On YOUR HONOR

 Article first published as TV Review: YOUR HONOR on Seat42F.

Bryan Cranston returns to television in Showtime’s new drama YOUR HONOR, which premiered last night. Cranston plays a respected judge named Michael Desiato who is kind-hearted and takes justice seriously, even investigating witness stories on his own sometimes. So when, on the anniversary of Michael’s wife’s death, his teenage son accidentally hits a boy on a motorcycle and kills him, Michael’s first instinct is to do the right thing and drive his son to the police station. But the identity of the victim changes the judge’s mind, and now he’s in a desperate attempt to coverup the crime.

Michael Desiato doesn’t seem anything like Cranston’s Breaking Bad character, Walter White, other than the love he has for his family, which Walt seemed to lose over time, but Michael probably won’t. If not for the exact specific circumstances surrounding the boy’s death, Michael would have tried his best to help his son, but through the proper legal channels. He wants to handle it above board, and that is noble, something not every parent could bring themselves to do when their child’s freedom is on the line. We get a chance to see who this character really is before things go down.

YOUR HONOR also follows Michael’s son, Adam (Hunter Doohan, Truth Be Told), during the incident, and his case is sympathetic. Grieving his lost mother, scared of a perceived threat of violence from others, and suffering an asthma attack, one can see how the wreck occurred while still remaining sympathetic to Adam. Even when the teen flees the scene and tries to get rid of evidence, it can be chalked up to panic and shock. Adam knows he must turn himself in, and doesn’t fight it when his father tells him so. In fact, Adam doesn’t seem to want to keep hiding the truth when Michael first decides they have no choice but to hide it. He seems like a good kid in tragic circumstances that made mistakes but will accept responsibility for them.

The twist is that the boy Adam hits and kills is the son of Jimmy Baxter (Michael Stuhlbarg, Boardwalk Empire), a notorious crime lord. And both Jimmy and his wife, Gina (Hope Davis, For the People), are determined to find the person who murdered their son. It is heavily implied they do not want justice so much as revenge, and should Adam turn himself in, he would likely be quickly murdered in jail. Hence Michael’s decision not to let his son be arrested, as much as that makes sense under any other circumstance.

Admittedly, the coincidences in YOUR HONOR pile up quickly. The story seems unrealistic because of just how much has to happen to set up the exact scenario described above. Recent real-life events over the past few years make even the most unlikely thing more believable, in my opinion, but there is a certain amount of “Really?” baked into the premise that will likely give some viewers pause, and as many negative reviews of this show have pointed out.

To me, I think Cranston is a phenomenal actor, and the rest of the cast is very talented, too. The story is interesting and compelling, and the character reactions are relatable. I thought the death scene got too gory, and perhaps Michael’s demonstration of principle early in the pilot was a bit heavy-handed, but other than that, I did enjoy it immensely. A plot twist another reviewer spoiled about Adam’s girlfriend, which will be revealed in an upcoming episode, does make me groan, but overall, I am deeply intrigued and plenty prepared to watch this series, which seems certain to just be a miniseries, rather than a years-long story. YOUR HONOR is not without flaws, but my impression of the initial installment is that it’s pretty good and worth a look.

If you want to decide for yourself, new episodes of YOUR HONOR air Sunday evenings on Showtime.

What Is THE COMEY RULE?

 Article first published as TV Review: THE COMEY RULE on Seat42F.

Showtime presented a two-part miniseries this week entitled THE COMEY RULE. Based on the book A Higher Loyalty by James Comey himself, it tells the former F.B.I. director’s version of events during the 2016 presidential election and the period immediately following. It is a biased account, to be sure, and it’s unlikely the majority of Republican voters will give it a chance to tell Comey’s side of the story. But that’s part of the point, and there’s a cautionary tale here worth listening to.

Jeff Daniels (The Newsroom) stars as James Comey, which immediately lends gravitas to the official, probably more than he deserves. Comey’s perspective throughout is that he must stay morally pure and apolitical, even as his agency is forced to wade into politics, first with the investigation into Hillary Clinton’s emails, and then with Donald Trump’s connections to Russia. Throughout, Comey is faced with impossible decisions about what to reveal and to whom, and he stays steady, following his own judgment and code of justice. Viewers will feel his pain and root for him, despite knowing the fate that awaits.

Now, even in THE COMEY RULE, there are plenty of people who disagree with Comey at nearly every step. His wife, Patrice (Jennifer Ehle, The Looming Tower), wants him to help Hillary, as do his four daughters. (His two sons never appear nor garner a mention.) His employees, who genuinely seem to respect and care about him, also argue some of the decisions he makes. The whole miniseries is couched in Rod Rosenstein (Scoot McNairy, Halt and Catch Fire) lamenting to a subordinate that Comey didn’t have to shoot himself in the foot.

However, THE COMEY RULE asserts that Comey is right and the rest are wrong. It talks about Comey’s arrogance, but in Daniels’ performance, it feels more like heroism than ego. There is one protagonist, and this series paints him in an almost saintly light.

That isn’t the only skewed point of view. Attorney General Loretta Lynch (Michael Hyatt, Snowfall) and most of the Department of Justice are seen as ineffectual and weak, at best, incompetent at worse. On Comey’s staff, we see Peter Strzok (Steven Pasquale, Rescue Me) and Lisa Page (Oona Chaplin, Game of Thrones) sleep together (well, no sex scenes, though there’s enough to make it obvious), but none of the scandal that resulted from their relationship is shown. This doesn’t feel fair and balanced, nor very realistic to the actual events.

Of course, Donald Trump (Brendan Gleeson, Mr. Mercedes) and his henchmen come across as villainous. But honestly, how could any sane or reasonable telling of events show them any other way? That’s not a political statement, that’s just fact, given the actions taken and the words spoken, many of which have been collaborated in real life or seen in full public view. Nor does THE COMEY RULE make any excuses for them.

