Aged AQUARIUS

Article originally published as AQUARIUS Review on Seat42F.

NBC’s new drama, AQUARIUS, premieres tonight. Set in the 1960s, it is inspired by the real-life story of cult leader Charles Manson, who manipulated women into sex and murder in Los Angeles. Because this is modern American broadcast network television, the show also stars the officers of the law who are tasked with taking Manson down. As if we need another cop show, even one that is, admittedly, a little different than most.

The first thing that strikes me about AQUARIUS is that, in structure, it is virtually identical to FOX’s The Following. Both series feature a cop with a younger sidekick who share the screen with a dangerous man who is seducing and influencing weak-willed followers into doing his dirty work for him. There are differences between the two programs, but they are almost all superficial, boiling down to the same base.

The problem with drawing this comparison is, AQUARIUS is inferior in virtually every way.

Mistake number one is the setting. It is extremely easy to fall into cliché when depicting the 1960s, and AQUARIUS does this a lot. The costumes and dialogue reflect cheesiness, much more so than is believable. When our leading man, Sam Hodiak (David Duchovny, Californication, The X-Files), is schooled by his partner, Brian Shafe (Grey Damon, Friday Night Lights), on the new Miranda rights, it feels like a heavy-handed attempt to remind us of where we are, and all the hippie clothing and pot smoke is nothing better than cartoonish.

But AQUARIUS doesn’t even commit to a full-fledged 60s stereotype, instead overlaying it with a very dark noir, the messed up detectives getting seedy in order to catch the crooks. This is especially evident with officer Tully (Claire Holt, The Vampire Diaries), her role being the epitome of a put-upon woman, and her actions reflecting that she sees herself as the second-class citizen that the men do.

I’m not complaining that AQUARIUS takes place in the 1960s; that would be foolish given that it is based on true events, and it would be worse to rewrite the tale with a modern take. What I’m complaining about is the design and approach the production takes towards this era. The setting is more than a time and a place, and the way this show tackles it is bad.

Overall, the cast is solid. Duchovny, in particular, is immensely watchable, no matter how poorly constructed his part is. Damon, Holt, Emma Dumont (Bunheads) as the main girl, Emma, that we see fall into Manson’s trap, and Brian F. O’Byrne (Flashforward) as her father, are all serviceable. A step below them is Michaela McManus (Law & Order: SVU) as Emma’s mother and Beau Mirchoff (Awkward.) as Emma’s boyfriend at the start, but they still do a decent job, too. I’ve seen them all in other projects, though, and they’re usually much more compelling than they are here, which I’m assuming is because of the material.

Manson himself is played by Game of Thrones’ Gethin Anthony, and again, while I like the actor, I’m not sold on the part. I can see how this Manson lures the girls in, but am less convinced of the threat he poses. Anthony doesn’t play Manson as scary, and I feel like AQUARIUS needs that element of horror in order to drive story tension. Without it, the plot sort of plods along with little urgency or direction.

I think NBC knows this one isn’t destined to be a hit. They’re dumping the entire thirteen-episode run on their website after tonight’s premiere, available for all to binge watch at their leisure (or at least for the next four weeks). That may be a gamble to drive word of mouth, but more likely, they don’t expect anything out of AQUARIUS and it’s an easy way to get rid of the product in short order, whether they end up airing the whole thing or not.

AQUARIUS airs Thursdays at 9 p.m. ET on NBC, and is available at NBC.com.

"New" THE FOLLOWING

Article originally written for Seat42F.

Ryan Hardy (Kevin Bacon) is back as THE FOLLOWING returns this week on FOX. It’s been some time since season two ended, of course, and almost all of the characters seem to be in good places in their lives, relatively happy. What that means is that chaos is about to hit again, more murders will be committed, and the question as to who will survive is raised week after week.

As the season premiere, “New Blood,” begins, Ryan is happily seeing Gwen (Zuleikha Robinson, Homeland, Lost). Ryan doesn’t have the best track record with women, and so he’s taking things slow with Gwen, but the question remains: is she secretly evil? On almost any other series, this wouldn’t even be a consideration, but on THE FOLLOWING, there’s probably at least a fifty/fifty chance of it, with the other option being that she’ll soon become a victim. Though how cool would it be if neither occurs?

