Meet the New RESIDENT ALIEN

 Article first published as TV Review: RESIDENT ALIEN on Seat42F.

SyFy’s latest dramedy is RESIDENT ALIEN. Based on the comics of the same name, the series follows an extraterrestrial that crash-lands on Earth and has to fit in among the local population. He tries to stay apart initially, taking the identity of a doctor who lives in a remote cabin in Colorado near the crash site. But when the town’s local physician dies and no one else can get through the roads at this time of year, the mayor pulls “the doctor” out of retirement and forces him to fill in. Toss in a murder mystery, possible romance, a child nemesis, and a planned genocide, and there’s a lot going on.

Alan Tudyk stars in RESIDENT ALIEN as Harry Vanderspeigle, the human appearance of the alien (once the real man is killed). Tudyk has a long resume full of lots of voice-over work (Rogue One, Harley Quinn), as well as both comedic and dramatic turns in the series Firefly and its film spin-off, Serenity, so he’s already proven his bona fides and is overdue for a starring role. He mixes just the right amount of levity to a very dark story, and his humor is beautifully downplayed. Tudyk finds plenty of good moments for subtle acting, both physical and emotional, and is highly believable in a very strange part.

Harry, as I’ll refer to the alien from here, was on a mission to wipe out mankind when he crashes. It’s evident from the pilot that, living among the species, he’ll grow to have affection for humans, and likely protect them. Despite a couple of heinous acts, it’s still easy to root for Harry – as long as he is able to be stopped from murdering young Max (Judah Prehn, Kinderwood), the only one who can see his true form. I just don’t see how Harry could come back from killing a kid.

It would be very easy for Harry to fall into stereotypes, but so far RESIDENT ALIEN deftly avoids them. Harry is neither heartless nor full of emotion. He is intelligent, yet socially awkward, but neither to the point where it defines him or distracts from the story. He isn’t easy to pin down, and this complexity makes the character work in a way he very easily might not.

The supporting cast of working, but mostly not yet household name, actors are excellent, too, finding the absurdity of individualism and small-town life, making the most awkward group of delightful individuals this side of Stars Hollow. Sherry Mike Thompson (Corey Reynolds, The Closer) is a tough guy who’d like to be referred to as Big Black. His deputy, Liv Baker (Elizabeth Bowen, Upload), is awkward and open-minded. The two share a touching sing-along moment in the RESIDENT ALIEN pilot. D’arcy (Alice Wetterlund, Silicon Valley) stands out as the fun bartender. Mayor Ben Hawthorne (Levi Fiehler, The Fosters) is a liberal in a conservative town. And the second lead of the show, Astra Twelvetrees (Sara Tomko, Once Upon a Time), is a loner who finds the hidden kindness in Harry. Or maybe she just needs someone and he’s there.

I like that RESIDENT ALIEN has a sizeable ensemble cast. I like that it has a distinctive look that works for it. I like the mystery of the doctor’s murder that extends beyond the first episode. I like a lot of things about this show, including that I can’t adequately describe it one sentence. Mostly, I like that it’s a fully realized world, and despite some coincidences that stretch believability, it’s a well-thought-out story of complicated people, and one alien, that stands apart in its lack of cheesiness that often suffuses similar premises. It probably helps that its not a sitcom.

RESIDENT ALIEN airs Wednesdays at 10 ET on SyFy.

Hunting for VAN HELSING

Article first published as VAN HELSING Review on Seat42F.

SyFy had such success with Wynonna Earp earlier this year that it’s no wonder they’d aim to get a second female-led reboot of a classic character back on the small screen ASAP. This time, it’s the VAN HELSING character from Dracula who receives the twist, with the story taking place in a near future where the world has been overrun by vampires. Can she save the world?

Kelly Overton (True Blood, Legends) stars as Vanessa Van Helsing, a woman who has been asleep for at least three years. Standing guard over her is Axel (Jonathan Scarfe, Ties That Bind), a military man who doesn’t know why she’s important, but knows it’s his job to protect her and the doctor who cares for her (Rukiya Bernard, The Stagers). When an old friend of Axel’s, Ted (Tim Guinee, The Good Wife, Revolution), shows up with a small group of survivors, things change for Axel and his charge.

I like that the pilot doesn’t jump straight into the action, and is just the beginning of the story, not a pattern that will be repeated week after week. It takes its time introducing the characters and letting the audience figure out who is important, which isn’t entirely clear in the first hour (though the main cast is listed on the show’s website). It doesn’t even introduce a lot of the major players in the initial offering, though since the series is airing two episodes back-to-back on premiere night, that might be saved for the second half.

I also like that VAN HELSING isn’t confined by the literary character on which it is so loosely based. Sure, I like a good Dracula adaptation, but that probably wouldn’t fit the network’s brand, whereas a slight-future reimagining totally does. Overton is believable enough as a woman desperate to find her daughter, who is somehow also a superhero that could possibly change the world, and her mission is one people will root for.

What I don’t like is that there aren’t any real stakes here (hehe), at least not at first. So Van Helsing has some powers, so what? It’s not like she can do something that will end the vampire reign overnight. Sure, she gives survivors a fighting chance, but it doesn’t seem like there are that many of them left anyway. They might secure a city or an area, but really, what’s the point? Axel isn’t likely to ever get his Kit Kat bars back.

Which means there has to be more to Vanessa Van Helsing that even what we’re seeing. But the problem is, she isn’t likeable or sympathetic, and neither is Axel, who are the two characters who really get developed in the pilot. There’s no purchase to really cling to; nothing to drawn you in. I’m sure, given time, I could learn to enjoy these characters, but the fact that there’s no charm or vulnerability early on makes me less likely to stick it out.

I am intrigued by two characters. Sam, a deaf, observant man, is played by Christopher Heyerdahl. There’s nothing to really get me excited about Sam so far, but I loved Heyerdahl in Hell On Wheels, so I want to see what he’s doing here. I’m also very intrigued by Flesh (Vincent Gale, Bates Motel), (SPOILER ALERT, though it is listed on the Cast page of the official website) a vampire who turns human again after biting Van Helsing. While I’m sure there will be Angel-esque guilt, I am curious to see how VAN HELSING uses such a role.

But those things aren’t really enough to get me into the show. If anyone who isn’t sucked in by the first hour gives it more of a chance and thinks it significantly improves over time, let me know. Otherwise, in an era of peak TV, I just don’t have time for this one.

VAN HELSING premieres September 23^rd at 10/9c on SyFy.

