Life in the BRIARPATCH

Article first published as TV Review: BRIARPATCH on Seat42F.

USA has a new stylized mystery drama entitled BRIARPATCH. A police officer and landlord is blown up in her patrol car in her own hometown. When the officer’s sister, Allegra Dill, returns and begins asking questions, it soon becomes clear that there is no shortage of criminal activity and quite a few secrets in what otherwise appears to be a sleepy town, and it’s going to take awhile to find the truth. Allegra is determined to stay as long as it takes, though others would like to claim her time.

Rosario Dawson (Luke Cage, Rent) stars as Allegra, and it is well past time Dawson had her own starring role. She is a fine actress, and excels at adding subtle complexity into any part, be it comedy or drama-based. She has a way of seemingly tough and vulnerable simultaneously, which makes Allegra so much more interesting than the hero archetype. She is magnetic on screen.

The rest of the cast in the pilot is lesser-known, other than Jay R. Ferguson (Mad Men) as Jake Spivey. But USA’s website reveals Alan Cumming (The Good Wife) and Kim Dickens (Fear the Walking Dead) are involved, and those already present from the beginning seem solid. Edi Gathegi (The Blacklist) stands out as Singe, whose allegiance is murky, but he seems relatively reliable, as far as any local is.

Apart from Dawson, the best thing BRIARPATCH has going for it is the tone. It feels a bit noir, though firmly set in the present. It’s definitely slow-burn, but not so slow as, say, The Killing. The atmosphere is of a specific time and place, and although it’s a little hyper-realistic, it’s also grounded. There’s an underlying bizarreness, best exemplified by the escaped zoo animals seen around town, that doesn’t go as far as Twin Peaks, but still makes it seem like this won’t be a typical detective show, either. (True, Allegra isn’t technically a detective, but it’s pretty obvious that she’s a detective.) Surprise twists seem like they’ll be a regular thing.

The questions pile up immediately and get deep pretty fast, starting with how Allegra’s sister afforded the building she owned on her police salary. The town itself is full of shady characters, with each person we meet hiding something. They likely aren’t all sinister, but it’s impossible to know who should be trusted from the start. Below the surface level of the central case, there is a lot going on with Allegra herself, from her past with rich guy Jay, to her current fling with a married Senator (Enrique Murciano, Bloodline). Neither of these things are explained explicitly, but seem to be connected, and I wouldn’t be surprised if they tied into the murder of Allegra’s sister.

The biggest weakness of BRIARPATCH is just how connected everything is. I mean, why is Allegra’s outside life and career following her back to her hometown? Sure, there could be a reasonable explanation for it, but it seems a stretch. And if all the various moving pieces right now end up related, as feels likely based on the connections drawn from the pilot, that could end up hurting the realism of the piece.

That being said, I found BRIARPATCH very enjoyable. If I still had cable, it would definitely be on my recording list, and if I find it convenient on streaming, I’ll probably binge it. Dawson alone makes it worth it, and I like the writing and style of the piece. With hardly a smile to be seen, it somehow still manages to be fun. And it certainly looks like it’ll be put together cohesively, a very important feature in the current era.

BRIARPATCH airs Mondays at 11/10c on USA.

Activating TREADSTONE

Article first published as TV Review: TREADSTONE on Seat42F.

USA recently premiered a new drama series called TREADSTONE. If that name rings a bell, you are likely a fan of the Bourne films, and this show is set in that universe. Sleeper agents from the Treadstone project are being awoken to carry out assassinations. Can they be stopped, and should they be? Who knows about them, and what will they do with that information? Which random (physically fit) person walking down the street could be the next one activated?

Full disclosure, I didn’t care for the first Bourne movie, and never gave any of the sequels a chance. However, I did like the pilot of TREADSTONE. It is action-packed and full of mystery. It’s easy to get sucked into the situation as it is presented. Part of my issue with Bourne was how hard it was to follow, and the television continuation seems to do a much better job of laying out the myriad of questions while still allowing viewers to keep track of everything they need to know. It’s a hard thing to balance, and it seems to be well done here.

I also like much of the cast. Gabrielle Scharnitzky (Storm of Love) stands out as an older KGB agent named Petra who is protecting some very classified secrets on her farm. Her story is immediately sad, but also a bit humorous, and certainly compelling. Emilia Schule (Berlin Station) is interesting as a young Petra in flashback, and I look forward to seeing how the two will connect their character through the years. Michelle Forbes (The Killing) is always excellent, and her role as Ellen Becker, a CIA veteran trying to manage the fallout of these events, is no exception. Hyo-Joo Han (Dong Yi) is also impressive as one of the first sleepers to wake up, SoYun Pak. Can she continue her dual life, especially as she doesn’t understand half of it?

