as evidenced by Discovery and Short Treks, not to mention Stewart’s own standards, demanded it be more than just a continuation of The Next Generation.

Three episodes in, it is succeeding admirably by just about every measure. Stewart is delivering a mesmerizing performance that imagines a future very different for Jean-Luc than where we left him, but in line with The Next Generation series finale, “All Good Things,” and the Romulan and Starfleet developments we know about in the intervening years. It’s a slow burn mystery, perfect for Picard the Dixon Hill fan. It embraces the aging themes of the excellent Kirk-led motion pictures, and also tells us something completely new. It’s a character study of a man who has been disillusioned and dissatisfied, but is determined to restore himself to someone he can live with before he dies. Yet, desperation is not present, instead showing his core personality tempted by discovery.

If that were all STAR TREK: PICARD was, it would be enough. And yet, it’s not. It’s a truly interesting story of Romulan politics and lore, a feat because I never found the species all that intriguing. It brings in lots of hanging plot threads from The Next Generation that I wish had been explored in a more serial nature and now they get to be. Data (Brent Spiner) is dead, but his presence haunts Picard and informs the current story, with dream sequence cameos feeling meaningful and necessary, not gratuitous, especially that perfect opening of the show with the Enterprise-D rendered more beautiful than it ever has been before. We hear again about Dr. Maddox (he’s got to be coming back, right?), Hugh (Jonathan Del Arco), the Borg, and so much more. Thank goodness, they left B4 in a drawer, right where he deserves to be.

The new characters are as equally fascinating as the lead. Raffi Musiker (Michelle Hurd, Blindspot) and Chris Rios (Santiago Cabrera, Big Little Lies) are new versions of Starfleet officers, those no longer with the service for traumatic reasons, a character type hinted at in Deep Space 9 and echoing Picard’s current status. Soji (Isa Briones, Takers) is deliciously unpredictable and hard to define yet. Narek (Harry Treadaway, Penny Dreadful), Commodore Oh (Tamlyn Tomita, The Good Doctor), and Lt. Rizzo (Peyton List, Mad Men) are a cadre of magnetic villains. Dr. Jurati (Alison Pill, The Newsroom) is terrific heart and comic relief. I love Zhaban (Jamie McShane, Bloodline), and Laris (Orla Brady, Fringe) has quickly become one of my favorite Trek characters of all time. I will be heartbroken if we don’t check back in with those latter two in the vineyard as the season progresses. Also, Voyager’s Seven (Jeri Ryan) hasn’t even made her much-anticipated return yet, which will surely be great.

By finding the most promising bits of TNG to continue and letting the story and situations evolve as circumstances and modernity demand, STAR TREK: PICARD is a triumph and perfect example of how to do a continuation decades after the original. It has something new to say, but is very much rooted in the existing mythology. It makes us rethink the TNG episodes as we realize the idyllic future we all admired from that show existed on the Enterprise, but not everywhere else (as DS9 also pointed out). It’s truly an amazing series that I am totally hooked on because of strong writing, direction, acting, and perspective.

Like I said before, All Access sucks in its pricing and depth of offerings. But you can’t miss this show, so I recommend you do as I have done, suck it up, and just give CBS your money. STAR TREK: PICARD deserves to be seen.

New episodes currently release Thursdays on the streaming service.

Seeking SALVATION

Article first published as TV Review: SALVATION on Seat42F.

CBS has a new summer drama premiering tonight, SALVATION. Humanity is only six months away from being wiped out by an asteroid impact, but almost nobody knows it. When MIT grad student Liam Cole brings the event to the attention of billionaire inventor Darius Tanz, Tanz rushes to the Pentagon to assist in a plan to stop it. Deputy Secretary of Defense, Harris Edwards, assures them that it’s already under control, but he’s definitely lying, even to his inappropriate sweetheart, an employee under him, Pentagon Press Secretary Grace Barrows. Can Tanz and Cole save mankind without the government’s help?

CBS likes to do light science fiction fare in the summer, and SALVATION is no different. Like The Dome or Zoo, it involves a disaster, though this one is a bit less mysterious, and a couple of heroes that must save everyone because, apparently, they are the only ones capable of doing so. It’s like a popcorn action movie spread out over ten to thirteen episodes, with only superficial or generic characters development amid the emergency that the focus is on. It would not be a bad concept to do in the 1990s. In the middle of Peak TV, shows like this are likely to be ignored, not enough quality present to compete with year-round great series.