No Need to Hunt for HUNTERS

Article first published as HUNTERS Review on Seat42F.

I just finished watching the pilot of SyFy’s new series, HUNTERS, moments ago, and I’ve already forgotten just about everything about it. It is messy, gratuitously gory, starring characters that I just don’t care about, and with a premise that seems underdeveloped. Harsh, perhaps, but this is a show that could have used a truthful wakeup call before going to air. Let me refresh my memory here and I’ll break down the issues.

Based on the Alien Hunter novels by Whitley Strieber, HUNTERS begins with a dark and mysterious scene brimming with the threat of violence and sexual assault. One would think something like this would entice viewers, and one would be right. But the series almost immediately negates the interest by jumping back in time 72 hours, a tried trope that certainly should not be used in a pilot, and never really gets into what we first saw in any meaningful way. Certainly, the scene itself is not notable in the scheme of things.

The show has to start further back than this to give us a little context about the girl and what’s going on, since her abduction helps create the starting point. Her name is Abby Carroll (Laura Gordon, Saw V), and while she herself doesn’t seem to be much more than a catalyst, her relationship with husband Flynn (Nathan Phillips, The Bridge) is vital to setting up the series.

See, there’s a group of covert agents who are hunting extraterrestrial terrorists, hence the name of the series, HUNTERS. Flynn, an FBI agent, finds out about them while looking for Abby, and of course he’s invited to join, because why not? I don’t think any of that is spoiling because Flynn is the promoted main character, while Abby’s situation is shown in the opening. Yet, the show takes forever to getting round to connecting these dots.

Instead, Flynn slows down to deal with step-daughter Emme’s (Shannon Berry) issues. I could be wrong, but Emme seems completely unnecessary to the plot, especially considering the direction she is going. She feels like filler to stretch out a miniseries into a full-blown show, giving Flynn some small development on the side, but not too much, less he be distracted from his mission. (That is not a complaint about Berry, just the way the writers have developed, or not developed, the character.)

Basically, though, Flynn is just your generic hero, good with a tragic background, trying his best to do right, but with little personality that seems original. Yawn.

HUNTERS also introduces a second lead, Allison Regan (Britne Oldford, Ravenswood), who somehow manages to be even less interesting. Allison is already a part of the alien hunting team when we meet her, and she doesn’t get along all that well with her fellow officers. So of course she’s foisted on the new guy, and they’ll apparently work as a team where others have failed to.

Except, the leads have absolutely no chemistry at all. Most crime procedural pairings are well cast and provide the draw to watch a case-of-the-week show every week, even when the stories become repetitive. HUNTERS is that type of show without the charming main characters, meaning there really isn’t much at all going for it.

HUNTERS tries to be many things, primarily a shadowy world like Fringe or The X-Files, but with enough influence from other programs thrown in, such as the cop genre, to avoid drawing one-to-one comparisons. Yet, it’s like it was created from just making a list of characteristics the producers wanted, but with no effort spent figuring out what would actually make this show work. Sadly, the result is not worth watching.

HUNTERS premieres tonight at 10/9c on SyFy.

KILLJOYS Not An Accurate Title

Article originally published as KILLJOYS Review on Seat42F.

KILLJOYS is the latest SyFy drama. Following three bounty hunters who operate in a four-inhabited-planet system, it’s a post-apocalyptic look at humanity’s future. This system is owned and run by a corporation, and everyone works for them. If you don’t play by their rules, you get in trouble. The bounty hunters aren’t exactly company men, their order remaining unaffiliated, but operate as an independent, reliable body tasked with hunting down those who anger someone enough to buy a contract on their kill or capture. The company allows this, and gives them a wide reach with which to perform their duties.

At the start of the pilot, there’s a lot of action. Too much action. It gives the impression of a low-quality program that is going to rely on visual fast food to tell its story, and the characters and plot seem flat and uninteresting. It’s not the type of thing that will hook those looking for intelligent science fiction, but it will certainly appeal to a certain segment of the audience. For those who it does appeal to, I hope you also appreciate the more complex, layered, character-driven type of show, because that’s what KILLJOYS morphs into in the second half of its first hour.

Dutch (Hannah John-Kamen, The Hour) and John (Aaron Ashmore, Smallville, Warehouse 13) are partners, operating a small ship, and going after the less dangerous jobs. Enter D’Avin (Luke Macfarlane, Brothers & Sisters), John’s estranged brother and PTSD-sufferer that has a kill order out on him. John risks everything to save his sibling, who quickly takes an interest in Dutch, and the team is born.

Each of these three are developed individuals with their own secrets and backstories, all of which play a heavy role in the main arcs. KILLJOYS could be just a procedural, with the trio tracking new query all the time, but I don’t think it will be because the first hour sets up a lot of dense stuff to flesh out the world and the trouble already bubbling over in the political structure. It seems poised for a big rebellion adventure, a la the original Star Wars trilogy, more so than a science fiction version of Dog the Bounty Hunter.

This program could be set in the Firefly universe. The short-lived, still-popular Joss Whedon show is not the only one that presents an outlook such as this, but the themes present and the atmosphere are similar. KILLJOYS lacks much of the humor and the Western sensibilities, both hallmark traits of Firefly, but other than, I could see this being another part of the same world, with these bounty hunters fighting the same common company that seeks to control everyone and use them for its own gains, albeit in a smaller neighborhood.

This gets me quite excited about KILLJOYS. All three of the performers are fantastic in the pilot, each given a chance to shine, and the rapidly-deepening story is intriguing. While a certain amount of status quo is maintained for now, it can’t possibly stay that way, and they are poised to be on the front lines when all hell breaks loose, prepared more than most to make a difference for an oppressed people due to their unique skillset.

I admit, there’s a chance I could be wrong about where KILLJOYS is going, and the story I’m looking for may be teased out only slowly, over a long period of time. I don’t think so, though. The way the first episode unfolds is solid, and it just seems like there will be more. As long as too many of the hours don’t rely on combat rings and fist fights, both present early in the first installment, I’m on board.

KILLJOYS premieres Friday, June 19^th at 9 p.m. ET on SyFy.

DARK MATTER Lightweight

Article originally published as DARK MATTER Review on Seat42F.

SyFy’s DARK MATTER, based on the graphic novel, begins this week feeling very much like a stand-alone episode of a science fiction anthology series. Six people wake up on a generic damaged spaceship with no memory of who they are and what they are doing. Working together, somewhat, they attempt to piece together their identities and mission, which may not be as good an idea as that sounds.

