Not So GOOD BEHAVIOR

Article first published as GOOD BEHAVIOR Review on Seat42F.

TNT’s latest drama is GOOD BEHAVIOR, premiering tonight. Based on the book series by Blake Crouch (The Wayward Pines Trilogy), the program follows an alcoholic con artist on parole from prison who gets drawn back into the underworld in a big way. She’s just a small-time thief, but when she steals from an assassin, she suddenly goes even deeper into the dark side with no clear path back.

Our protagonist, Letty Dobesh, is played by Michelle Dockery of Downton Abbey fame. While Lady Mary could be a bit of a jerk from time to time, she certainly would not approve of Letty’s behavior, and it’s quite a different role for her. Gone is the British accent, and in its place are wigs, a bunch of role playing, and some guns. Dockery does all right, but I just don’t know if she’s the right person to lead GOOD BEHAVIOR.

To be fair, few actresses would be great in this series, and that’s more the fault of the program than the performer. It’s pretty messily plotted, with twists coming quickly and too conveniently, motivations barely examined before rocketing on to the next thing, and an emphasis on flash over substance. It’s laid out as sort of a case of the week, but wrapped in a serial story. So that fact that Dockery can’t make it believable isn’t entirely surprising.

GOOD BEHAVIOR does try to flesh Letty out by giving her a child she’s trying to regain custody of and a far-too-lenient parole officer, Christian (Terry Kinney, Billions, Oz). Yet, rather than providing context for Letty, these seem to be set dressings. If Letty were really devoted to her kid, she might try harder to turn over a new leaf. And if Christian were even a little good at his job, he wouldn’t allow her to walk all over him. It feels flat, elements stolen from better stories to try to dress up a mediocre show.

The chemistry between Dockery and Juan Diego Botto (Zorro, Roma), who plays the killer, Javier, whose thumb Letty gets trapped under, isn’t bad. In fact, I’d bet that GOOD BEHAVIOR is banking on the steamy, dangerous romance as the primary draw. Will they sleep together? Almost certainly. Will they fall in love and allow that to get in the way of their criminal activities? That’s a little less obvious, but if the series runs for a few years, almost equally certain.

The problem is that a little flirtation doesn’t make up for the weak overall presentation. With only four main characters, the fourth being Lusia Strus’ (Wayward Pines) Estelle, there’s a lot of lingering focus on the main players, especially the central pair. So when the plot is flimsy around them, without totally showing a realistic relationship or reasons for what the players are doing, then the whole thing doesn’t hold up very well.

I do think TNT has been trying to make better dramas lately. But most of their shows tend to be like GOOD BEHAVIOR, interesting ideas that are not as well developed as the same series might be on their leading basic cable competitors, FX and AMC. I will give TNT credit for having a brand and sticking with it, but I can’t help but wish they allowed themselves to get a little more complex in their storytelling. Letty would be a much more interesting character if the series toyed with ambiguity and shades of grey, which in this case are minimized in favor of action.

So should you watch GOOD BEHAVIOR? Well, if you like other TNT series, you probably are already adjusted to the lowered expectations that come with viewing that network, and may enjoy this one, too. If you’ve wanted to watch TNT, or have occasionally given in only to be disappointed, this program is not going to change your mind; stay away.

GOOD BEHAVIOR premieres tonight at 9/8c on TNT.

Open Up the BLACK BOX

Article first written for Seat42F.

ABC’s new drama, BLACK BOX, is an interesting concept. A successful professional with bi-polar disorder and a tendency to go off her meds deals with life, love, and work, all while trying to hide and control her secrets. There is a recent trend on television to build a series around an eccentric genius, but at least in the “Pilot” of this one, more time is given to examining the lead’s personality than in others in the vein. That makes it feel fresh.

Kelly Reilly (Sherlock Holmes) plays Dr. Catherine Black, the main character. Black isn’t necessarily likeable, but she is a complex, fleshed out character. She’s a bit like FOX’s House in her abrasiveness and unreliability, though in her case, the problem is staying on the drugs, not off them. She also hallucinates, like the lead in TNT’s Perception, but BLACK BOX is what Perception should be, making the story more about Catherine than some case. Too bad the play on her name in the title is lower brow than the rest of the package.

Much of the first hour is spent raising the question of if Catherine should be medicated. Catherine points to the work of brilliant minds in history who accomplished great things when allowed to be who they are, wondering if taking the pills is holding her back in her own work. But her head doc, Dr. Hartramph (Vanessa Redgrave, Lee Daniels’ The Butler), points out that those heroes of Catherine’s all died young and Catherine could accomplish more, if a little more slowly, if she takes measures to stay alive.

BLACK BOX has a point of view. The writers are clearly in favor of treating this disorder. But they do a good job of making the audience understand Catherine’s reasoning, and for a bit, maybe even believe it. Yes, Catherine au naturel is destructive, but if she can hang on for a little longer, she might accomplish something great. It’s a revealing view of mental disease.