There is a message worth hearing in THE COMEY RULE, though, and that’s that institutions and what is right alone cannot protect us. Not now; not with the current administration. One can quibble over if Comey should have said anything about Hillary’s emails or revealed the F.B.I. was looking into connections between Trump and Russia, and those are worthwhile debates to have. But at the end of the day, Comey thought that acting in good faith and relying on the system and norms would save him, and not only was he wrong, but all of us have been living with the consequences of it. That isn’t an assertion that Comey should have or could have spared us from a Trump presidency, but more a lesson to anyone that thinks the same way he does.

November is right around the corner, and I’m glad THE COMEY RULE aired now. Even if it will only be watched by liberals (and the smart Republicans that have defected), as well that small number of independents, it’s important to hear. We can’t afford to let this go on, and Trump must be stopped. Which cannot be done without overwhelming support rising up to stop him.

The miniseries may be somewhat mediocre, despite fantastic performances by far more fine performers than those listed above. But the message is anything but.

Watch THE COMEY RULE now wherever you stream Showtime programming.

WE HUNT TOGETHER For the Best TV

Article first published as TV Review: WE HUNT TOGETHER on Seat42F.

This weekend, Showtime premieres the drama WE HUNT TOGETHER. Made by BBC Studios and already aired overseas, the six-episode run is now making its stateside debut. It follows two serial killers, who may be in love, or possibly the attraction is one-sided, as well as two detectives that don’t seem to get along at all who are hunting the murderers. Which pair will you root for and who will win?

Honestly, WE HUNT TOGETHER doesn’t feel all that fresh. Yes, it has two pairs instead of one, but the British crime drama of cops hunting a killer is now so well established that there are dozens of other shows to compare it to. It’s become as tired and overdone as American procedurals, helped along only by the fact that the seasons are shorter (and storytelling is serial), and the accents and locales are slightly exotic. Yes, it’s well-written and well-performed, but so is pretty much every other program in the genre.

The detectives are played by Eve Myles (Torchwood) and Babou Ceesay (Into the Badlands). It’s great to see Myles in a regular role again, and DS Lola Franks is delightfully grumpy, a bit of a departure from her most well-known role, though not exactly a new archetype. Ceesay’s Jackson Mendy is a bit more original, an always cheery man who also works with internal affairs, investigating crooked cops. You would think that would make Mendy jaded and suspicious of his fellow officers, but Franks is the one who views him with a wary eye. The joyful detective is something pretty new, usually a character like this being outside the force or in a supporting role, so their scenes play better to me than the others.

The opposing side of WE HUNT TOGETHER follows Freddy Lane (Hermione Corfield, The Halycon) and Baba (Dipo Ola, Baghdad Central). The chemistry between them is instant, or so it seems, given the circumstances of their meeting. Freddy seems attracted to Baba right away, but could that be because he saves her? She then uses his obvious mutual feelings to manipulate him into helping her kill people. The first guy they take out is a real jerk, but who knows who their next victim will be? Is Freddy delighted to find the Clyde to her Bonnie (with murdering), or is she just using Baba to do her dirty work? It’s impossible to tell from the initial premiere.

WE HUNT TOGETHER is enjoyable; don’t get me wrong. I’m sure the story can sustain viewers who are interested through six installments. But with KILLING EVE being the premiere cat-and-mouse thriller of the moment, and with the myriad of other shows in the vein, will this one stand out? I’m just not sure it will.

Why did Showtime buy the drama, is my question. It doesn’t seem super on-brand for them, unless they’re branching out. Their series tend to be more outrageous than WE HUNT TOGETHER, which is relatively grounded. If they’re trying to fill programming at a time when filming has basically stopped, it seems a little early to be pulling from the international well. Other networks have this niche covered, and it seems weird Showtime would want to compete for the corner. Especially when I’m sure there are foreign shows they could pursue that are more in their wheelhouse.

Whatever the reason, WE HUNT TOGETHER is good, not great. Or maybe it would have been seen as great if it didn’t open itself up so fully to comparison of others. The fact that the show hasn’t even rated a Wikipedia page yet, months after its British premiere, should tell you something about its chances at longevity.

WE HUNT TOGETHER airs Sundays at 10PM on Showtime.

GOD-Like

Article first published as TV Review: ON BECOMING A GOOD IN CENTRAL FLORIDA on Seat42F.

This review contains spoilers for the pilot only.

SHOWTIME’s latest series is ON BECOMING A GOD IN CENTRAL FLORIDA. Set near Orlando in the early 1990s, the series follows a widow whose husband invested heavily in a pyramid scheme, leaving her deeply in debt and desperate to support herself and baby. Can she navigate manipulative individuals and become the most conniving of them all? Or can she escape this life and find normalcy?

ON BECOMING A GOD IN CENTRAL FLORIDA feels very familiar to those of us who have been around a few decades. Amway and other multi-level marketing companies had a big boom awhile back, and some are still around today. There’s also something very specific about the place and time, perhaps more recognizable from pop culture and shared references than reality itself.

Which does not mean the show is a parody of anything. That’s what it might seem at first glance, but it’s far too nuanced, layered, and relatable to dismiss it as just that. The parts referenced above are the comedy part of the premise, but there’s also a deep infusion of drama present.

Chief among the driving emotion is protagonist, Krystal Stubbs (Kirsten Dunst, Fargo, Bring It On). Krystal is grief-stricken and furious at her husband, Travis (Alexander Skarsgard, Big Little Lies), in almost equal parts. This is a man she really loved, but who committed terrible betrayals. This dichotomy is present in Krystal’s interactions with others, bouncing back and forth between being a compassionate friend to co-worker Ernie (Mel Rodriguez, Last Man On Earth), and being a con woman trying to get people to support her financially. She does both very well.

Krystal isn’t Walter White, profiting off the misfortune of others without caring who she hurts. She does show potential signs of such a persona, sure, but we see her desperation as a driving factor that is at times tempered by other motivations. Can we truly villainize someone who has been put in such a bad situation and just needs to be able to afford food and shelter again?