As we first meet the cast, self-named for the order in which they woke up, they seem pretty easy to pigeonhole. There’s One (Marc Bendavid, Hard Rock Medical), the pretty-boy peacemaker. Two (Canadian theatre star Melissa O’Neil) is a natural, fair-minded leader. Three (Anthony Lemke, Good Witch) is the angry one. Four (Alex Mallari Jr., True Justice) has some mad martial arts skills. Five (Jodelle Ferland, The Cabin in the Woods) is a weird, super-intelligent kid. Six (Roger R. Cross, Continuum, 24) is a gentle-leaning giant.

As they begin to figure out their personalities, if not their backstories, muscle memory taking over where they lack, they end up being a pretty bland group. Cross is the only very recognizable member of the ensemble, but in this case, going with unknowns does not pay off. It feels like a cast of second-stringers making a low-budget program that isn’t likely to garner a sizeable American audience.

The most impressive face on screen is that of Zoie Palmer (Lost Girl), who plays The Android that can connect directly with the ship. Aside from a few juicy bits for Ferland, Palmer is the only one who gets to show range and prove why she deserves to be a main player in this show. She brings a mix of coldness and sly humor that make her stand out in an otherwise mediocre group.

The story at the heart of the DARK MATTER pilot doesn’t help matters much. As I mentioned at the start, this feels like an anthology installment, basically a short story with not much momentum to keep it going. The ‘twist’ at the end of the episode could have been tweaked only slightly and this would have been a vaguely interesting, not very memorable, stand-alone hour. To keep this plot going for any length of time, the mystery at the heart of the piece needs to be grand and meaningful. Neither of those adjectives seem to apply here.

The best thing that DARK MATTER has going for it is that it’s on the SyFy channel. While low-quality shows don’t last long on the network (though high-quality ones don’t fare too much better), it is in the right place to find the small segment of the viewership that this will appeal to. Those attracted by the simple narrative, one familiar to the genre, may be interested in this example of it. Plus, given all the cheesy-on-purpose TV movies that will air around this, DARK MATTER may look good by comparison because at least it has a story that seems to make sense and there are no awful, gory effects.

Could DARK MATTER have been better? Absolutely. If it boasted a cast on the level of, say, Firefly, with its magnetic personalities and a deep mythology behind the story, the construct could remain the same and it would improve it a lot. What that means to me is that DARK MATTER itself is not an inherently bad idea, since I see a way it could be really good, but just comes across as poorly executed. That’s a shame, because no one involved seems to be doing a bad job; there’s just an overall blandness to most aspects of the production that cannot be overcome.

DARK MATTER premieres Friday, June 12^th at 10 p.m. ET.

12 MONKEYS Not Too Many

Article first published as 12 MONKEYS Review on Seat42F.

SyFy’s newest series, 12 MONKEYS, is inspired by the 1995 film Twelve Monkeys. Those familiar with that movie know the basic story. Almost all of the world’s human population is wiped out by a deadly virus. Desperate scientists in the future send back one man to change the past and prevent such disaster. It’s mind-bendy, twisty stuff, full of action and time travel and paradox.

Aaron Stanford (Nikita) stars in 12 MONKEYS as James Cole, the Bruce Willis role from the film. In the pilot, circa 2013, Cole meets Dr. Cassandra Railly (Amanda Schull, Suits) and enlists her help with his mission. When Cole returns to Railly in 2015, scant moments have passed for him, but her life has forever changed by the task he assigns her: find Leland Frost. With a little help, she does locate the man Cole believes is responsible for the epidemic (Zeljko Ivanek, Damages, Heroes, Madam Secretary). Of course, that’s only the beginning of the story.

One thing that struck me about the film Twelve Monkeys is that it is quite difficult to try to keep track of everything that is going on and when everything is supposed to have happened, especially once the time line begins to change – or does it? 12 MONKEYS begins with this same head-spinning issue, bringing in not just two distinct time periods, but several more. However, by being given many weeks to unfold the tale, I assume it will be much easier to follow as it goes along, the series being given the gift of more than two hours to tell its story.

12 MONKEYS is ripe for such exploration. The movie is great, a self-contained film that leaves one thinking. But the universe has plenty to unspool over multiple seasons. The time traveling hero who doesn’t have all the answers, nor does his boss, the mysterious Jones (Barbara Sukowa, Hannah Arendt), meets the girl who takes a chance on him. Toss in a secret terrorist organization, the 12 MONKEYS mentioned in the title, led by a female version of the Brad Pitt part, Jennifer Goines (Emily Hampshire, My Awkward Sexual Adventure), and there’s the makings of an epic battle of good versus evil fought over decades, with the lines not clearly drawn.

12 MONKEYS also has a supporting cast experienced in the genre. Standford’s Nikita co-star, Noah Bean, plays Aaron Marker, a former love interest of Railly’s, while Fringe’s Kirk Acevedo is Ramses, a contemporary of Cole’s. Along with those noted above, this makes for a pretty solid, if not well-known, core cast.

SyFy has been moving into more intelligent dramas as of late. Its cheesy movies and goofy shows, like Warehouse 13, still have a place there, but the network is also attempting some higher concept stuff, such as Helix and 12 MONKEYS. It’s a good sign, to see their fare turn to something more worthy to serious fans of science fiction, as nothing really has there since Battlestar Galactica and Caprica ended, and 12 MONKEYS certainly fits that label. It’s similar in makeup to the Canadian program Continuum, which also runs on SyFy, but adds several other layers to that concept. It’s not my favorite new series of the year by a long shot, but it’s interesting and complex, which is a step above what I expected.

The pilot eats through much of the movie’s most central plot, skipping some subplot items that won’t fit in a longer-running show and not really getting to the mental institution yet. While the latter does leave enough to fill another hour or so, that means that very early on in season one, 12 MONKEYS will be leaving its source material behind and starting to forge its own path. I look forward to seeing where that’s going.

12 MONKEYS premieres this Friday, January 16^th, at 9 p.m. ET on SyFy.

ASCENSION Rises As Miniseries Goes On

Article first published as ASCENSION Review on Seat42F.

SyFy will soon present ASCENSION, a six-part miniseries that will air over three nights, and if the ratings are good enough, be picked up as a full-blown show, a la Battlestar Galactica. I’ve watched the first two parts, and while it is nowhere nearly as well written and acted as BG, it is an intriguing premise with some really gripping stakes.