The “Pilot” provides a convenient door into this world in Will (David Ajala, The Dark Knight). Boyfriend to Catherine for the past year, Will only finds out about her struggle in this first episode, after proposing. At first, he’s mad that she kept this from him and understandably freaked out. But then he finds a side of this that he likes, which is a little creepy, but also something sympathetic.

When one begins to think Catherine can handle herself, one need only look at the relationship between her and Will to see how broken she is. Catherine doesn’t want to get married. She doesn’t think she deserves love or that Will should have to put up with her. She doesn’t want kids because of the risk of passing on her condition. But she also doesn’t want to run Will off, and she’s attracted to the dangerous part of him that encourages her to be wild. It’s not a healthy situation.

In addition to Will, we meet Catherine’s supportive brother, Joshua (David Chisum, One Life to Live), his uptight wife, Regan (Laura Fraser, Breaking Bad), and their sweet daughter, Esme (Siobhan Williams, Hell on Wheels), with whom Catherine is close. They are a link to normalcy and people she can rely on when she needs help. Thank goodness Catherine has Will and Esme, especially, giving her a connection to pull her back when she blasts off into space. Plus, there’s a great twist involving the family late in the hour.

Catherine’s co-workers are a less helpful bunch, though that could be because they don’t know what’s wrong with Catherine. Her boss, Dr. Morely (Terry Kinney, Oz), trusts her unconventional methods, meaning he doesn’t try to reign her in. New surgeon Dr. Bickman (Ditch Davey, Spartacus: War of the Damned) is practically a sexual predator, not a good person to be around when one of Catherine’s symptoms is hypersexuality and she’s in a steady relationship. Dr. Lark (Ali Wong, Are You There, Chelsea?) might be her friend, though.

BLACK BOX does have a procedural element. Even in the “Pilot,” there’s a patient that Catherine helps, amid all of the chaos in her own life. But the fact that her own life is so messy, and that we get to see so much of it, will fool many viewers into thinking this is more character study than case-of-the-week. I hope that balance is maintained in future installments, and not just used in the set up.

As a whole, I like BLACK BOX. It’s interesting with a sort-of unique character, certainly smarter than most broadcast network dramas. It has some cool visuals, mainly when Catherine is tripping. It also raises some interesting questions that should make viewers think. Check it out.

BLACK BOX premieres Thursday at 10 p.m. ET on ABC.

Elementary proving to be more than typical CBS procedural

Article first published as Elementary proving to be more than typical CBS procedural on TheTVKing.

I was highly skeptical when CBS's Elementary premiered in the fall. We already have a great modern version of the Sherlock Holmes tale in the BBC's Sherlock, and CBS is not known for breaking new ground in their dramas, preferring to stick to a tried and true (and very boring) formula.

However, in recent weeks, the story told in Elementary has begun to deepen. There are hints early in the fall at something better, an intriguing character study forming, making the case of the week bits less important. This comes to a triumphant crescendo with "M." a couple of weeks ago, and continues this week in the post-Super Bowl episode "The Deductionist."

In "The Deductionist," Sherlock (Johnny Lee Miller) is forced to work with profiler Kathryn Drummond (Kari Matchett, Covert Affairs) when a serial killer named Martin Ennis (Terry Kinney, Oz) escapes. Kathryn is the one who catches the murderer the first time, but she also has a past with Sherlock, having slept with, and then publicly profiled, the brilliant detective. He feels betrayed, making him act irrationally and immaturely, forcing Kathryn into a competition, rather than a partnership.

There are few individuals who can shake up Sherlock, so that fact that Drummond does says something intriguing about her. Despite Sherlock's claims that what she does is worthless and false, I don't believe that Sherlock would get so upset were Drummond not extremely talented and capable. What she did to him hurt him, touching on something deep inside, and because he doesn't have the social skills to behave like an adult, this sends Sherlock into a spin.

Sherlock's instability continues when he finally tracks down Ennis. Rather than bringing police backup, Sherlock risks a one-on-one confrontation so that he can grill Ennis about the killer's own profile. It's reckless, much like Sherlock's actions in "M.," and it proves to Captain Gregson (Aidan Quinn) that Sherlock can't be trusted.

This could threaten Sherlock's continued work with the police. Yes, our detective is highly intelligent and helps put away the bad guys. But that has to be weighed with how Sherlock respects rules and procedures, as well as orders from Gregson. Without this structure, it puts everyone at risk, and Gregson can't allow his guys to get hurt just to keep Sherlock happy. The bad may outweigh the good Sherlock provides soon enough, and Gregson is growing wary of this.

Sherlock's main goal with Ennis seems to be to prove to himself that Drummond is wrong, thereby being assured that he does not have to worry about the fate she has predicted for him, total self-destruction. Here, we get to see one of Sherlock's greatest fears, that the same elements of his psyche that make him a genius could also lead to his downfall. It's a portrait of a scared man laid bare, and one viewers are unlikely to soon forget.

This is why I like Elementary. It goes beyond what one might expect at first glance, is willing to let Miller take risks with the character, and gives him writing that supports his sheer talent. Sherlock, unlike other crime show investigators, is not a replaceable cog in the system, but the entire reason this series exists. He is something special.