Other characters are less likeable. While the man who duped Travis, Cody (Theodore Pellerin, Genesis), is charming, he’s also fully concerned about himself, only being generous when it benefits him. But is this the folly of youth, achieving something and trying hard not to lose it, allowing oneself to be blinded to those around them because they lack experience? Leader of the whole scheme, Obie Gabeau II (Ted Levine, Monk), seems in a similar vein, hijacking a funeral to protect his business interests, sans the excuses.

But then we’ve got Ernie and his wife, Bets (sing-songwriter Beth Ditto), seemingly sweet and caring neighbors. They aren’t the two-dimensional model of that, despite their naivety; Ernie has already shown hints of mental issues at least partially sparked by an unreasonable boss (Usman Ally, Veep) that will likely pay off down the road. But they do balance the darker aspects of the show.

Heck, even Travis isn’t easy to write off. Yes, he should have communicated with his wife more and not gambled so much of their life away. And yet, the clips of Obie’s tapes that we hear provide insight to how an otherwise reasonable man could be led astray, convinced that what he was doing would pay off big for his family. Travis thinks he’s doing the right thing, and as wrong as he is, his intentions are not bad.

Watching the next few episodes, this is definitely a long-arcing series. So much of what the characters are going through will take quite awhile to play out, and there’s no clear end. Which isn’t an issue, because the characters are complex and interesting, and of course, very well-acted. The show is funny and moving, and it makes a viewer think and consider other perspectives. Yet, it can be taken at face value as entertaining, too, so it doesn’t make you feel like you have to think too hard, even if you’ll be doing so anyway.

ON BECOMING A GOD IN CENTRAL FLORIDA is excellent. I hope you give it a chance. It is currently airing Sunday evenings on Showtime.

Just KIDDING

Article first published as TV Review: KIDDING on Seat42F.

Jim Carrey returns to television in the new Showtime series, KIDDING, which has thus far aired two episodes. Carrey plays Jeff, who is a very successful children’s television host known as Mr. Pickles. Sort of a Mr. Rogers-type with the marketing reach of Disney, Mr. Pickles is not just a person, he’s a brand. But when one of his twin sons dies in a tragic car accident and his family falls apart, Jeff fights with his boss to take the show a little darker and deal with his loss on-air.

Carrey is a fantastic actor who hasn’t always done projects worthy of his talent. KIDDING is not a dumb comedy by any stretch; it’s a smart, complex look at grief and different ways of dealing with it. Jeff is a very odd person, his on-screen persona his true personality, not an act, and he has a unique viewpoint on the world. Carrey is a rare actor who can make that seem sincere while also allowing the pain to peek through. It’s a really excellent performance.

KIDDING would be fine as a one-man showcase, and indeed, Carrey has earned such a series. However, he is surrounded by a fantastic ensemble that really enriches the story being told. Frank Langella (The Americans) plays Sebastian, Jeff’s boss who is also his father, making that relationship a lot more layered than it would otherwise be. Puppeteer Deirdre (Catherine Keener, Being John Malkovich) that works on the show is also Jeff’s sister. His estranged wife, Jill (Judy Greer, Arrested Development), is a nurse at the Mr. Pickles Cancer Wing. This blurring of the personal and professional really informs on Jeff as a character, and they all carry their own weight rather effectively, more than just there to serve him, though they do that, too.

The series is both grounded and slightly fantastical, mostly in the way it applies to its lead character. Jeff doesn’t have a firm grasp on reality because he always sees and assumes the best. His show can exist in a place like that, and he’s been able to get away with it because of the lucky life he’s led. But when issues crash down on him, it’s very interesting to see how someone like Jeff weathers the storm.

I love that this is a very dark drama, but that it has room for small bits of comedy. And I do mean small. The opening sequence of episode two, which involves a car theft, is the funniest thing in the initial pair of installments, and no main characters are really part of it. It’s telling that the story has to step away from its leads to find something so hilarious, because their lives are not equipped to handle it currently.

And yet, there’s something about this show that I’m just not sure about yet. Partly it’s because Jeff’s viewpoint, which the audience is mainly guided by, is definitely not the true telling. Partly because we’re still missing key pieces of the emotional story. Partly because Jeff might very well be a powder keg that is going to explode before long. And partly because there are small hanging threads from episode to episode that beg to be resolved. KIDDING seems like something you’d have to make it through a whole season of before you could properly judge it.

I like this show a lot, mainly because of the actors and the basic premise. In the details, sometimes it can be a little slow, sometimes a little obtuse, but overall, it’s interesting and feels unique. I am very curious to see where it goes and if Carrey can keep his performance reigned in, as the subtlety is very much working for him.

KIDDING airs Sundays at 10PM on Showtime.

Meet PATRICK MELROSE

Article first published as TV Review: PATRICK MELROSE on Seat42F.

Showtime has adapted the five PATRICK MELROSE novels by Edward St. Aubyn into a five-episode miniseries currently airing. Each book gets an hour to unfold, with a different chapter in the life of the titular character presented. Plagued by childhood trauma, addicted to drugs to help cope with his past, Patrick is anything but healthy. But at least he realizes that he’s in a negative cycle and would like to break free. Will he be able to?

Benedict Cumberbatch (Sherlock, Doctor Strange) is excellent as Patrick. The actor has some experience playing eccentric, substance-abusing men, and only gets better with each iteration. He captures the subtlety of the emotional journey, and somehow keeps Patrick somewhat sympathetic, even in his darkest moments. This is important when the central protagonist is not very likeable, as Patrick isn’t from the moment we meet him. It’s a case study of a broken man, and Cumberbatch exceeds expectations.

Despite Cumberbatch’s work, though, PATRICK MELROSE is still hard to watch. It is hard to see someone you care about, as viewers are apt to care for Patrick, wrestle with their demons. It’s difficult to see a battle being fought and lost. It’s even more wrenching when one knows Patrick’s problems stem from things that are not his fault, and you desperately want him to be able to claw his way out of the hole, even knowing there is nothing you can do to help. It’s easy to identify with the supportive characters in the series. Except when it isn’t because of the circumstances Patrick lives in.