The story begins with a murder, which is soon revealed to have taken place aboard the USS Ascension, a massive ship on its way to a new planet. See, in 1963 President Kennedy secretly ordered the launch of several hundred human begins into the unknown, set to colonize a new planet and ensure the survival of the human race. These people are nearly halfway through their mission, setting it approximately in the present day, and while it’s presented as a twist on the show, marketing materials have made it clear that’s what’s going on, so I don’t feel bad about spoiling it.

The ship is captained by William Denninger (Brian Van Holt, Cougar Town), who is coming to grips with the fact that he is the “middle captain,” who neither launched the ship nor will lead it to its final destination, so will likely not have a memorable legacy. His wife, Viondra (Tricia Helfer, Battlestar Galactcia) is a sneaky manipulator, who wields her own power, separate from her husband. These two are in charge of many things, sometimes benevolently, sometimes not so kindly.

The Ascension itself is interesting because it obviously has very advanced technology, as developed in the 1960s, meaning monitors are black and white and most control panels are knobs and lights, not interactive computers as we think of them today. I’m not sure that I buy that our country was capable of constructing such a thing in the 1960s, and the way the place is presented may not completely make sense.

If this has you wavering in your enjoyment, as it did me, stick through the first night and your patience will be rewarded. This would be a very different article if I was writing to viewers who’d seen the full two hours, and while it isn’t the best series on television, with many flaws, I am completely hooked and on board after night one. Trust me and watch. ASCENSION deserves a pick-up. That’s all I’ll say about that.

Oh, yeah, back to the murder, since that’s the driving story, even though I’m much more interested in the logistics of the ship itself. This small community has virtually no crime, and this is the first murder committed since the launch. That means there really isn’t a structure in place to investigate and punish the wrong-doer. Enter Oren Gault (Brandon P. Bell, Hollywood Heights), the noble executive officer who steps up to the task.

Rounding out the cast are: Dr. Juliet Bryce (Andrea Roth, Rescue Me), who isn’t getting along too well with her daughter, Nora (Jacqueline Byers, Blizzard), a strong-willed individual deeply affected by the murder; Chief Astronomer Emily Vanderhaus (Tiffany Lonsdale, G.I. Joe: Retaliation), the elder sister of the victim; Chief Safety Officer Duke Vanderhaus (Ryan Robbins, Falling Skies), Emily’s husband, who doesn’t like that Gault is heading up the case; James Toback (P.J. Boudousque, Coldwater), a maintenance worker and love interest for Nora; and Harris Enzmann (Gil Bellows, Ally McBeal), the son of the man who headed up the Ascension mission, who is back on Earth.

Yep, we get to see what’s happening on our own planet, too. What does Harris know? What will he do with that knowledge? This is another subplot that draws me in.

My biggest complaint that I currently have about ASCENSION is, where are the old people? The ship launched fifty years ago, roughly, so there should be lots of senior citizens on board who made up the original crew. We don’t glimpse this, with the focus on those who weren’t born yet when the mission started. This is a nagging query not addressed in these two hours that has to be satisfactorily explained for the series to be any good.

There are weaknesses in ASCENSION. I feel like some of the actors are woefully miscast. For example, I adore Brian Van Holt on the sitcom he’s been starring in, but his take on Captain Denninger doesn’t have the weight it should, at least in my opinion. Some of the happenstances are a little hokey and formulaic, and far too many people are cheating on their significant others. But there is a very strong mythology here that could override those problems, and given the nature of the show, the beginning cast doesn’t necessarily need to stay front and center over multiple seasons. The best parts of the miniseries beg for further exploration, and that’s why I ask you to please tune in, at least for the entire first night, and then make your decision about whether or not to continue watching.

ASCENSION begins Monday, December 15^th on SyFy.

Z NATION Not One to Visit

Article first published as Z NATION Review on Seat42F.

With The Walking Dead being the most popular show on television, it’s surprising that it’s taken this long for another network to try to bank on the success. This week, SyFy becomes the second channel to tackle zombies in their new hour-long series Z NATION. The world has been overrun with the undead and a small group of survivors come together to try to find and distribute a cure.

As a TV reviewer, I watch a TON of television. It’s always been hard to pick one favorite show with all of the great content currently running, but for the past year or two, I’ve been able to say that The Walking Dead is first in my book. The reason I, and I believe so many other people, like it is not for the zombies themselves; I myself cannot stand zombie films unless they are comedies like Shaun of the Dead and Zombieland. No, it’s the complexity of the characters and the deep questions of ethics and morality that make the show so enticing.

Unfortunately, Z NATION doesn’t even attempt to maintain that aspect of The Walking Dead, to the point of having one character say out loud that he hates moral dilemmas in the pilot episode. Instead, the new drama follows the path of most zombie movies. There’s really bad destruction and fast-moving, murderous monsters everywhere. Strangers form in a tribe purely by coincidence, and their purpose is large-scale, possibly world-saving. This makes it even more unrealistic than just have zombies in the program does, and far less enjoyable.

Z NATION is entertaining, I will give it that. Many a scene will keep viewers on the edge of their seats, biting their nails. Lots happens in a short span of time, and a number of individuals die, including one I really did not expect yet, based on the press for the show and the story structure. It’s definitely going to be a gory series with shock-factor scenes, including one involving an infant, and one primarily concerned with pumping the adrenaline of both the characters and the audience.

Z NATION just doesn’t have depth. The plot is extremely simple to understand and so are the characters. Motivations are stated out-right, and there really isn’t anything that sets it apart from films in the genre. Being on a television budget, it can’t reach the special effects levels of a theatrical release, so it’ll always be destined to be inferior, making one think twice before sitting down to watch it.

There is also a lot of cheese. One of the main players, Citizen Z (DJ Qualls, Legit), is in a government base somewhere with access to radio and computer equipment. For much of the pilot, he’s concerned with making contact with Lieutenant Mark Hammond (Harold Perrineau, Lost), who is charged with the important task of protecting the one man who seems immune to zombie bites, Murphy (Keith Allan, Rise of the Zombies). This makes sense, giving Citizen Z an important purpose. But suddenly, at the end of the hour, he slips on some sunglasses and goes into radio disc jockey-mode. Isn’t that taking things a little too lightly? And doesn’t he have any co-workers left to put a stop to the nonsense?

Other than these three, the rest of the players seem like zombie chow. Charles Garnett (Tom Everett Scott, Southland) is a typical leading man, so maybe he’ll stick around for a bit. But there is little to distinguish the other supporting players, and given the structure of Z NATION, it seems likely a number of them will be killed off in the coming weeks. One or two may become fan favorites, but most will probably wind up dead.