The male portion of the ensemble is a little less solid, though that may be at least partially due to inferior material to work with. The one who stands out the most from this gender is Brian J. Smith (Sense8) as Doug McKenna. Doug appears completely unaged between flashback and the current day, a confusing fact not explained in the first episode. He rings a little too close to Jason Bourne for my taste, and his plot threatens some of the same avenues I didn’t like about the initial movie. Hopefully, this will be overcome by the strong women’s roles.

As far as the look and direction of the show, it’s spectacular. With an international setting, there is a wide range of places covered and no limits to where the tale may go. Episode one makes full use of this premise, and I would expect the series to continue to expound upon that over time. The tone is consistent and the pacing is fast, but not too fast. From a technical standpoint, I have no complaints.

I’m not sure if I will watch any more of TREADSTONE. I likely won’t purely because I didn’t connect to the source material, and while there are some impressive elements, especially concerning Petra, Becker, and SoYun, the weakness of other characters make the show a maybe-dump. With so many other strong options to watch, it’s hard to argue for even a good series with these initial problem areas. A deciding factor could be the creator, Tim Kring, who wowed with the first season of Heroes before disappointing fans in subsequent years. That, in my opinion, is just enough to tip the balance against this show, though not by much.

TREADSTONE airs Tuesdays on USA.

THE PURGE Of Story Over Action

Article first published as TV Review: THE PURGE on Seat42F.

THE PURGE is a movie series that is now being continued on the small screen, currently airing on USA. The premise involves a radical group called the New Founding Fathers of America taking over the government and instituting a holiday that shares a name with the series. Once a year for twelve hours, all crime (including murder and rape) is made legal, with emergency service workers going off duty. The rich huddle in their protected homes, while the poor are often the participants and the victims.

In this framework, viewers of the TV program meet a number of characters. Miguel (Gabriel Chavarria, East Los High) is a United States Marine who has come home looking for his sister on Purse Night. Said sister, Penelope (Jessica Garza, Six), has joined a cult that sacrifices themselves to those celebrating the event. Jenna (Hannah Emily Anderson, Jigsaw) and Rick (Colin Woodell, The Originals) consider themselves good people, but find themselves rubbing elbows with the morally questionable, especially Albert Stanton (Reed Diamond, Agents of S.H.I.E.L.D.), as they seek funding for their business venture. Jane (Amanda Warren, The Leftovers) usually plays by the rules, but decides to take on her boss (William Baldwin, Dirty Sexy Money) when she has the chance. And there are others, but these are the primary players in the first three episodes, those made available to critics for screening.

None of these characters are in the movies, but some of the organizations and concepts are. Unfortunately, if you haven’t seen the films, as I have not, the series doesn’t take the time to make the rules clear. Yes, it’s easy to understand that people are very violent and are allowed to get away with it for a night. But there are lots of details left out that apparently one would need to have seen the movies to understand.

This does detract from the enjoyment of THE PURGE. As a concept, I find it very interesting. Many have touched on such a thing before, including an episode of the original Star Trek back in the 1960s (which Ben Stiller’s production company is named after). And the show does seem like it will explore some of the concepts in the way (I assume) the movies didn’t have time to do. Morality plays that make you question your values and realign your viewpoints in the face of a much-changed world are in vogue; just look at The Walking Dead.

To its detriment, THE PURGE doesn’t embrace this as fully as it should. Instead, it seems like much more screen time is given to the senseless violence and quick thrills. While these are absolutely necessary to properly tell the story, it’s the balance that feels off, holding the show back from being as good as it could be.

That being said, it is still enjoyable popcorn television. It does touch on some of the things that should be explored further, and hopefully if it gets multiple seasons, they will be. It doesn’t feel too limited by the constraints of basic cable, which generally don’t allow shows to get too gory or intense (AMC and FX historically taking a lot more liberties than this network, USA). It finds a way to skirt that line, keeping it relatively tame while not feeling like it is.

If you like the movies, you’ll probably like the television show. If you don’t like the movies, I’m guessing you should stay away. But if you haven’t seen them, check this out and make up your own mind. Is it worth getting through the brutality to get to the scenes where the characters really dig in? I think it probably is, especially if this world is allowed plenty of time to develop, and you may agree.

THE PURGE premiered last week and airs Tuesdays at 10ET on USA.

THE SINNER Rock Solid

Article first published as TV Review: THE SINNER on Seat42F.