It’s interesting that PATRICK MELROSE reverses the order of the first two books in the series. Part two, “Never Mind,” is an origin story of sorts, taking place when Patrick is just a boy (played by newcomer Sebastian Maltz). With Cumberbatch’s version in the throes of withdrawal, flashing back to his childhood, the installment mainly shows us Eleanor (Jennifer Jason Leigh, Atypical) and David Melrose (Hugo Weaving, The Matrix), and how they fail as parents at every opportunity. It provides much-needed insight, mostly missing from the first part, “Bad News.” The omission means it takes awhile to really root for Patrick. And while the boy isn’t immediately recognizable as the adult, given a pattern of behavior merely glimpsed in this one weekend, it’s clear how he could eventually become so.

There are questions raised here on nature versus nurture. How much of who Patrick turned out to be is the fault of Eleanor and David? How much is he responsible for his own actions, now that he is out of their home and his own man? At some point, personal responsibility must kick in, but the man is operating at such a deficit that it’s hard to fault him for much of what he does, especially when we only see him hurting himself, not putting anyone else in danger. Not yet, anyway.

It’s sort of a problem that Patrick is rich. Without money, he could not afford to behave as he does. He’d be penniless, on the streets, begging for his next fix. Arguably, a poor Patrick would be a more important and common story. Instead, this Patrick lives relatively free of consequences. This gives him the space and opportunity to figure himself out, a luxury most people would not have. But it’s also possible such a tale wouldn’t play out under other circumstances, with an earlier, more tragic ending. Many viewers may have to confront a bias against such a person to try to appreciate the story.

The first hour of PATRICK MELROSE is hard to get through without having the understanding of the second, though it makes sense to get Cumberbatch out in front at the start of the miniseries. Still, even as the backstory is revealed, and amid terrific performances, the miniseries is a hard one to sit through. Patrick isn’t a character most people will relate to, and as sympathetic as his upbringing makes him, his wealth is almost used as an excuse, at least by the character. Bad behavior unchecked is also depressing. Whether it will be worth it in the end remains to be seen.

PATRICK MELROSE is currently airing Saturday nights on Showtime.

Return to TWIN PEAKS

Article first published as TV Review: TWIN PEAKS on Seat42F.

More than twenty-five years have passed since the cult favorite TWIN PEAKS left the airwaves after a mere thirty episodes. Last night, it returned to television with a brand-new season on Showtime. The two-hour premiere was met with much anticipation. Does it live up to the hype?

I recently binged the entire thirty-episode original run, plus the film Fire Walk With Me and the ninety minutes of deleted scenes known as The Missing Pieces, and I loved every minute of it. I don’t fully get why some people consider the second season and movie so inferior. Yes, it becomes less focused in year two, but I still enjoy it a lot. So I am going into the new stuff super pumped, definitely a fan.

But I have to say, I was left underwhelmed by the premiere episodes. This, despite all of the beloved returning characters and an immediately dive further into the mystery of the Black Lodge. Having slept on it to reflect, I think I can pinpoint why.

The lifeblood of TWIN PEAKS (film aside) is Agent Dale Cooper (Kyle MacLachlan) and, to a slightly lesser extent, his relationship with Sheriff Truman. I like the other characters, but the story flows best when we are watching these two investigate together. The utter joy Cooper exhibits at the simplest things, such as cherry pie, bring an innocent magic that is enhanced whenever he is hanging out with his best bud. These initial hours lack that entirely.

Yes, Cooper is still essentially the lead, but he spends the entire two hours in the Black Lodge, where he can’t be himself. It’s impossible, given the structure of that place, and while that can make for a cool sequence or two, Cooper needs to get out before things can really start. MacLachlan also plays the evil doppelganger of Cooper, but again, this version lacks the charisma and magnetic personality of the real Cooper, so it’s not the same at all. And since Truman isn’t returning for the new episodes, we definitely don’t get any of him.

We do see other familiar faces in hours one and two. The Log Lady (Catherine E. Coulson) and Hawk (Michael Horse) are the best of those because they actually have plot, reopening the case of the missing Dale Cooper. Sadly, Coulson passed away, so she’ll have to exit the story soon. Laura Palmer (Sheryl Lee) also furthers things a little, albeit confusingly (which I have no problem with, and seems consistent with the old). But most of the others don’t have any kind of story to speak of, basically just making cameos so we can see them again. They all need their separate subplots that eventually intermingle in order to make them interesting. Lacking that, most feel gratuitous.

There are a slew of new characters with story, and multiple new settings are introduced, which is cool. I like that TWIN PEAKS is no longer confined to the town. I’m especially interested in what’s happening in New York City, and I always enjoy actress Madeline Zima (Californication). Unfortunately, much more screen time is spent on Evil Cooper and Bill Hastings (Matthew Lillard, Scooby-Doo, The Bridge), who are far less compelling. I don’t blame either actor, their story just isn’t at the same level as classic TWIN PEAKS story so far.

I understand that the new TWIN PEAKS, in keeping with its earlier incarnation, is a marathon, not a sprint, and so may end up being worthwhile and engaging as it plays out. Still, I feel that it needed to start strong in the first two hours, and by withholding the best version of Cooper, focusing largely on uninteresting new roles, and doing little with most of the returning cast, it totally misses the mark. Things needed to happen a little quicker at the front, at least providing a hook for the fans, and these episodes didn’t really do that.

Thankfully, Showtime has already put out episodes 3 and 4 on their streaming service, so I’ll be checking those as soon as possible to see if it improves.

Still SHAMELESS

Article first published as Blu-ray Review: 'Shameless - The Complete Sixth Season' on Blogcritics.

Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.