Thus, Z NATION is not a great show. In a crowded television landscape, and with a much better product on AMC, I don’t know why this series would gain a big following, but I guess we’ll see when Z NATION premieres this Friday at 10 p.m. ET on SyFy.

Blu-ray Review: ‘Bitten – The Complete First Season’

Article first published as Blu-ray Review: ‘Bitten – The Complete First Season’ on Blogcritics.

Bitten, a Canadian-made supernatural drama that recently aired its first season on the SyFy channel in the United States, comes to Blu-ray and DVD this week in a four-disc set. Based on the best-selling books by Kelley Armstrong, Bitten is an action-packed, sexy drama centered on Elena Michaels (Laura Vandervoort, V, Smallville), the only female werewolf in existence. She is drawn back to the pack she abandoned when rogue mutts begin killing innocent people.

The Characters

The series is a character-driven drama, despite the other elements. Elena is caught between two worlds, a normal, wonderful boyfriend, Philip McAdams (Paul Greene, Wicked Wicked Games), who offers her the chance at an average existence, which she is trying to convince herself she wants, and hot, uncontrollable passion for Clayton Danvers (Greyston Holt, Alcatraz), whom she loves but doesn’t trust since he accidentally turned her into the same creature she didn’t know he was. It’s more than a simple love triangle because it’s the type of life Elena would have with each, more than her feelings for the men themselves, that drive her decisions.

The show is also bolstered by the pack ensemble, which are secondary to Elena, but still important to the success of the series. Their leader is Jeremy Danvers (Greg Bryk, XIII: The Series), a calm, logical man, who makes the tough decisions while guiding the others on a more peaceful path than past Alphas. His best friend, Antonio Sorrentino (Paulino Nunes, The Firm), could have been Alpha, but chose to step aside. There is also Antonio’s playboy son, Nick (Steve Lund, Haven), and Logan (Michael Xavier, The Best Years), who wants to have a family with Rachel (Genelle Williams, Warehouse 13), something against pack law.

The Premise

The mythology in Bitten is well-developed. Both the arcs for the central cast and the villains brought in fit into a large picture, a world developed long before the show starts, and one that will continue after we stop watching. The season is both a complete story, and a piece of something much bigger. The pacing is good, and the acting is serviceable. While not the number one show on television, it is better than most of its peers because of the depth and cohesion it exhibits.

Those familiar with the source material should be both satisfied and surprised. Having read books one and two so far myself, with plans to continue with the set, I can say that Bitten hews fairly close to the first book in Armstrong’s Otherworld series in a lot of ways, but in others, including a major character death or two, it departs. I like that the show’s writers know what works for TV and what doesn’t, keeping to the spirit of the piece, but not being a slave to it. I do wonder how future seasons will unfold, as Elena only serves as the protagonist for the first two novels in the series, the second book expanding the structure greatly and moving in other directions. I suspect the show may end up telling us a lot of stories involving these players that isn’t on the page, rather than move away from its core.
Features

There are a handful of bonus features included on this set. Audio commentary is provided for the premiere, finale, and pivotal fifth episode, which gives Elena’s back story, certainly the three installments fans would be most interested in hearing commentary for. An eight-minute “Behind the Scenes” spends most of its time telling us who the characters are, rather than really going into how the show is made, a totally unnecessary inclusion to those who have already watched the episodes (or read this review). Similarly, “VFX – Behind the Wolf” talks about how the characters relate to their animal versions much more than the special effects wizardry that goes into creating the effects. The one semi-valuable feature is for those interested in stunt work, as the disc spends more than eight minutes breaking down a few scenes from episodes 11 and 13, mainly by showing picture-in-picture of the finished product versus rehearsal. There are also about 15 minutes of deleted and extended scenes. It’s an acceptable amount of extras, even if the content is a bit weak.

As far as the high definition presented on the Blu-ray, it’s as good as what aired on television, but not a particularly impressive release. The audio is well- mixed, as most shows are these days, but it does not boast surround sound or anything special. The picture is clear enough, but lacking the super crisp detail some series have. My guess is that, because this is a Canadian production, the budget is likely lower than many American series, and the money is mainly spent on special effects, rather than enhancing the video and audio.

Verdict

Still, even with disappointing extras and an acceptable, but not stunning, presentation, Bitten is a solid series that is both enjoyable and engaging. Maybe there are a few too many shirtless men for a straight male like me, but it’s not sappy like Twilight, and it actually takes time to make a gripping tale. I would recommend watching this for anyone who enjoys the genre.

Bitten – The Complete First Season will be available this coming Tuesday.

DEFIANCE Is Back, "Hallelujah!"

Article first published as DEFIANCE Review Season 2 on Seat42F.

Warning: This review does contain some spoilers from the premiere episode, including how much time has passed, but does not spoil any big twists, nor reveal the fates of those whose continued survival is left up in the air.

SyFy’s DEFIANCE starts its second season this week with “The Opposite of Hallelujah.” It’s been nine months since the events of last spring’s finale, and everyone has settled into a new normal. The city is being ruled by an outside force and most of the residents that are still in the town seem to have accepted that, finding ways to change and continue their daily routine. But rebellion seems to be brewing just under the surface. Will those rumblings soon erupt into full-scale insurgency?

Last season’s cliffhanger is a big one, so many viewers might assume that DEFIANCE won’t make a significant time jump. They would be wrong, but I think the writers are right to skip over what they did. The ramifications of what occurs are far from over; there just hasn’t been much action in the meantime. Instead, there’s a sense of uneasy calm, where our heroes have had a chance to get used to the changes. Viewers are dropped into a different world, which right away infuses the proceedings with a sense of freshness and movement.

“The Opposite of Hallelujah” is an interesting study of various characters. Much of DEFIANCE is action-based, with plenty of fights and special effects. But this year’s premiere is quieter, instead giving us some really cool ways for the characters to grow and develop, which happens in season one, but is more prevalent now. Rather than providing a bunch of OMG moments, though the episode sure does end with one, DEFIANCE focuses on setting individuals up in situations that will challenge them. I definitely dig this direction.

Amanda Rosewater (Julie Benz) is no longer the mayor, but her primary concern is still with the town and its people. Amanda is given an opportunity in the premiere that might allow her to effect positive changes in the community, but it would mean not only swallowing her pride, but also partnering with a man she does not trust in the slightest. Should she do it?