I did not expect the surprise of Drummond being stabbed in this episode. One doesn't assume that the villain to accomplish their goal, and it was a shocking twist. I almost wish that she had died, because it would have been even more unexpected, but I'm glad in retrospect that Drummond can return in the future, given the effect she has on our lead. And I like Matchett.

The B plot of "The Deductionist" involves Watson (Lucy Liu) being evicted from the apartment she sublets because pornography has been shot there, breaking her lease agreement. But with a little pushg from Sherlock, Watson is soon able to prove that her landlord is trying to pull a fast one on her, and negotiates a deal. She doesn't want the apartment back, but she ends up satisfied.

I like that Watson is very intelligent in her own right, and that she sometimes doesn't have to stay by Sherlock's side all the time. She is a fully developed person, rather than a one-note sidekick, and adds quite a bit to the overall success of the show.

I do have a theory that Sherlock is the one that hired Watson, not his father, having looked into her, and realizing that they would be good together, she being what he needs right now. This could explain a lot, would mean that Sherlock is well aware of her continued presence in spite of the fact that she was fired. It also sets them up for a big falling out when she learns of Sherlock's betrayal of her trust. Sherlock tests her all the time. Who's to say that her entire job thus far hasn't all been a test? This revelation would make a heck of a season finale!

My only real complaint about "The Deductionist" is the opening. Sherlock engages in a sting against a couple of prostitutes that rip people off. It doesn't really fit, and seems designed purely to hook in the football fan who might tune in after the big game. In that, it should serve its purpose, and because it might draw a few more viewers, this can be easily forgiven, as long as it's a one-time slip, and not a habit.

Elementary normally airs on Thursdays, including this week, at 10 p.m. ET on CBS.

Want to read some of my fiction? It's on my website, JeromeWetzel.com! Also, for the latest updates and article links, as well as commentary on episodes I don't fully review, please follow me on Twitter.

"Turn This Mother Out" Being Human!

     SyFy's Being Human begins its sophomore year with "Turn This Mother Out." Mother (Deena Aziz) comes to town, with the Council, to decide what to do with all of the new vampires in Boston. Aidan (Sam Witwer) recommends mercy, but Mother not only disagrees, she puts her daughter in charge of Boston, with Aidan regulated to Second. Meanwhile, Nora (Kristen Hager) keeps her upcoming werewolf transformation a secret from Josh (Sam Huntington), who is being hunted by vampire council member Hegeman (Terry Kinney). And Sally (Meaghan Rath) attends her high school reunion, as do a couple of dead classmates.

     At first, it appears that Being Human might choose a different path for Nora than her UK counterpart, sparing her from the wolf curse. Alas, this is not to be. However, considering that she isn't captured and experimented on while Josh thinks she just dumped him, Nora does have an improved outlook. If Josh can get back to her, he can help her through the process, and she will have a relatively smooth transition. Plus, this should cement their relationship more than ever, since she appears to have forgiven him already for his unwitting part in her bad luck. Of course, that could change when she realizes the pain and trouble that comes with the werewolf transformation.

     Josh, though, may not be able to get back to her, as while he is turning, he is shot by Hegeman. It's no secret that the vampires have no respect for the weres, and think Aidan would be more integrated into their society, as they desire, with his pal Josh out of the way. The risk here, for them and Aidan, is that their machinations are exposed, and that would backfire on the other vamps in a big way. If Aidan knows that the Council has hurt Josh, he won't play their game anymore, instead turning on them, and likely destroying several before being killed in the process. Let's face it: there are too many who are too skilled for Aidan to survive such an assault. So hopefully he never finds out, even if what is happening, or might happen, to Josh deserves some justice.

     Aidan, himself, plays more into the other vampires' hands in "Turn This Mother Out." He asks for mercy for the newly made vampires, and seeks a way around Mother's decision when she denies it. But he doesn't openly defy them, nor does he refuse a position within their hierarchy. This demonstrates his willingness, or perhaps even a want, to get along with his larger society. It wouldn't be surprising if Mother orchestrates the newbies attacking her in front of Aidan, so that when Aidan kills one to defend her, it figures into his head that maybe Mother is right. Going forward, he may defer to her more and more. Which isn't going to be a good thing to his morality, which he struggles to maintain as it is.

     Sally's story in "Turn This Mother Out" is more pedestrian than her roommates'. She attends her reunion, and hangs out with a boy who commits suicide while in school, and a girl that she hates. Which means, that even though only those two can see her, she has a 'typical' television reunion experience. It doesn't help when the girl Sally hates gets her door and crosses over, leaving the ghost with some resentment.

     However, then things take a different turn when Sally sees another door. Opening it, the lights within turn dark and something attacks her. What is it? What's going on? In the UK version, the main ghost is trapped in the spirit world as a lure for the vampire. Does this mean Aidan is being set up by someone or something? Or might this US remake continue to take more creative liberties, and have something entirely different in mind?

     Catch Being Human Mondays at 9 p.m. ET on SyFy.

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