Showtime’s Shameless begins airing its seventh season at the beginning of October, a quick turn-around for a cable series whose sixth season just ended its run in April. Accordingly, WB has released Shameless – The Complete Sixth Season this week, giving viewers time to catch up on the last twelve episodes if you haven’t gotten around to them yet. Or, if you’ve already seen them, picking up the two-disc set is a convenient way to get a refresher.

As has been the case with past runs of the soapy drama, Shameless‘s sixth year continues the plot threads from the year before. Fiona (Emmy Rossum) is sleeping with Sean (Dermot Mulroney), a relationship that isn’t good for either of them for oh so many reasons. Lip’s (Jeremy Allen White) choice of sexual partners is not any better, given that his lady is both married and his professor. Debbie (Emma Kenney) is trying to hide her pregnancy. Carl’s (Ethan Cutkosky) release from prison is followed by a rough readjustment at home, while Mickey (Noel Fisher) has just landed behind bars. And Frank (William H. Macy) is searching for God, though it seems highly unlikely that this man could ever truly turn over a new leaf, at least not for any real length of time.

All of that is only the beginning. From the neighborhood bar undergoing a shift in its patronage, to the Gallaghers fighting to keep their family home, season six, like past years, has no shortage of drama. Some of it is forced, but most of it doesn’t seem so for the clan that makes a lot of their own trouble. There is as much heart as there is comedy, and the terrific performances keep the show grounded, always stopping just short of being unbelievable. That’s why this is the best series of its type currently running, and I wonder how many years the quality can be sustained at this level. So far, it’s done well.

For me, the hardest thing to get past is the crassness, which, if anything, has only gotten worse in each subsequent season. This is not a family that shies away from cursing and dirty deeds, and they would not feel at home at a cocktail party. Yet, somehow, while that can be a turn-off in certain entertainment, it’s usually fine here. Even when one of the ensemble ventures into polite society, normally Lip, those he encounter have just enough allowance for him or have their own dark, if more cultured, secrets, to keep it all in balance. Tuning in regularly will definitely help viewers not to judge the lower class as strongly, with familiarity and empathy breeding affection and understanding.

I have to say, I am pleased to have Sammi (Emily Bergl) gone this year. As much as I like the actress, I never cared much for her character, and I don’t think her arcs really benefited the others’. The cast has undergone several changes over the years, with only the initially introduced Gallagher family members and neighbors Kevin (Steve Howey) and Veronica (Shanola Hampton) remaining untouched, and while some of them are regrettable (bring back Joan Cusack!), Sammi’s departure, along with her son’s, is a welcome one.

The extras on this set are slight, with only a batch of deleted scenes and two featurettes included. There are a lot of the former, batched with ten of the twelve episodes and spread across both discs, while the latter appear only on disc two. “Shamelessly Shanola” follows the actress around the set for a little under ten minutes, while “Running the Table: A Shameless Conversation” features Macy and Rossum informally grilling two of the show’s producers over a game of pool. Both are delightful and perfectly keeping in tone and style with the series, so I am glad they are included, even as I wish there was a bit more of the same.

Shameless – The Complete Sixth Season is available now and is definitely worth giving a look at.

BILLIONS Well Worth It

Article first published as BILLIONS Review on Seat42F.

Showtime’s new series BILLIONS is seemingly about a hedge fund manager and a U.S. Attorney, a battle of the big guy versus the common man, and a way to express class frustration in this country. But what it really is, is a drama about two flawed, petty men going at one another for all they’re worth, a battle to the death (perhaps not literally, but definitely of life as they know it), that only one man can walk away from, at best. And honestly, that’s plenty for me.

WARNING: Spoilers are below, but nothing more spoiler-y than Wikipedia reveals.

BILLIONS stars Paul Giamatti (Sideways, John Adams) as the United States Attorney for the Southern District of New York, Chuck Rhoades. Chuck has a flawless record locking up those who deserve it, picking his cases carefully, and with a chip on his shoulder against the rich who think they’re above the rules. He is influenced by his successful father, and intimidated (sometimes positively) by his wife, Wendy (Maggie Siff, Sons of Anarchy, Mad Men), who makes far more money than he does.

Wendy makes so much because she works for Bobby Axelrod (Damian Lewis, Homeland, Wolf Hall), an extremely successful player in the financial game. Wendy is his motivational coach, though one wonders how much she knows about Bobby’s dalliances on the wrong side of the law. Bobby’s own wife, Lara (Malin Akerman, Watchmen, Trophy Wife), is certainly aware and supportive, even when it includes milking 9/11 for the family’s monetary gain. This couple sometimes pushes things a little too far.

Admittedly, that premise is a bit far-fetched. The coincidence of Wendy’s employment alone, though existing long before Chuck rose to power, stretches believability. Yet, the characters are perfectly positioned for maximum conflict and drama, so I don’t find myself minding all that much.

The primary reason to watch BILLIONS is Giamatti and Lewis. Both accomplished, excellent performers, watching them take these complex men and engage in a person struggle is highly engrossing. Both have noble qualities and glaring flaws, and both do things from a calculating perspective. They are two titans at the top of their game (a description of both the characters and the actors), and it’s a privilege to see them compete with abandon.

That isn’t to say the story isn’t enjoyable. Any series on Showtime these days is pretty darn good, with the network having a high level of quality in their programming. There are layers and twists and plenty of detail to keep things interesting, and the topic is relevant and current. I’m just saying that is secondary to the main attraction, the fight where viewers will be unsure of who to side with from one scene to the next.

What I’d most like to see change as time goes on is for Wendy and Lara to play an equal role in the proceedings. Wendy certainly does more than Lara in the pilot, but is still supporting to the men. The lead actresses are perfectly capable of standing toe-to-toe with their on-screen husbands, so I hope BILLIONS is gender-equal over time.

There is also a top tier supporting cast, including David Costabile (Breaking Bad, Suits) and Toby Leonard Moore (Daredevil, The Pacific), who play the assistants to our antiheroes. The production itself is pretty, and the direction is appropriate to the scale of the conflict.