There is a justifiable debate here as to whether a broken system can be affected from the inside, or if it’s better to attack from the outside. Amanda is in a rare position to pick which she’d like to do, something most will not be afforded. One can see how some followers could see her as a traitor for working with the enemy, but at the same, it might be her best chance to make their lives better. We know Amanda can put the townsfolk first, but is that the best option here, even if she’s willing to let others hate her while she works for the good of the many?

Another person pondering power is Alak Tarr (Jesse Rath). With his father no longer operating the family business (don’t worry, I won’t reveal what’s happening with Datak (Tony Curran) here), Alak is the male heir. His mother, Stahma (Jaime Murray), has no official say in things, being a woman, though viewers will know that rules are merely speed bumps for Stahma, not roadblocks. Alak now has a choice on whether to listen to someone who might be wiser than himself, or go in his own direction, fighting for his reputation and seat along the way. Is this young man ready to step up as an adult?

I am still fascinated by the Tarr family. Datak does a very unexpected thing in season one when he murders a general, and while parts of what we learn about his situation in this premiere are the weakest points in the episode, there’s also some meaty stuff there. Stahma has a disposition that seems wholly alien, often moved by motivations and loyalties that are far apart from those most humans would have. And now Alak, who seems like a typical teenager in the freshman year, is asked to take a bigger part in his father’s dealings, so it’s intriguing to see whether culture or heritage will win out within him.

If you’ve seen the five webisodes posted on DEFIANCE’s official website, you will already know that Nolan (Grant Bowler) is traveling around the country, searching for signs of his missing daughter, Irisa (Stephanie Leonidas). This means Nolan is in other settings, providing glimpses of what other areas of the former United States look like. I don’t want to give away anything about his story in “The Opposite of Hallelujah,” but it is cool to expand what we get to see of the world, and how others outside of Defiance are handling things.

This season premiere is pretty well done overall. Aside from what appears to be an inexplicable element of the Datak plot, the rest of the cast is allowed to be dynamic, and the story has departed from any type of formula, providing an engaging, serialized tale. This is a strong start to year two.

DEFIANCE airs Thursdays at 8 p.m. ET on SyFy.

New DOMINION

Article first published as DOMINION Review on Seat42F.

DOMINION — Pictured: (l-r) Christopher Egan as Alex Lannen, Alan Dale as Rysen, Anthony Stewart Head, Roxanne McKee as Claire Rysen — (Photo by: Ilze Kitshoff/Syfy)

SyFy’s latest series, paired with Defiance, is DOMINION. A sequel to the 2010 film Legion, though not having seen the film, I can say the show seems accessible without it, this is the story of a world overrun by angels. It’s been 25 years since Michael (Tom Wisdom, 300) stood by humanity against his brethren. Now, he lives in the most secure city in what was once known as the United States, Vega (nee Las Vegas), watching over an unstable peace that is on the verge of collapse.

DOMINION is a dystopian future for mankind, a genre that is all the rage, but injects religion into its origin, too, asking viewers to accept the God and his winged followers are not only real, but once again involved in the happenings on Earth, Old Testament-style. There’s a vibrancy not unlike the Greek gods in how Michael, Gabriel, and the others are presented, and the city of Vega feels like the Roman Empire at its height, albeit with some modern technology. Basically, it’s a mish-mash of many things, repackaged in a way that works pretty well.

Michael himself comes across as alien. His demeanor is otherworldly, his actions not exactly matching those humans around him. They regard him as someone to be respected, but he doesn’t rule over them, making for an interesting dynamic. It’s hard to tell exactly what Michael’s motivations are, other than serving the larger goal of protecting the men and women around him. With such an obtuse character one of those central to DOMINION, it should making for an interesting chemistry.

Those familiar with the movie should remember Jeep (Langley Kirkwood, Invictus). Roaming the countryside for the past fifteen years, struggling to understand the tattoos covering his body, Jeep brings in greater mystery to the proceedings. His son, the chosen one, is hidden away, though viewers will probably be able to see the obvious reveal coming from a mile away. What they may not see ahead of time is where the plot will go from this starting point.

The enemies of Vega are an army of angels led by Gabriel who want to upset the balance of power and finish what they started, wiping out all humans. With one particular warrior that looks too much like Iron Man, Gabriel is stationed quite close to the city, setting the stage for numerous battles, though making a long, drawn-out war seem unlikely.

 

The danger to Vega may be more from within, though. One of the ruling family’s patriarchs, David Weel (Anthony Head, Buffy the Vampire Slayer), has his own ideas about how the government should change, wanting to solidify power into a dictatorship. His rival is General Rysen (Alan Dale, Lost), the current man in charge, who favors democracy and the erosion of the strict caste system that current exists. These two represent the opposite sides of a coin, and while it’s clear from the onset that Weel is the slimy one and Rysen is noble, if things get too bad, Weel could end up being the leader Vega needs.

As well-developed as Weel and Rysen are their children. Weel’s son, William (Luke Allen-Gale, Monroe), doesn’t necessarily fall in line with his dad, having his own belief system, which includes a faith in the chosen one, something his elder scoffs at. Claire Rysen (Roxanne McKee, Game of Thrones) does respect her father, but doesn’t feel understood by him. These are not just two copies of their parents, and the interactions of the four together make for a tenuous blend of alliances and blood ties, one that seems to be interesting and fresh, rather than stock and stale.

Rounding out the cast are: Alex (Christopher Egan, Kings), a soldier that Claire loves; Arika (Shivani Ghai, EastEnders), a representative from another city; and Becca (Rosalind Halstead, Bridget Jones: The Edge of Reason), Michael’s human ‘companion’ and member of the ruling council. Plus, there’s an adorable impoverished orphan.

The pilot gets a few things wrong, such as telegraphing a couple big plays and making a bad guy or two a bit over-the-top. But it also gets a lot right. There’s a great mix of complex personalities, a visually impressive setting, a new take on a bleak future, and plenty of intriguing unknowns to engage the audience. I find it quite entertaining, and am definitely tuning in to see how the first season unfolds, as the trajectory isn’t quite made known in the initial hour-plus.

DOMINION airs Thursdays at 9 p.m. ET on SyFy.

WAREHOUSE 13 Not "Endless"

Article first published as TV Review: 'Warehouse 13' - Series Finale on Blogcritics.

SyFy‘s Warehouse 13 is always a little cheesy, like most USA programs of the last decade, but with a science fiction bent to it. However, it has also always exhibits heart in the bond that holds the agents of the titular facility together. In its series finale, “Endless,” the writers decide to double down on the emotion instead of giving the team any more peril to overcome.