As mentioned, things start out peacefully enough, but that doesn’t last long, and the body count rises quite significantly in the first hour alone. The main perpetrator this time around is not Joe Carroll, who is on Death Row, less than a month away from execution (what are the chances he’ll actually die?). Instead, the new cult leader is Mark (Sam Underwood), whose mother, twin brother, and adopted sister were killed by our heroes last year. Mark is not mentally stable and he is bent on revenge, a dastardly combination.

Ryan is soon drawn in to stop Mark, which makes sense, given Mark is purposely targeting Ryan, Max (Jessica Stroup), and Mike (Shawn Ashmore) with his games, the three that have wronged him, in his eyes. These three lied about some of the deaths they committed last year, and Mark wants the truth exposed. Will they be able to stop him before the truth comes out?

Ryan isn’t the only one in a different place in “New Blood.” Max and Mike have also followed their paths forward, and while I won’t spoil what that means, I will say flashbacks in the season premiere help fill in the gaps to get them to their current place. THE FOLLOWING is a very serial story, and while the action may take place months or years apart, hence the time jumps during hiatus, the writers do a pretty good job connecting the dots so viewers are not lost. These leaps also make logical sense to the plot.

A lot happens in “New Blood,” both fresh and following up from previously. A major character gets married. Another contemplates a big step in his relationship. Exes come back together and see how the other is doing. Mistakes are brought back up. Most importantly, though, is that THE FOLLOWING gives its characters time to dwell on past wrongs in order to see how they influence moving forward.

Early in the first episode back, Ryan is reminded of the collateral damage left in his wake. It may not be his intention to kill anyone, but even those cult members who die along the way have families and loved ones who care about them. If Ryan captures the bad guy but lives are lost in the process, is that worth it? Should he have done something differently? Is he too careless about others in his pursuit of justice? These fascinating questions are raised in “New Blood,” and that dramatically raises the quality of the episode.

THE FOLLOWING is by and large an action mystery, and it does that well. More interesting to me is that it is taking the steps to address the emotional toll on the characters. Ryan Hardy is not made of steel like 24’s Jack Bauer. Self-examination is part and parcel of who he is, and the fact that the show is re-focusing on that is exciting. I hope there will be plenty of time for it to continue as the season unfolds.

THE FOLLOWING airs Mondays at 9 p.m. ET on FOX.

"Forgive" THE FOLLOWING Its Flaws

Article first published as TV Review: 'The Following' - Season 2 Finale on Blogcritics.
 
FOX’s The Following concluded its second season this week with “Forgive.” With the woman they love in danger, archenemies Ryan Hardy (Kevin Bacon) and Joe Carroll (James Purefoy) must join forces to rescue her. Will they succeed in saving their shared sweetheart from the scary psychos?

First off, The Following is cheesy. It’s more contrived than 24 ever was, and it asks the viewers to make some big leaps. For instance, the end of the penultimate installment paints the characters into a corner, with Ryan and Joe in a church surrounded by law enforcement, being watched on streaming video. Yet, somehow, they manage to get out, right past the cops, and are only noticed by the correct people? That’s quite a leap.

And yet, I still really enjoy the characters, especially Joe and Ryan. Joe is an evil man, but he can evoke sympathy from time to time, that is when he’s not actively murdering people. His earnestness in his affection for Ryan and Claire (Natalie Zea) is true, and Joe’s insistence that Ryan stay alive to continue their dynamic is almost touching. His true colors leak out occasionally, such as when he holds a knife at Claire’s throat and demands forgiveness this week, but there is still something magnetic about him.

Purefoy gets many chances to shine in “Forgive:” when he learns of Emma’s (Valorie Curry) death, as he manipulates twin abductors Luke and Mark (both Sam Underwood), and as he turns on his own follower to save Ryan. These are all moments of moving emotional developments for the cult leader, and it’s what makes him a rich character who is enjoyable to watch.

Ryan also has his moments to shine. Most of them involve how he interacts with Joe, forced to put his trust in a guy he doesn’t have any faith in at all to save Claire. But there’s also a moment, as Joe baits Luke and Mark, where we see the pain in Ryan’s eyes over (justifiably) killing his own father. It’s an important bit of back story for the role, and it’s well handled here.