In short, BILLIONS is exactly on par with what I expect from Showtime, if not a notch or two above some of its peers. I am definitely committed to watching it, and recommend you check it out. Like I said, if nothing else, you’ll likely enjoy the leads.

BILLIONS premieres Sunday at 10 pm on Showtime.

HOMELAND Brings Back "Anxiety" In a Good Way

Article originally published as HOMELAND Review "Separation Anxiety" on Seat42F.

Sebastian Koch as During and Claire Danes as Carrie Mathison in Homeland (Season 5, Episode 01). - Stephan Rabold/SHOWTIME

Showtime’s HOMELAND returns tonight for a fifth season with the installment “Separation Anxiety.” After an amazing freshman run that kept the audience guessing about the motivations of one of the show’s two leads, seasons two and three faltered as it kept the same pair of main characters without a story nearly so compelling to back it up. So if you’re one of those fans who jumped ship, you may be asking yourself, should I even care that the show is still on? The answer is yes.

Season four reset the game, reinventing HOMELAND as a one-woman show, with a couple of very good male supporting characters. The trio got into some very heavy things in the fourth year, and the formula diverged from the typical television one in that (SEASON FOUR SPOILER) they didn’t win the day. Not even close.

So as “Separation Anxiety” begins, two years later, these people are in a different place than we’ve ever seen them. Unlike the early days of the show in which our characters kept going after one man, season five finds them moving on, albeit in different ways. This makes the drama much more grounded and realistic, knowing that the world keeps turning, they don’t always get their man, there will be other terrors, and maybe some people don’t want to keep playing a game they’re sick of losing. The psychology behind what each of the trio have chosen to do during the hiatus is fascinating.

As has been publicized, Carrie (Claire Danes) is happier than she’s ever been. Living with an American lawyer, Jonas Happich (Alexander Fehling, Inglourious Basterds), in Germany, raising her daughter, on her meds, Carrie has found peace. She has left the CIA behind and now works security for a private organization, conveniently the same one Jonas is employed by, whose billionaire head, Otto During (Sebastian Koch, The Lives of Others), does good in the world. It is great.

Of course, HOMELAND would not allow such bliss to remain for long. “Separation Anxiety” opens with a CIA crisis in Germany, one in which Saul (Mandy Patinkin) has to come to town for. This year’s emergency is timely and poignant. It deals with hacking and data breaches and rights of the press and homegrown terrorism recruiting and off-the-book-assassinations and government conspiracies. Yes, all of the elements are present in a single event that occurs in a single episode.

I think this shows the way forward for HOMELAND. While some may want it to end, it doesn’t have to if it’s going to be an intelligent look at current events with something to say. Its characters are complex and the writers show the different sides. The world portrayed is both very big and very small. Season five is its own thing, but it doesn’t forget what came before it. I can see a number of more years using this same approach in different ways and being very successful, as season five already seems poised to be.

Now, Carrie isn’t drawn back in immediately, nor should she be, given where she is. I hate when shows artificially stretch things out, and then quickly revert to the status quo, but I don’t think that’s what’s happening here. From the tension between Saul and Carrie, who are not talking, to the new Berlin station chief played by Allison Carr (Miranda Otto, Rake, The Lord of the Rings), to a righteous, naïve rebel (Sarah Sokolovic, Cold Comes the Night), there are enough new pieces to the show that don’t point to a reversion. There are also returning characters like Dar Adal (F. Murray Abraham) and Astrid (Nina Hoss) whose roles aren’t yet defined. Carrie will get involved, but she isn’t just going to jump back in under Saul on an operation, nor did she do that last year.

And what of Peter Quinn (Rupert Friend), who along with Carrie and Saul is one of the three current leads of HOMELAND? Well, let’s just say where he’s been is very interesting, revealing something really deep and dark about his character, and where he ends up at the end of the episode in an arrangement with Saul is both surprising and suspenseful.

I’m telling you, despite some bumps in the road in seasons two and three, HOMELAND is a show you don’t want to miss once more. Watch it Sundays at 9 p.m. ET on Showtime.

THE AFFAIR Rages On

Article originally published as THE AFFAIR Review Season 2 Episode 1 on Seat42F.

Maura Tierney as Helen, Dominic West as Noah, Ruth Wilson as Alison and Joshua Jackson as Cole in The Affair (Season 2). - Photo: Steven Lippman/SHOWTIME

Showtime’s THE AFFAIR returns tonight for a second season. The timeline of the series isn’t exactly chronological, so it’s hard to say exactly how long has passed when the new year begins, but there has been a very obvious expansion of the story. The premiere not only gets us back into the lives of these people in what feels like a new chapter, but also does a wonderful job deepening the existing structure.

The biggest change you’ll see, and this has been widely publicized so I don’t believe it counts as a spoiler, is that each episode is no longer split between the perspectives of Noah (Dominic West) and Allison (Ruth Wilson). The premiere is a Noah / Helen (Maura Tierney) division, with only a brief glimpse into Allison, and Cole (Joshua Jackson) will also be getting his own turn soon.

Allowing Helen and Cole their turn makes a lot of sense and is very welcome to THE AFFAIR. Tierney is a wonderful actress, and it’s nice to see her get such an expanded role. In the first season, Cole and Helen are in the dark about what’s going on, so don’t necessarily have as rich an experience to contribute. Now, brought into the proceedings, it’s good to see what they remember, too.

If I have one complaint at all about episode 201, it’s that we don’t get to see what Allison and Cole are up to, and I very much want to know. But I’m sure that will be taken care of in week two, and it’s a testament to how good THE AFFAIR is that I’m eager to return for that.

In the premiere, we catch up with Noah and Helen shortly after their separation. She is raising the kids with the help of her mom, Margaret (Kathleen Chalfant), while he is ensconced in a lake house, finishing his book and spending time with Allison. They both have different priorities right now, but their impending divorce brings them back together.

