Discover LIMETOWN

Article first published as LIMETOWN: TV REVIEW on Seat42F.

I discovered the scripted podcast LIMETOWN shortly after it premiered. I devoured both seasons (despite the long break in between) of the creepy drama about a town of more than 300 people that went missing without a trace, and the investigator with a personal connection seeking to expose the truth. I wasn’t alone, with the feed rising to number one on the charts about two months after its premiere. Now, that podcast is a live action television show, available exclusively on Facebook.

I get it, a show on Facebook, it sounds like a joke. Or some cheap web series of the kind that were popular about ten years ago. LIMETOWN isn’t that. It’s a well-crafted, slow-burn suspense tale with a decent budget and professional presentation. The episodes are half an hour long, and it’s very easy to believe you’re watching it on a cable or streaming service, rather than on social media.

While the actors in the original audio drama were mostly unknowns, the show has recognizable faces. Jessica Biel (The Sinner) stars as Lia Haddock, the journalist from American Public Radio, an NPR-like radio network, that digs into the case. If you haven’t seen Biel’s recent work and still dismiss her as ‘that girl from Seventh Heaven,’ I recommend you check out some of her credits. She’s really fantastic, and this role is no exception, playing a woman on the very edge of insanity and obsession.

Lia has haunting memories of her younger self (Vera Frederickson) interacting with ‘Uncle Emile’ (Stanley Tucci, Spotlight). Emile worked on the Limetown project alongside Dr. Oskar Totem (Alessandro Juliani, the newer Battlestar Galactica) and dozens of other scientists. The town included spouses, children, support staff, even pigs. But they all disappeared during a three-day period, with emergency personnel blocked from entering by private security, and then only Totem’s body found. Where did they go? Are they still alive?

LIMETOWN only really has one lead in Lia, although we sometimes see her boss, Gina (Sherri Saum, The Fosters), and assigned co-worker, Mark (Omar Elba, Berlin, I Love You), as she tracks down Lenore (Janet Kidder, Arrow) and other people hiding in the shadows. I get why the television series felt the need to expand the cast, but I’m glad it didn’t build up those roles too much to distract from the main plot. Although giving Lia a girlfriend (Kandyse McClure, also Battlestar Galactica) does help round out who the protagonist used to be before completely disappearing in her work, which she’s on the verge of when we meet her.

I won’t spoil how season one of the podcast concludes, which I assume will be similar for the show, despite being early in its run, given how faithful the story seems to play out so far. Though, there were only six episodes of that, while there are more for the visual medium, so I expect some more expansion, at the very least. All I will say is Lia’s story is tragic, and I’m really looking forward to seeing if the show follows the second season of the podcast into a somewhat new direction, or doubles down on the journey already being followed.

Without knowing how it ends, though, I am very satisfied with what’s been done so far. The first few episodes are gripping and intense, with a rich tapestry that is more (necessarily) complex than the original while maintaining its spirit. It’s graphic, but not too gory, and scary without relying on the jumps. On its own, it’s fantastic. As an adaptation, it succeeds. This is a show I would want to watch even if I wasn’t already totally engrossed in the story.

Watch LIMETOWN on Facebook, with two new episodes dropping every week, with six already out and another four to come.

No FEUD Over This One

Article first published as FEUD Review on Seat42F.

Ryan Murphy, who has had great success with the anthology series format on FX in American Horror Story and American Crime Story, brings his next show to television tonight in FEUD. The first season is subtitled BETTE AND JOAN, and covers the film the two legendary actresses made together, What Ever Happened To Baby Jane? As you might expect, FEUD is excellent.

Jessica Lange (Big Fish, Horace and Pete) has been Murphy’s muse before, and as a grand lady herself, it makes sense for her to play Joan Crawford, the catalyst that gets the plot moving. Once a big Hollywood star, now a widow who hasn’t worked in awhile, Joan is disappointed by the dearth of strong roles for women of a certain age and sets out to force her own picture through. Latching onto the book What Ever Happened To Baby Jane, she recruits director Robert Aldrich (Alfred Molina, The Normal Heart, Spider-Man 2) and her long-time rival, Bette Davis (Susan Sarandon, Thelma & Louise, The Lovely Bones), to help with her comeback. That’s where this story begins.

I cannot emphasize enough the quality of acting in FEUD. Alongside Molina, we get Judy Davis (Maria Antoinette), Jackie Hoffman (Birdman), Stanley Tucci (Spotlight), Alison Wright (The Americans), Kathy Bates (American Horror Story), Catherine Zeta-Jones (Chicago), Reed Diamond (Underground), Kiernan Shipka (Mad Men), and more. Each delivers a quality, layered performance that greatly enhances the world of the series and puts the audience right into this time and place, both familiar and interesting.

None of these actors compare, though, to our two leads. Sarandon and Lange are masterful here, as they have been so often in the past. These are two ladies who can capture a moment like few others. There’s a bit in the pilot in which Lange, as Crawford, has to act in a scene for the movie, and she is brilliant, highlighting the actress as much as the character.