In fact, once one gets past the silly escape from the church, “Forgive” is pretty good. All of the scenes in the boys’ house are intense and moving. The dialogue is well written and the actors are superb. I wanted to stay forever in the dinner scene, just watching the interaction of some masterful performers in a charged sequence.

Alas, it all must come to an end, though, so Max (Jessica Stroup) and Mike (Shawn Ashmore) burst in and start the guns blazing. One of the twins is killed, the other escapes with his brother’s body, Mike and Ryan both get moments to find out who they really are and pass the test, and Mike and Max finally kiss, something that has been building for some time. The kiss itself isn’t overly dramatic, but it has to happen to satisfy fans.

It’s an odd show where one is slightly disappointed when the action begins. The time before the showdown, though, is just so good, I want it to continue. What unfolds after is fine enough, and it ties up the season as it must. I just want more of what works best, and Ryan telling Joe they are done is very, very sad, even though it’s also untrue, as the series couldn’t continue without the two in one another’s orbits.

Ryan and Claire’s dissolution is less powerful. Sure, Ryan loves Claire and it’s painful for him to lose her, but before the climax, he is with someone else and he can just go back to her. Claire is kind of a boring character, more interesting for the things that surround her than the part itself (though I am a fan of Zea overall), and, to be honest, The Following will not suffer if she now disappears for good. Though, most likely she will be brought back at some point, given her importance to both Ryan and Joe.

The ending of “Forgive” is well-crafted to evoke tension. Ryan seemingly goes home to peace and quiet, but remembering the twists of last year, these calm bits actually ratchet up the suspense. The fake-out with the dream, where Ryan thinks the twins are in his room, is a terrific way to pay off that mood, as well as surprise the audience by not going there.

The Following leaves us with a mystery: who picks up Mark and Luke and drives them away? This is a good thread to start with for the already-ordered season three, and it’s nice that Underwood should return, as he is entertaining in the current run.

Still Following THE FOLLOWING

Article first published as THE FOLLOWING Review on Seat42F.

FOX’S THE FOLLOWING returns at a special night and time tonight with “Resurrection.” It’s been a year since Joe Carroll’s (James Purefoy) death, as well as Claire Matthews’ (Natalie Zea) and Debra Parker’s (Annie Parisse). Ryan Hardy (Kevin Bacon) has moved on, settling in to a teaching job, going through AA with the help of a sponsor (Keith Carradine, Dexter), and spending time with his niece, Max (Jessica Stroup, 90210), who is a cop. It seems the nightmare is over.

It’s nice to see Ryan happy and building a life for himself. He’s self-destructive by nature, and the Joe Carroll case did a number on him. He killed in cold blood and lost people he cared about. It will give fans hope for the future to see Ryan in a good place, not drinking, not dwelling on the past, finally finding an existence that he can be at peace with.

Of course, this lasts a scant ten minutes before the sinister happenings begin again. THE FOLLOWING is not a happy-ending show, and until the series finale’s credits role, no one has a chance at bliss. Followers of Carroll’s re-emerge on the anniversary of his death, beginning a new killing spree in New York City, where Ryan lives. They must be stopped.

Ryan is reluctant to get pulled back in, of course, and who can blame him? The damage done to his psyche won’t ever heal, and why would one want to put oneself back in those circumstances? Law enforcement pulls inactive agent Mike Weston (Shawn Ashmore) in to consult, so Ryan may not be technically needed, and while Mike certainly thinks Ryan could help, he won’t force the man.

But all is not as it seems. Much of what appears known about a couple of the main characters early in “Resurrection” simply isn’t true, and there are some cool twists in the premiere. Without giving anything away, it’s safe to say that Ryan will be back on the case quite soon, some people are just putting on a face, and at least one death may have been faked.

THE FOLLOWING continues to be scary and magnetic. A cult of serial killers who can hide among us and strike at any time is a frightening thought, and this show serves up a huge conspiracy of such. The danger lurks everywhere from many bodies, and there doesn’t seem to be any clear way to stop it. Every time one branch is dealt with, another takes its place.

This series is anything but boring. There’s action almost immediately, with an exciting chase, a number of victims killed, creepy masks, and someone gets hit by a car. The pacing is as break-neck as ever, with no one seeming safe, and a guarantee of much more blood as the season plays out. In short, year two promises to be just as good as year one, if this episode is consistent with the ones that follow.