Like in the first season, memories don’t always line up. Most notably, a meeting with a mediator (Jeremy Shamos, Birdman: Or The Unexpected Virtue of Ignorance) illustrates the schism. Where Noah and Helen are in their heads certainly influences the way they recall the event, and as we watch the same scene unfold two different ways, it gives a lot of insight into the mindsets of our leads.

I really like the way THE AFFAIR does this. Perhaps these characters differ a bit more than most people would in telling of their shared experiences, but it provides a way for viewers to analyze the pieces and allows greater understanding of the players. Every time the departures happen, there’s a reason for it. It’s more than just a gimmick THE AFAIR uses;, it’s an important part of the story and necessary to really get what’s going on, which likely isn’t exactly what either are remembering.

The plot arc of Noah facing jail time for Scott’s murder also continues, and provides even more cohesion between seasons one and two. This is something left very much unresolved at the close of season one, and presumably why the past is being brought back up. Detective Jeffries (Victor Williams) has the unenviable task of being the character who most holds the series together while mattering very little to the primary tale. I’m glad to see this continue, and now believe that these events will not be concluded until the series is.

THE AFFAIR’s second season premiere maintains not only the same type of installment that all of the first year does in terms of quality and originality, but finds a way to grow between the two main lines set forth in that initial year. With a locked in beginning and end, filling out the middle in an interesting way is hard to do, and the writers for this program manage to do so consistently. I applaud their skill and very much enjoy their work.

THE AFFAIR airs Sundays at 10 p.m. ET on Showtime.

HOMELAND - THE COMPLETE FOURTH SEASON Review

Article originally published as Blu-ray Review: ‘Homeland – The Complete Fourth Season’ on Blogcritics.

Season four was a chance to start over for Showtime’s Homeland. With Nicholas Brody (Damian Lewis), one of the leads of the first few seasons, and his family and friends dropped from the cast, the show was allowed to refocus on Carrie Mathison (Claire Danes) and the activities of the CIA. For a series whose quality was beginning to suffer, being able to hit the reset button reinvigorated the storytelling and the characters. And while this fourth year didn’t quite hit the highs of the first (though I don’t expect Homeland to ever match that outstanding freshman run), it did outshine the past two years and make itself good again. This pivotal batch of installments, The Complete Fourth Season, is now available on Blu-ray and DVD.

Carrie herself, the core of the show, does not change much in season four. She’s still a mess, pursuing her righteous cause while ticking off authority. She really pushes the boundaries of what viewers will be able to overlook and still like her. She still doesn’t follow the rules, and while she does get the job done, the ends don’t always justify the means.

Take, for instance, the new character this year of Ayaan Ibrahim (Suraj Sharma, who played the title character in Life of Pi), a young Middle Eastern man whose family and friends are killed in a drone strike in the season opener. Carrie approaches him and does what she feels she must to win him over, which crosses a line most people would not cross. In her new position as station chief in Pakistan, she can’t be doing that. She must set a good example.

Of course, Carrie is not alone, and Homeland once more builds an interesting tapestry, rather than just putting one person front and center. The aforementioned Ayaan is a complex, layered character, giving a personal face to the ‘other side.’ Because his frame of reference is so far removed from most viewers, he ends up being an unpredictable story, one hitting home in a time when the morality of drone strikes is hotly debated. Quinn (Rupert Friend) has a parallel storyline as Ayaan’s, but from the American perspective. Senator Andrew Lockhart (Tracy Letts, playwright of August: Osage County) is a new obstacle, the (necessary) stereotype that wants to sweep mistakes under the rug. Carrie’s sister, Maggie (Amy Hargreaves) becomes more vital to the story because she is now raising Carrie and Brody’s baby.

Saul (Mandy Patinkin) is second in importance only to Carrie, and more beloved. His journey through The Complete Fourth Season is even more gripping than hers. On the outside now, trying to settle down with his wife, Mira (Sarita Choudhury), one might think Saul is done with the crazy life of the CIA. That person would be wrong, of course, and it doesn’t take him, always restless, long to get drawn into the same events that Carrie is involved with. This plot contrivance may be a bit of a stretch, but it doesn’t feel like it the way Homeland does it, and fans want to see Carrie and Saul together, anyway.

In short, I do think The Complete Fourth Season is probably the second best year of the show so far, and certainly makes me look forward to the fifth season, premiering in October.

If you’re going to watch Homeland – The Complete Fourth Season, I have to recommend going Blu-ray. The Middle Eastern setting often brings our characters outside, and high definition gives depth to the shadows and allows greater detail in the unforgiving light. During the bloody action scenes, the sound is well mixed, and if you have surround sound (these discs are 5.1) and a big enough television, it can feel like you’re right in the muck with our heroes.

The special features are a little lighter than I’d like this year. We get some deleted scenes and character profiles on Quinn, Khan (Raza Jaffrey), and Sherazi (Nazanin Boniadi), as well as three “Script to Screen” featurettes. And that’s it. I really wish for some discussion about the new direction, comparisons to real life conflict, and a look at how Carrie has developed. Instead, what we get is pretty much fluff filler, and that’s disappointing. The latter does deal a bit with writing and production, but not enough.

Still, the story is good, and Homeland remains an enjoyable program.

Homeland – The Complete Fourth Season is available now.

"Fresh Hell" For Some In PENNY DREADFUL Premiere

Article originally written for Seat42F.

Showtime’s PENNY DREADFUL returns for a second season this weekend with “Fresh Hell.” Picking up shortly after season one ended, many of our characters try to continue the paths they are on, whether that means raising a bride from the dead, or leaving England for good. A new villain arises, though, that may change their plans.

WARNING: The following contains light spoilers, but is mostly just a preview of the sophomore premiere.

It’s extremely interesting that the Big Bad of season two is a human, a fact well-publicized, so I don’t feel bad about revealing it here. Madame Kali (Helen McCrory), introduced in the first year, now has witches at her command and bathes in blood. She is the same woman viewers have met, yet different, with a lot more power at her command. We don’t get her origin, at least not right away, so I’m curious to see how she became this new person. But in a show full of the supernatural, seeing someone who is a human being as the threat is pretty cool.