There’s a certain parallel that cannot be avoided that Sarandon and Lange are women of a certain age, just as Bette and Joan were. The difference here is that they can get good work, as evidenced by both FEUD and all of the other projects they continue to do. The very existence of this show proves how far things have come.

Yet, at the same time, the sexism highlighted in FEUD is still an issue, timely in its expression. While Hollywood may be getting better, there is still a long way to go, and with the current political climate, some of the small-mindedness is currently front and center.

Those themes aside, though, FEUD would stand on its own in any time simply because it involves terrific performers doing impressive things in a highly-stylized, yet crumbling, world. The glamor that everyone wants to pretend is there stands in stark contrast to the reality of pretend that reigns in Los Angeles. FEUD shows us both sides, the charade and what’s behind it, in delightful ways. Far from being fake, the actress’ (and others’) attempts to present their best selves is calculated and says a lot about the authentic personalities behind it, which each shot seemingly carefully constructed for maximum dynamic impact.

I’ve only watched one episode so far, but I can already tell that Ryan Murphy has done it again. Far from complaining about all his varied works on the network, I appreciate that he keeps churning out such good stuff with such a strong cast month after month. We’re in the golden age of television, and FEUD is a worthy example of that era. Expect to see it garner a lot of nominations, and hopefully even wins, come award season.

FEUD: BETTE AND JOAN premieres tonight at 10/9c on FX.

Oscar stars also grace smaller screens (part I: the guys)

     The line between television and movies has been getting thinner and thinner for years.  While once movie stars were seen as something above their television counterparts, that has long since ceased to be the case.  There is so much crossover now between the two groups, that it is almost unnoticeable.  Furthermore, the awards shows for movies are carried on television.  Movies air on television all the time, especially on premium channels such as HBO and Showtime, which in turn now make their own television shows.  Although all of this year's Oscar male nominees have some television parts in their past, here are some of the strongest links:

George Clooney (Best Actor: Up in the Air) ~ The ultimate crossover, Clooney had his big break  starring in a popular television show called ER, before moving on to the cinema hits such as Ocean's Eleven, Good Night and Good Luck, and O Brother Where Art Thou?  Before any of that, he played recurring guest roles in shows such as Roseanne and The Facts of Life.

Colin Firth (Best Actor: A Single Man) ~ While many people know Firth from Bridget Jones's Diary and Love Actually, don't forget that he was Mr. Darcy in the television miniseries Pride and Prejudice, which is still arguably his best-known role.

Morgan Freeman (Best Actor: Invictus) ~ Freeman's defining part in The Shawshank Redemption may have been impressive, but he got his start on The Electric Company in the 1970's, appearing in almost eight hundred episodes.  He also guest starred on Ryan's Hope and portrayed Frederick Douglas in the 1990 award winning miniseries, The Civil War.

Woody Harrelson (Best Supporting Actor: The Messenger) ~ Harrelson is well known for his role on Cheers and his seven episode stint on Will & Grace.

Christopher Plummer (Best Supporting Actor: The Last Station) ~ Long after he starred in The Sound of Music, Plummer played a number of roles on the small screen, including starring in the early 90's series Counterstrike, appearing in the miniseries The Thorn Birds, and a guest spot on The Cosby Show.

Stanley Tucci (Best Supporting Actor: The Lovely Bones) ~ Tucci was in ten episodes of ER, starred in the very short-lived series 3 lbs. and did twenty-three episodes of Murder One.

     The Oscars will be given out during the Academy Awards ceremony Sunday, March 7th at 8pm on ABC.

Julie & Julia is jaunty & joyous

     Released on DVD this Tuesday was Julie & Julia, starring Meryl Streep and Amy Adams (who also costarred together in last year's Doubt).  I was lucky enough to have it delivered the day it was released from Netflix, and though I had heard mixed reviews, I loved it.  It has been mentioned for possible Oscar nods, though it is not expected to take any big awards.  Led by two plucky actresses (even if they both had terrible hair in this movie), the twin stories sparkled.  It had great pacing; I never once got bored.  The movie is based on two true stories, as it says in the opening, and it is nice to note that the movie is fairly rooted in reality itself.

     Bouncing back and forth between Julie Powell, an insurance worker in New York City a few years after 9/11, and Julia Child, the famous American-French chef, the transitions never seemed forced, and it was always easy to follow.  There were no outlandish twists, and I was pleased the writer didn't feel the need to force more connection between the two than there actually was.

     Adding to the pleasure were the husbands, played by Stanley Tucci and Chris Messina.  Supportive, yet different.  Both couples, though much more so the modern one, had their share of martial disputes, and yet the viewer was left with no doubt that they were part of solid, lasting love stories (at least as portrayed on screen).  There was much effort made to let the audience feel what it must be like to be married to such a powerful woman, and it added to the realism and the charm.

     Do I think it will be a dark horse in the Oscar race?  Not really.  But I do recommend this film as a feel good movie for some cold, winter night.  You will not be disappointed, and it is probably better than many of the movies that will actually take home the prizes.