“Resurrection” introduces us to some new murderers, the ranks of Carrollers (love that name!) having been depleted in season one. The most fascinating thus far are a pair of identical twins (Sam Underwood, Homeland), one of whom is very mentally unstable. The hideous things he’s responsible for in this first hour alone will make your skin crawl.

Of course, Emma (Valorie Curry) is still around, too. She isn’t involved in the events that play out in “Resurrection,” but if Carroll or his followers poke their heads up, she’s quickly drawn back to them like a moth to a flame. One never knows whether she will fall in line or slice the throat of the leader, taking over, but Emma is a compelling character, and an essential part of the show, so she’ll make her presence felt. At least until they decide to kill her off.

“Resurrection” is everything I was hoping for from the return of THE FOLLOWING, easily one of last year’s best network programs, and meets all expectations. It is back tonight after the NFC game, approximately 10:30 p.m. EST, and will take over its normal Mondays-at-9 p.m. timeslot starting next week.

The Following Reaches "The Final Chapter" (For Now)

Article first published as The Following Reaches "The Final Chapter" (For Now) on TheTVKing.

FOX's The Following ends its freshman run this week with "The Final Chapter." Ryan (Kevin Bacon) is lured to a lighthouse by Joe (James Purefoy) for a final showdown. Of course, Claire's (Natalie Zea) life hangs in the balance, and of course, Ryan doesn't take anyone with him to the confrontation, including Mike (Shawn Ashmore). There, the two men have it out with one another once and for all.

I am a bit disappointed with the end of The Following's showdown between Ryan and Joe. I really feel like Ryan should have learned his lesson and trusted a few people. "The Final Chapter"'s plot only makes sense if we believe that Joe knows Ryan so well that he can predict his every move. And maybe he does. But, as a viewer who has watched all fifteen installments thus far, I feel like Ryan should have learned to out-think Joe, at least on some level, and brought along back up.

The climax where Ryan kills Joe, sort of, in an exploding building also feels a bit contrived. The moment we don't positively see Joe catch on fire or blow up is the one where fans of the genre will absolutely know, deep down, that no matter how it looks, Joe has survived. How he would think far enough ahead to plant a body there, or could fake dental records after a body is discovered, is stretching believability. But Joe has got to live on.

With those complaints out of the way, though, I must say that the hour is mostly excellent. I really like how we get to see bits of Ryan's soul. We understand how he and Mike can torture Alex (Charlie Semine), as Parker's (Annie Parisse) life hangs in the balance, and even why the other FBI agents can look away. When Ryan coldly murders Alex, one worries about Ryan's stability, but Alex's death is deserved, and Ryan doesn't put him in the coffin, which would be poetic justice, but not at all hero-like.

Despite Ryan's flaws, he is the hero. Joe casts him as such, and the moral compass Ryan displays backs that up. He crosses some legal lines, to be sure, but his motives are always pure, and his goals are noble. He doesn't unnecessary cause anyone harm, even the bad guys, as he kills Alex quickly once he's used all Alex knows to try to save the day, rather than continue to mess with him.

I'm sad that Ryan and Mike are too late to save Parker. I really like her, and like many of The Following's character, she dies too soon. However, part of the draw of the series is its unpredictability, and the way people can perish without warning. It appropriately builds suspense when it should, and as regrettable as it is to lose Parisse from the cast, and as false as it may feel to have them find her just barely too late, it is a shock that she is dead, and an example of surprising and engaging storytelling.

I do hope Mike and Ryan can work out their friendship. Ryan shuts Mike out a bit because, as close as they've grown, Ryan is a loner. He trusts Mike more than he trusts most people, but Mike still doesn't get to come to the light house because Ryan feels he must take on the burden himself. I don't think Ryan would have shot Mike in the foot to get him not to follow, though Mike must think it's a possibility, so I hope that isn't what keeps them from working together again.

The final moments of "The Final Chapter," in which Molly (Jennifer Ferrin) attacks Ryan, are a great cliffhanger. This installment makes pretty clear, whether Joe is dead or not, there are still threats out there, such as Molly and Emma (Valorie Curry). Some may have been brought out by Joe, but some of the threats Ryan will eventually face, as the show has been renewed for season two (and stands a good chance of living longer), won't be Joe-centric. This is a series about a man fighting evil, and evil will always exist, no matter how often it is stopped.