Kali’s first attack is sent against Vanessa (Eva Green), an obvious target since she’s the one Kali has seen in action, and may just simultaneously be the most powerful and the most vulnerable of the group. The two women are similar in some ways, although Vanessa is on the side of good, for the most part, anyway. As Kali prays to a demon, Vanessa puts her faith in Jesus Christ. It seems a no-brainer that God will defeat Satan, but the battle is only beginning, and already seems quite exciting! There could definitely be casualties along the way.

Vanessa is less vulnerable than she was, though, because she has a bit of a family around her. From Ethan (Josh Hartnett), who changes his plans when Vanessa’s life is threatened, to Malcolm (Timothy Dalton), who views her as a daughter, to Sembene (Danny Sapani), the protector, to Dr. Frankenstein (Harry Treadaway), perhaps the least enthusiastic member of the band, but willing to serve when called upon. They have formed a sort of club against the dark forces, and PENNY DREADFUL is fast making them a real team.

The characters in PENNY DREADFUL do not make the most obvious family. They are, for the most part, antisocial and fairly concerned with their own affairs, which happens when people are going through what they are going through. Yet, somehow it makes a certain amount of sense for this particular set to stick together, and it makes the show more satisfying  and easier to invest in when they do.

The person most involved in outside work in “Fresh Hell” is Dr. Frankenstein, as he helps The Creature (Rory Kinnear) raise the lady he loves, Brona Croft (Billie Piper), from the dead. The Creature is supremely lonely, and he hopes that Brona going through what he did will give them a sort of connection that will draw her closer to him. It seems dubious to me that it will work, but “Fresh Hell” gets that story arc going pretty quickly.

Thankfully, PENNY DREADFUL doesn’t tie all The Creature’s hopes at social interaction up in this particular plot, giving a possible alternate life for him should Brona not be happy to be his bride. He finds a job in the season premiere that allows for his appearance. It’s hard to tell if the people The Creature gets involved with are trustworthy or not; attitudes seem mostly positive and good-natured, but like any person who would hire him, they want something from him. Since The Creature is not part of the central unit of the show, he has no one to rely on should things go south, always a strong possibility.

And that’s how PENNY DREADFUL begins, with “Fresh Hell” for a number of players, especially Malcolm, who I didn’t really discuss, but possible paths forward for a few. It’s a dark enough show that I don’t see any happy endings working out for anyone in the near future, but any bit of time that can be enjoyed is welcome, relieving a bit of the misery. Though, their misery does make for compelling narrative, too.

PENNY DREADFUL airs Sundays at 10 p.m. ET on Showtime.

HAPPYISH Will Make You Happy-ish

Article originally written for Seat42F.

Thomas Paine was one of our Founding Fathers who inspired revolution against Great Britain. Thomas Payne was a bookseller and publisher, not all the important in the grand scheme of things, but still remembered with a small paragraph on Wikipedia. Thom Payne (Steve Coogan, Philomena) is a little bit of both, an insignificant man who is becoming obsolete, but bristles at the thought and really doesn’t want to let it happen. Showtime’s new half-hour dramedy, HAPPYISH, is his story.

As HAPPYISH begins, Thom is turning 44, not old enough to be an executive like his boss, Jonathan (Bradley Whitford, The West Wing, Trophy Wife), nor is he young enough to be into the social media scene, like the young Norwegians who just bought the advertising company Thom works for. The latter would like to force him, in the nicest way possible, to adapt to their mindset, but Thom just doesn’t want any of it. He’d rather write a book or rant about how things used to be.

It seems likely that Thom’s story will ring rather familiar to viewers of a certain age. Many people may keep themselves from flying off the handle as Thom does, but it has to be frustrating to be asked to keep up with a rapidly changing world on top of everything else going on in one’s life. Thom is married with a young child; he doesn’t have time to be accustomed to twitter, and justifiably thinking it is stupid, why should he? But that’s the position he is in for his career, and one has to keep paddling or drown.

Thom’s home life doesn’t make things much easier. His wife, Lee (Kathryn Hahn, Parks and Recreation), is loving, but not all that satisfied with the way Thom’s ED pills and antidepressants interact, making them less effective. His son, Julius (Sawyer Shipman, Adult Beginners), isn’t a bad kid, but he’s young enough that he still needs a lot of attention from his parents. Neither of them are obstacles per se, Thom glad to have them in his life, but they certainly divide his attention.

Despite all of the misery, HAPPYISH is very enjoyable. Part of that is the cast, which includes recurring players Carrie Preston (True Blood), Andre Royo (The Wire), Molly Price (Third Watch), and co-star Ellen Barkin (The New Normal). Hahn is absolutely fantastic, and the rest all make the proceedings more fun. Thom may be unhappy, but those around him aren’t always, and they are able to play off Thom’s broad actions well. It’s a really good group of players.

Seeing Coogan play the role, it’s hard to imagine Philip Seymour Hoffman as Thom, though Hoffman starred in the original pilot before his death. Coogan, as he must, completely owns the role and uses his talents to help shape the character. Coogan is a different type of actor than Hoffman was, and while HAPPYISH might have been good without Coogan, it would be a different show. I think this version is likely funnier. I’m glad, seeing the product, that Showtime decided to move forward with this project even after losing its star.

It’s funny that HAPPYISH premieres now, so soon after HBO’s Togetherness ended its freshman run. I feel like the two shows share a lot of DNA, having similar themes and quality. While Togetherness is more of an ensemble and HAPPYISH has a stronger, more singular lead, both capture an authentic spirit in a moment where they are especially relevant. I don’t know that both are needed on the air, but I’d be hard pressed to say one should be cancelled over the other.

HAPPYISH premieres Sunday, April 26^th at 9:30 p.m. ET on Showtime.