The biggest thing the show has going for it at the outset is casting Jennifer Finnigan (Tyrant, Close to Home) as Grace. Finnigan is a fun actress who I have enjoyed in many projects previously, and was the biggest reason I had hope for this show. Her primary story is a predictable, though. She’s at the verge of changing careers so she can be with Edwards (Ian Anthony Dale, Hawaii Five-0), but then learns he is keeping secrets from her, casting her decisions in doubt. Another subplot involving her daughter works for the emotional heft needed in episode one, but doesn’t seem to have legs. I hope she is better used going forward, but there’s just not enough meat for Finnigan in the pilot.

The male leads, Santiago Cabrera (Heroes, The Musketeers) as Tanz and Charlie Rowe (Red Band Society) as Liam, aren’t bad, but neither are they magnetic. Instead, they seem to be relatively stock characters themselves, with their complexity coming straight out of a dozen other stories featuring leads that are strikingly similar.

Somewhat interestingly, Liam begins a romance with an aspiring science fiction author, Jillian (Jacqueline Byers, Roadies), just before things get started. If the relationship weren’t so rushed and stereotypical, I might be more interested in how fiction will clash with reality, which is an avenue worth exploring. Provided, of course, SALVATION doesn’t go the Castle route and just make it ridiculously unrealistic, ignoring the actual possibilities of such a plot. (I maintain Castle worked because of Nathan Fillion; anyone else would have struggled to make it watchable.)

I don’t dislike Salvation. As someone that enjoys the genre, I am tempted to watch. The problem is, there needs to be some hook besides the general premise. For instance, last year’s BrainDead was quirky and charming, with great musical recaps at the beginning of each episode, plenty to keep me hooked through the whole single-season run. SALVATION seems to lack that.

In short, there’s a compelling storyline in here somewhere, and there are even some intriguing elements to SALVATION that could make it must-see for sci-fi fans. However, it seems underdeveloped, its characters superficial, which is disappointingly as-predicted for broadcast network summer fare. If CBS would just take the season a little more seriously, get some heft behind a project like this, they would be back in competition with the superior cable networks. But it’s clear already that SALVATION is not going to be the vehicle to do that.

SALVATION premieres tonight at 9/8c.

Be "Friends" With THE MUSKETEERS

Article first published as THE MUSKETEERS Review on Seat42F.

BBC America will begin airing the British adventure series THE MUSKETEERS this weekend. Yet another retelling of the classic Alexandre Dumas novel, it’s the story of how the bold D’Artagnan (Luke Pasqualino, The Borgias) meets up with a trio of swaggering swordsmen, eventually joining their noble company. It’s a familiar enough tale, and THE MUSKETEERS doesn’t stray too far away from the source or spirit, at least initially.

The opening of the pilot, “Friends and Enemies,” is about as cliché as anything I’ve seen in years. It begins in the rain with stock dialogue that could have been taken from anywhere and a showdown that a child could predict the outcome of. It’s not a good start, and may turn many off.

But stick with the hour and you’ll start to see something several notches better than that. True, there are a number of scenes throughout “Friends and Enemies” that are trite and cheesy and dumb. However, there are also several moments of actual character development and excitement, with some energetic action sequences. This pilot is a blend of a series I would never bother with and one I’d be a stalwart fan of. Which will win out?

According to critic reviews from England, where the first season has already aired and a second has been ordered, by week three THE MUSKETEERS gets good. This is pleasing news, indicating that the writers likely build upon the things that work, ditching those that do not.. Unlike, say, the recent drama Atlantis, which is a totally schmaltz-fest, there are some neat elements tucked into this installment, and nurtured, it could be something cool, a new popcorn series set hundreds of years ago in France, though thankfully performed in English, with accents, of course.

The cast seems pretty solid. The three leads, other than D’Artagnan, are Athos (Tom Burke, The Hour), the leader, Aramis (Santiago Cabrera, Heroes), the lover, and Porthos (Howard Charles, &Me), the schemer. The chemistry in the group is terrific, and their witty lines tend to be some of the best of the show. Their established bond and the arc of taking D’Artagnan under their wing works well, and each is featured about as much as the others, providing a balanced ensemble.

THE MUSKETEERS immediately establishes some good arcs on which they can build a season. D’Artagnan’s initial quest is complete in “Friends and Enemies,” and I think many viewers are bored of a procedural format. Luckily, this program is a serial, with multiple plot lines that will take many weeks, or even years, to play out.

The central villain, Cardinal Richelieu (Peter Capaldi, the next Doctor Who), is a Jafar-esque figure, advisor to the malleable King Louis (Ryan Gage, The Hobbit films). He is undermining the monarch and stealing power for himself. The titular heroes are in his way, and so he is determined to get rid of them, more for his own goals than any personal vendetta.

