SNOWPIERCER Rides Again

Article first published as TV Review: SNOWPIERCER on Seat42F.

This weekend, TNT premieres SNOWPIERCER, a series set on a train that continuously circles the Earth after an apocalyptic event has left the surface so cold that it’s uninhabitable. If the title sounds familiar, it’s because there is already a film and several graphic novels by the same name. However, this a brand-new story that, while taking elements from both page and screen, introduces all-new characters and an all-new train. The books establish there are multiple trains, so this could possibly be a separate one from the films and graphic novels, which were themselves separate, set in the same world. But it isn’t clear if that is so in this version helmed by Graeme Manson (Orphan Black).

I think it’s a good idea to not connect the series too closely to what’s come before it. Doing so would really pin the writers down within the established canon and limit what could be done with it. A television series will run longer and cover much more story than a film or a few books, so it needs freedom. Based on the design alone, which borrows elements from both predecessors, this is clearly a new train. And that gives the production department the ability to really re-think everything, keeping what works, and adding some pleasing new elements, like the Night Car and a seemingly completely fresh take on the engine.

Of course, any story needs strong characters, and SNOWPIERCER is no exception. Viewers are essentially given two individuals to follow. Though, there are plenty of strong supporting cast members, too, including Mike O’Malley (The Good Place), Alison Wright (The Americans), Steven Ogg (The Walking Dead), Sheila Vand (24: Legacy), Susan Park (Fargo), and Mickey Sumner (Frances Ha), among others.

At the tail of the train is Andre Layton (Daveed Diggs, Hamilton, Blindspotting). The only homicide detective onboard, he is pulled out of the back to investigate two murders, which happened several years apart. This throws a wrench in what some of his compatriots would like to do to fight back. But for Andre, this is gold because it gives him plenty of opportunity for reconnaissance, as he believes they need more intelligence in order to properly establish a rebellion. Unsurprisingly, Andre is a text-book hero with noble intentions and few serious faults.

Thankfully, SNOWPIERCER is not a murder mystery. That element is there, but it’s far from front-and-center. We’ve got enough other shows that do such a thing, and here it’s only being used as a tool to explore the different classes and examine how the system works. That’s a fine use of the device without letting it take over.

Speaking of the system, the face of Mr. Wilford this time around is the Head of Hospitality, Melanie Cavill (Jennifer Connelly, A Beautiful Mind). She keeps everything running smoothly, which is a very complicated job. While those that run the SNOWPIERCER in other adaptations have rarely been fully evil, Melanie is probably the furthest from that portrayed so far. She is genuinely concerned with keeping everyone from dying, and the pressure that puts on her are well-illustrated. The fact that this makes her blind to the plights of the tail humanizes her more than Andre, by giving her legitimate flaws that are understandable, though deeply regrettable, in the circumstances.

SNOWPIERCER is at its best, in any format, when it’s shining a light on our present-day circumstances. The television show does plenty of that, and in a way, it succeeds. Where it falters is the pacing is a little slow. But there’s still enough social commentary and sci-fi to please most would-be viewers, alongside the occasional impressive special effect.

SNOWPIERCER, already renewed for a second season, premieres this Sunday at 9PM ET, and airs weekly on TNT.

Moving Out of 1600 Penn

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

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

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

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

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

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

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

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

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

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

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

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

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