The conceit is that the Warehouse is reaching the end of its days, ready to move on to Warehouse 14, so the agents gather together to offer their defining moments to King Arthur’s round table, a gift to them as much as to the Warehouse. Instead of a clip show, however, the memories offered up are pretty much all new footage, showcasing some of the talents of those involved, without becoming repetitive.

I have to admit, I have a problem with this set up. I like that the series doesn’t just recycle old material in the end, but if the scenes shown are really that key to the characters, shouldn’t they have been fully fleshed out adventures we get to witness along the way? Instead, “Endless” feels like a forced conclusion, adding extra elements that are never mentioned before, in order to give the characters a sense of completeness not built into the established narrative arcs.

That being said, they are really good, if underdeveloped, scenes. We find out Artie (Saul Rubinek) has a son, whom he keeps in contact with, but never mentions to his co-workers. Artie also gets a personal goodbye from Warehouse 13, something definitely earned. Claudia (Allison Scagliotti) gets some fatherly advice from Artie when she has doubts about becoming the next caretaker, but in the end, she decides to fulfill her destiny and be forever tied to the place. And Jinks (Aaron Ashmore) and Mrs. Frederic (CCH Pounder) become bosom buddies through scenes we only catch the tail end of, except for a moving memorial to departed cast member Leena (Genelle Williams).

None of these things are explored fulled enough. Sure, the 42nd Street number is a fun sequence, and who doesn’t want to see Mrs. Frederic laugh or learn Artie still has another big secret? But all of this deserves to be delved into, not delivered last minute, when it’s too late to mean much. Warehouse 13 could have at least spent its final six episodes serving these plots, but it holds them until the final hour, not giving viewers time to see the ramifications.

Where this feels like the biggest loss is in the finally realized romance between Myka (Joanne Kelly) and Pete (Eddie McClintock). Pete already figures out his feelings in a previous hour, so it’s Myka’s turn to open her eyes while Pete freaks out about losing the life and people he loves. But, of course, it all comes together, far too late for anything but a couple of satisfying kisses. Now we’ll never seen how things work out between them as an actual couple.

What feels even more like a cheat is the last scene, set “several decades later,” in which three new agents who clearly are stands-ins for Artie, Myka, and Pete interact with Claudia, now the caretaker. So Warehouse 13 didn’t move after all? A cheeky line is not an explanation. And what happened to the main cast? When did they leave? There is no mention about what they are doing now, or if they’re even still alive. I understand this is supposed to let fans known the mysteries and missions of the Warehouse are “Endless,” but instead it highlights what the show does wrong.

Don’t get me wrong, “Endless” is a feel-good hour, even carving out a natural bit for everyone’s favorite recurring character, H.G. Wells (Jaime Murray). The emotion it evokes is great. However, like the series itself, it falls far short of its potential, and comes across as shallow. I’d hoped Warehouse 13 would redeem itself with a perfect capper. In a way, this finale is what the show deserves, but on the other hand, there exists an opportunity to raise the game considerably, leaving a better legacy, and it is squandered.

Still, Warehouse 13 is entertaining, right to the end, and we can be grateful for that.

WAREHOUSE 13 Not "Endless"

Article first published as WAREHOUSE 13 Review on Seat42F.

Syfy’s WAREHOUSE 13 has only six episodes left to air. This week’s season five premiere, “Endless Terror,” doesn’t have much time for final arcs, though, as it is mostly concerned with tying up the loose ends from the previous season’s cliffhanger. Looking at the episode descriptions for the final five, it sounds like this show will go out with some character development, rather than a major villain that must be defeated, so the understated premiere could be part of the design.

As “Endless Terror” begins, there is still a bad guy to take down. Paracelsus (Anthony Stewart Head) has control of the Warehouse and, by extension, Claudia (Allison Scagliotti). Pete (Eddie McClintock), Myka (Joanne Kelly), Artie (Saul Rubinek), and Jinks (Aaron Ashmore) try to break past the building’s defenses and get inside before Paracelsus can put together a couple of artifacts and carry out his dastardly plan.

Our heroes don’t succeed right away, of course, and the result is an action-packed hour full of time travel and alternate timelines. This conceit allows WAREHOUSE 13 to parade through quite a few familiar faces, including some characters that are no longer alive, a fitting tribute to the final year. Plus, we get Rebecca Mader (Once Upon a Time) as Lisa DaVinci, so that’s fun. It’s a pretty solid story in terms of the premise, and a good way to being a victory lap, even if it left me wishing this particular arc filled all six episodes, not just a single one.

The major problem in “Endless Terror” isn’t in the big picture; it’s in the details. It’s been awhile since WAREHOUSE 13 was on the air so I don’t remember exactly if it has always been as cheesy as this entry is. If anything, the episode seems much heavier on the schmaltz, more concerned with delivering zingers than making a cohesive tale with developments that make sense. As such, it certainly isn’t among the best of installments.

WAREHOUSE 13’s charm has always relied pretty heavily on humor. The funny things the characters say are a main draw, and that element is intact as ever. Nothing has changed about the writing or the chemistry. However, while the plot may have had a few instances of deus ex machine or happy coincidence in the past, it isn’t built heavily on them, and the characters are often in real danger, even if they try to play it off as if they aren’t. “Endless Terror” abandons the toehold on reality, laughing off potentially deadly circumstances is such a way that makes the show seem hollow.

If this is how the players will be treated, it may be a good thing that WAREHOUSE 13 focuses on growth and development of its central cast, rather than an epic battle. Claudia is still upset with Artie for hiding her sister, Claire, from her. Myka’s brush with death has to be weighing on Pete even more than he lets on. Those are things that beg further exploration, and will hopefully drive this last half-dozen adventures.

Will fans be disappointed if WAREHOUSE 13 goes out quietly? I think so. After all, the series has tackled large arcs before, with evil geniuses who are not easily dispatched. One would expect the final leg to take this quality to the next level, not to ignore it altogether. Yet, “Endless Terror” is seemingly the wrap up of the last of these, choosing a different path to go down now.

Of course, the main thing the series will be judged on this year will be the last episode ever. If they can manage to nail that, giving us emotional closure and a fitting conclusion, fans will forgive any missteps along the way. I’m cautiously optimistic because the writers have done some cool things in the past, but this first episode back is so uneven as to make me a little nervous. We’ll have to wait and see how it goes.