Capaldi plays the role with the right mix of slime and intelligence. He does seem a little too obviously nefarious in some scenes, but THE MUSKETEERS is more light and broad than dark and heavy, so he gets away with it, cartoonish in an acceptable manner. He’s definitely evil, no shades of gray here, but Capaldi is convincing in the role, almost making the part believable.

And there are women, too, because sex sells. Aramis is in bed with someone that likely will get him into trouble right off the bat, while D’Artagnan also catches the eye of a woman who is spoken for, Constance (Tamla Kari, The Inbetweeners Movie). Toss in Milady (Maimie McCoy, The Libertine), who is more than what she first appears, being connected to one of the leads and working against him, and there’s a larger than expected number of females for a show that is mostly made for men, revealing the modern sensibilities of those who make the series.

As one might surmise, I have mixed feelings about this pilot, but am optimistic about the chances of the show being worth watching. It’s a fun romp in an historical setting, and should be enjoyable enough for most audiences. THE MUSKETEERS airs Sundays at 9 p.m. ET on BBC America.

"The Wake-Up Bomb" explodes all over Covert Affairs

     USA's Covert Affairs returns for a fall run with "The Wake-Up Bomb." On assignment in Venice, Annie (Piper Perabo) loses her target package. Taking things rough, she returns to the states, and indulges in a bit of alcohol. At the restaurant, she meets a charming Spanish chef (Santiago Cabrera, Heroes, Merlin). The next day, by coincidence, Joan (Kari Matchett) assigns Annie to watch the chef. It's really his brother (Matias Padin, Nya tider) who's the villain. Meanwhile, Jai (Sendhil Ramamurthy) makes a play that results in a major promotion, using his father, Henry (Gregory Itzin), as a pawn.

     Jai is turning out to be quite interesting. After being wasted for most of the first season, a fact that does not escape the character's own notice, Jai begins rebelling in season two. With his reputation way down, the only way he sees to raise it again is to trick Henry. Considering there is little love lost between father and son, and the son appears to be in the right, it's hard to blame Jai for his actions. Pretending that he is ready to testify on the hill about Henry being the leak, and quietly making sure his father knows this, Jai is named Director of Special Projects, and gets his own office. Henry actually reacts quite well when he realizes the truth, thinking Jai is finally showing promise. It's that twisted logic that proves Jai is better off without Henry's influence. Hopefully his future activities will help bring Henry down.

     Annie also has family problems, and also because of lies. Annie hopes that apologizing to Danielle (Anne Dudek), after giving her time to cool off, might reverse her sister's decision to kick Annie out of their home. It doesn't, but that's a good thing. Many series would let the status quo reset, but not Covert Affairs. Annie is setting up new digs, and it looks like while Danielle will forgive her sister, opening the door to a renewed relationship, she isn't going to let Annie back on the premises anytime soon. This is understandable, because Danielle has her kids to worry about. It's also realistic, making the case for great chemistry between the girls. Great job, writers.

    Of course, the highlight of almost any episode is any Annie / Auggie (Christopher Gorham) interaction, and "The Wake-Up Bomb" is no exception to this rule. Annie finally begins setting up a safe house, something Auggie has encouraged for awhile. She does slip up and tell him the general part of town it's in, even though he insists no one must know the location, including him. It isn't really a slip up, though. More, Auggie is Annie's closest friend, and the guy she trusts most. His housewarming gift of a bottle opener is as sweet as it is funny. Would the two of them hurry up and get together already? They could certainly handle more than a platonic relationship.

     The case of the week in "The Wake-Up Bomb" is pretty cool. With Annie open for a new relationship, her chef buddy seems promising. Their chemistry is great. Except, she isn't allowed to date a foreign citizen. And he is a reformed criminal with a brother who isn't so reformed. So, instead, we get an interesting story, with a few twists, and guest starring character that have a bit of depth. This raises the story to a higher level, and boosts Covert Affairs as a better series. With plots of the week at this caliber, it helps keep the show a tolerable procedural. Well, that, and above serial stories are pretty good, too.

     The only very weak point, and granted, it's a biggie, is that Annie just happens to hang out with the chef the night before he is assigned as her target. Seriously? Come on! Coincidences that big just do not happen.

     All in all, Covert Affairs is growing into a better series than it began as. If it continues this trend, it will quickly become a must-see show, something it isn't quite at yet, but on its way to. Watch is Tuesdays at 10 p.m. ET on USA.

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