Now, does The Following go a bit too far, having too many people being stabbed and surviving, then bouncing back to their jobs too quickly? Yes, that can certainly be argued. But some grade-A acting and tight plot work keeps the flow going and the series enticing. I really like The Following, and look forward to its return.

Horror on Television

Article first published as Horror on Television on Blogcritics.

This week's topic is about a television genre that has only recently entered the landscape in a notable way: Horror. Yes, one can argue there have horror series before, and there have been. Tales from the Crypt, Stephen King adaptations, and even some episodes of The X-Files spring to mind. There's also been the comedy attempts, like The Munsters and The Addams Family. But never have there been so many on at once, and certainly not ones made this well or getting this kind of attention.

Some may ask why we even need horror stories, as there are plenty of people who avoid the scary stuff. But fear is a primal part of the human psyche, like love and sadness. Why would we want to leave a part of ourselves unexplored, just because it can be a little unsettling?

Horror is a tricky subject because of the material. Horror films are almost always rated R and contain blood and guts, as well as violence and nudity. This isn't the easiest thing to tone down for the small screen, especially without alienating the audiences who crave it. Any attempt to lessen the shocking material will make the show unwatchable to the target audiences and defeat the purpose. It's adult subject matter, and so must be handled carefully.

The way to get around that, of course, is to develop a very, very good story that can be creepy without being too risque and gross. The reason I never got into the horror genre of films when I was growing up is largely because of the popularity of "slasher" flicks, that shallow fare without much substance, character development, or plot. Instead, it was about the outrageous ways someone could be killed, which will not fly on television, save a subscription channel like HBO or Showtime, which have not quite entered the fray yet.

Even with a good story, though, broadcast network television is not a natural home for such a tale. For one thing, it would have to air at 10 p.m. for decency reasons, so there are very few time slots that could accommodate it. For another, the FCC keeps a tight leash on the basic networks.

Luckily, cable has rapidly been growing in quality and offerings of well-made, scripted series. It is because of cable, which usually plays by the decency standards to satisfy advertisers, rather than because they face fines and penalties, that the envelope can be pushed. If enough people can be made to tune in, advertisers will be found to pay for the programming, guaranteed. Money is important to plenty of companies that don't need to maintain a family-friendly image, and thus an opportunity exists.

Also, while the 1980s and 1990s concentrated a lot on light, fun shows, the last decade has seen a turn to the darker. Horror is a dark genre, and until the taste in popular culture turned away from the sweet and silly, there wasn't much of a push to go in this direction.

That brings us to this millennium, the prime time for horror to become a valid players in the game. It started slow, with series such as Buffy the Vampire Slayer, the Doctor Who episode "Blink," and The Vampire Diaries dipping a toe into the water, while still staying network-friendly. Then shows like Dexter went a step further. But it finally took off fully when FX developed American Horror Story and AMC gave us The Walking Dead.

The Walking Dead and American Horror Story have proven what basic cable can do, between the two of them, opening the floodgates for many more horror series that are already, and will continue to be, nipping at their heels. Interestingly, they are both quite popular, and have gone about their productions in very different ways.

The Walking Dead is about characters. Zombies are present, of course, but that isn't enough to make it the ratings powerhouse it currently is, drawing in the non-horror fans that the show attracts. It's because we get to see the people in that world struggle with fluid morality and what is necessary to survive that we tune in. Every so often, a cool death will occur, but the bread and butter is character development, and it does this extremely well.

American Horror Story, by contrast, is about the horror genre itself. It also boasts compelling people at the center, but it's about taking the standard conventions of a horror film category, and deepening them into something more. Only so much can be done in two hours or less, but with thirteen installments to play with, it can take the familiar conventions and explore them in richer, fuller ways.

Both of these are quality shows that will open the door to others. Since they have been able to make this stuff that is both critically acclaimed and popular, they have created opportunity for others to follow. Among the recent offerings are Grimm, Cult, The River, and The Following, all broadcast shows that seek to get the same viewers, albeit with even more tame violence. The excellent Bates Motel will join them on A&E in a couple of weeks.

Comedy and romance may long have held an important place in our television schedules, but this will be the decade that horror joins them as a serious contender, and scary movie fans finally get to enjoy a weekly series in their favorite vein. Or artery.