WAREHOUSE 13 airs Mondays at 9 p.m. ET on SyFy.

BEING HUMAN The End Goal

Article first published as TV Review: 'Being Human' - Series Finale on Blogcritics.

SyFy’s Being Human brought its four-season run to a close last week in “There Goes the Neighborhood: Part 3.” It’s a sweeping wrap-up for all three of the main characters, really concluding the journeys they’ve been on, giving them one last challenge, and then sending them off into an emotional sunset. For the British version, losing the main cast was just a stepping stone. But for Americans, this is how a show is expected to end.

Sally (Meaghen Rath) dies quite early in the hour, which is sure to be a big disappointment to some Being Human fans, since she’s one of the original trio. However, she’s definitely had her share of the story this year, and it feels very right that she should give up herself to save Aidan (Sam Witwer), whom she loves. It’s her way of finally achieving the heroic quality she has sought, and it really propels Aidan into his own conclusion.

Aidan is made human again by Sally’s sacrifice. His years of life quickly catch up on him, meaning he has only about a week to live, but that’s OK. At least he gets the chance to experience life as a human being again. He tastes cheeseburgers and spends times with his surviving best friends, Josh (Sam Huntington) and Nora (Kristen Hager). We do see Aidan go through stages of grief, too, depressed that he’s going to die, and trying to bargain a way out of it. But in the end, this is part of the complete cycle people experience, so it’s fitting, and he does find acceptance.

Aidan follows Sally’s example and takes himself out to save Josh. By going into the house alone to confront Ramona (Helen Colliander), the final big bad who, fittingly, has been involved in the proceedings through the series, secretly living in, or being, the house in which the main characters reside, Aidan gives Josh a chance at happiness. Both Aidan and Sally do something completely selfless, ensuring their friends will survive.

This means, they both get their doors. Neither character expects to be rewarded in the afterlife, believing, with good reason, that they’ve done too much bad to be forgiven. Yet, as all heroes do, they find inner strength, and it redeems them. Perhaps this finale is a little predictable, but it delivers the emotional punch needed, and it’s a fulfillment of what both have been working towards.

What this means is that Josh and Nora are able to be a happily married couple, not bogged down in the supernatural drama that has plagued them any more, raising a couple of kids in peace. It’s a little creepy that they name their son and daughter after the two deceased (and doesn’t it work out too perfectly that they have one of each?), but again, this is where fans wants to see them. They (meaning both the characters and the viewers) have suffered enough and deserve a little contentment.

Being Human plays it safe in crafting the series finale because it gives viewers exactly what they want. This may make the tale predictable, but after four seasons, it also feels earned. Perhaps one could have asked for a little more drama, some twist that pulls away from the sappy, love-letter quality of the hour, but I don’t think anyone who has been watching is upset at the way things are done. It’s the ending most would have written themselves, if given the chance.

Does that mean that Being Human has solved the series finale conundrum that the creators of many popular shows have been struggling with these past few years? I think not. Being Human, while good, is a relatively simple show when compared with the others. Lost and Battlestar Galactica, among other series, had a multitude of directions they could have gone in, and different members of the audience wanted different outcomes. Being Human is more straight forward, so its mold won’t apply to everyone. But for what it is, it did well. I’m glad I tuned in.

CONTINUUM Makes You Think For a "Minute"

Article first written for Seat42F.

CONTINUUM, a Canadian import airing on SyFy, seems science fiction-light in the first two seasons. It centers on Kiera Cameron (Rachel Nichols), who is a cop from 2077 trapped back in our present day. The series follows larger plot arcs, rather than just case-of-the-week stories, most of the time, but it still limits itself by keeping the setting and story something familiar and not too far off the beaten path.

However, in the third season premiere, “Minute by Minute,” things only get more high-concept and twisty as the hour goes on. We’re now firmly into the genre, and this benefits the show, making it both harder to follow and more rewarding to do so.

As season two closes, Alec (Erik Knudsen) steals Kiera’s chance to return home because he wants to save Emily’s (Magda Apanowicz) life. This creates a separate time line in which there are two Alecs running around. Alec from the future wastes no time reaching out to Emily, and because he’s not shy about the truth when he encounters Kellog (Stephen Lobo), things begin to change rapidly.

How fragile is the time line? Well, that’s been debated in many different projects, but in the world of CONTINUUM, it seems quite fragile indeed. Alternate lines are created by certain actions, so infinite numbers of scenarios might be playing out all at once. What’s important to viewers is that the one the show sticks with play out as it should, so the future happens and Keira is born and sent back. Alec’s actions, and the actions of those he encounters, start to threaten that.

Meanwhile, Kiera is still in the original timeline, locked up by the Freelancers. This group has a number of secrets, some of which Kiera learns. Kiera is a resourceful woman, so don’t think she spends the whole episode locked in a cell. However, where her plot goes is a bit surprising, and she makes an unexpected ally in the midst of the crisis. Possibly several allies.

I really, really like “Minute by Minute.” It takes what CONTINUUM, already a good show, has built and expounds upon it in new, interesting, dramatic directions. There is nothing in this episode that doesn’t fit with what’s come before, but adding alternate time lines into the proceedings crank things up a notch and start to spin off numerous possibilities. If the show wants to jump over to another line, it can. If a character is killed and the writers regret it, they can bring them back.

Will this make the series harder to follow? Of course, because now you don’t just have to keep track of one set of players and their situation, but also different versions of them, and how what happens in the past might affect what we’ve already seen in the future. Yet, I’m not complaining because it takes a series that follows a relatively predictable course and spins it off into uncharted, high-tension territory, injecting a sense that anything could happen. Anything.

Another new element in CONTINUUM is the development of the Freelancers. Previously, they are shown as villains whose motivations are unclear. In “Minute by Minute,” we learn about the origin and mission of the group. Who they are makes for a potential game changer, and also adds another bunch of people whose purpose may or may not be contrary to what Kiera wants, and where they stand in relation to one another will almost certainly change as the story develops.

“Minute by Minute” is all about adding possibilities. It does nothing to limit CONTINUUM, and everything to expand it. From here, there’s no telling where exactly things will go. It also seems to indicate that this is the new normal for the show, and it won’t be going back to the steady, measured arcs it previously played out. Excellent.

It’s hard to really delve into the bones of this episode because I really don’t want to spoil all the great things it has in store. Just trust me, it’s well worth tuning in for.

CONTINUUM returns Friday at 10 p.m. ET on SyFy.