Follow The Following

Article first published as The Following Series Premiere Review on Seat42F.

Grade: 97%

FOX is known for high-octane action dramas that are also about good storytelling. In THE FOLLOWING, premiering this Monday at 9 p.m. ET, not only does it follow in this proud traditional, but it uses a well-known group of actors and a seasoned creator, Kevin Williamson (Scream, Dawson’s Creek, The Vampire Diaries), to deliver one of the best network series in the genre to date.

As the story opens, after a suitably intense first scene, we meet agent Ryan Hardy (Kevin Bacon, Mystic River, Apollo 13), an alcoholic, washed-up fed who once captured a notorious serial killer named Joe Carroll (James Purefoy, Rome, Resident Evil). Joe is on the loose, and with some new agents by his side (X-Men’s Shawn Ashmore, not to be confused with twin Aaron, and Law & Order’s Annie Parisse), Ryan has to track down Joe all over again.

While the hunt is on, THE FOLLOWING takes time to show us some of the previous events in a series of flashbacks. We are introduced to Sarah (Maggie Grace, Lost, Taken), the victim Ryan saved from Joe’s killing spree, and Claire Matthews (Natalie Zea, Justified, The Other Guys), Joe’s wife, whom Ryan previously had a sexual relationship with, during the first go-round with Joe. Ryan checks in on them both in the present day, concerned, and hoping that they can lead him to Joe.

Other than that, it’s hard to tell you much. FOX would like me not to spoil the various plot twists that make up the hour, and after thoroughly enjoying the story, I agree that everyone should watch the episode for themselves. It’s a thrilling ride, with plenty of the unexpected happening, and it would be pretty rude to give you a heads up about those things.

This also makes it hard to talk about the series going forward, or what it will be. The story is significantly different at the end from what it appears to be at the beginning. so I can’t write about the premise very much without spoiling. So I won’t.

What THE FOLLOWING does well is set up an intense situation. As publicly released materials on the show’s official website have already revealed, the show will deal a lot with what would happen if serial killers in many different areas formed a network, rallying around a central figure. It takes an element of society that it already dangerous, and heightens the threat, with a support network helping the bad guys complete their evil missions. This is exactly what is happening.

There is also the Battlestar Galactica element of the enemy hiding among us. On that sci-fi show, the villains are Cylons, robots that look like humans, live as humans, and may not even know they aren’t humans. In THE FOLLOWING, serial killers masquerade as normal people, and like in BG, they could be anybody. This makes for a high-stakes guessing game sure to engage viewers.

Of course, we have the flawed hero in Ryan, a familiar enough trope at this point. Bacon brings something fresh to the table, though, as the latest in a string of well-respected, highly talented film stars that are transitioning to the small screen for the great roles offered. Bacon takes Ryan, and immediately sets up someone fans will get behind and root for, even as we wish we could help him through the internal and external traumas he is dealing with, forgiving him his slipups because of what he has endured.

There is a simmering tension in the air, as THE FOLLOWING makes us wonder what a person is capable of. We get both sides of the spectrum, hero and villain, both intelligent and capable, and both ripe for exploring humanity through the prism of. Obviously, Joe’s actions are heinous, but the show seeks to get into his head a bit. At the same time, Ryan has clearly taken almost all he can possibly take, but, somehow, he has to find a way to overcome his failings and be the man the public need him to be to protect them.

Ryan is starting a step behind, Joe, of course, not knowing the game is already afoot. But the chemistry between these leads is great, and surely the upper hand will go back and forth between them repeatedly over the run of the program.

What makes THE FOLLOWING even better than the typical series are the literary and artistic references. Edgar Allen Poe plays a huge role in influence, with a thumping heart beat even accompanying one scene in a brilliant way. Joe thinks that there is a beauty in the murders he commits, and while THE FOLLOWING will not glamorize or agree with Joe, we see the elements in his act that he attributes to the more noble pursuits.

In short, THE FOLLOWING works on many levels, and is extremely well put together in every category. It takes what FOX did with Prison Break and 24, testosterone-fueled dramas, and pumps it up with some braininess that elevates the game. This is a fascinating story with plenty of mystery and suspense. It should become a much-watch for many very quickly.

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!