USA premieres THE SINNER tonight, an eight-episode miniseries based on the novel of the same name. The international best-selling book by Petra Hammesfahr is a different take on the crime drama, as is the show. Different because it starts out by introducing us to a protagonist who, midway through the pilot, we’ll see do something truly horrible and violent in full public view. There is no question as to whether she is guilty or not, but rather, the drama stems from why this seemingly normal wife and mother would do something so heinous?

There is definitely a reason, and THE SINNER lets us know that, if not the details of it, pretty early on. As we meet Cora Tannetti (Jessica Biel, 7^th Heaven, The Book of Love), she is acting strange. She doesn’t look happy or comfortable in her job, working for her husband’s family. Her marriage to said husband, Mason (Christopher Abbott, Girls), is strained, at least from her side; it’s not clear Mason really sees there is a problem. She is haunted by some bad memories, and even appears like she might be leaning towards suicidal.

But we don’t know why she’s so troubled. Things seem good. She and Mason have a little boy she adores, and their home and careers seem stable, childcare taken care of, food on the table. They may be around Mason’s family a bit more than Cora would like, but there’s nothing glaringly wrong that would drive an otherwise normal woman to act that way Cora acts.

I debated even mentioning that Cora snaps in this review, so unexpected was it to me, going in cold. But the show description on the official website gives it away, and this is the premise, so it had to be said.

Biel is fantastic as Cora, playing the lead in a way that is engaging and complex. My instinct is to feel sorry for Cora, sure there’s a good reason for her mental instability, rather than condemn her. What trauma has caused her to act like this? How can she get the help she needs, rather than rot away in a prison cell where she doesn’t belong?

Which begs the question, how close is something like this to real life? How many women are there even now sitting behind bars who should instead be in therapy to get better? How many men? THE SINNER really calls into question motivation and how life experiences shape a person. One cannot excuse what we watch Cora do, but that doesn’t mean you can’t feel for her, and think there’s not a better path for her than a long stint in prison. She’s not a psychopath.

As much as I was sucked into Cora’s story, and to a lesser extent Mason’s, where THE SINNER slows down for me is any time it shifts to the third lead, Detective Harry Ambrose (Bill Pullman, Torchwood: Miracle Day, Independence Day). No offense to Pullman, whom I often enjoy, but I just don’t care about the law enforcement officer trying to understand Cora. What we do see of his character doesn’t paint him in a good light, and for some reason, I had less desire to understand him than I do Cora. Though presumably he recognizes something in her no one else does, which says something about him.

THE SINNER is being billed as a close-ended series, and I’m sure it will be. But it also seems like USA might like to continue it somehow. With True Detective coming back, I’m not sure we need another gritty crime drama like this. But if another protagonist as good as Cora can be found for a second outing, I might be up for it. And I haven’t even watched that much of Cora’s tale yet, which I would very much like to see through.

THE SINNER premieres tonight at 10/9c on USA.

Can I Get an EYEWITNESS?

Article first published as EYEWITNESS Review on Seat42F.

USA’s latest drama is EYEWITNESS. Adapted from the Norwegian series Øyevitne, it’s a slow-burn crime drama about the aftermath of a triple homicide, the teenagers that witness it, and the law enforcement officers who seek to distribute it. With washed-out colors and a slow-moving pace, it’s likely to bring up shades of The Killing, among others, but I don’t feel like it quite lives up to that level of quality.

The show begins pretty early on with the murder, and the officer who arrives to investigate, the primary protagonist for EYEWITNESS, is Helen Torrance (Julianne Nicholson, Masters of Sex, Boardwalk Empire). She’s from the big city, but has moved to a small town with her husband, Gabe (Gil Bellows, Ally McBeal, House at the End of the Street), and foster son, Philip (Tyler Young, The Avatars). Frustrated with the boring life, Helen likes the excitement of this incident, but soon clashes over jurisdiction with an FBI agent, Kamilah Davis (Tattiawna Jones, Flashpoint).

Helen’s story unfolds almost exactly as expected. Looking into the crime goes just as it does in every other show where cops and feds clash, and even giving Helen a light-hearted partner, Tony (Matt Murray, Rookie Blue), doesn’t make much difference. It’s a well-constructed story, other than Helen being a little loose with talking about her work in front of Phillip, but it’s pretty much the same as at least a dozen other cable programs in recent years.

There is a subplot with Kamilah that might be a little outside the typical, but that felt more forced than engaging. EYEWITNESS is a drama, and there will be twists to keep the story moving over ten episodes per season, but I was just hoping for something a little better than this. The same disappointment applies tothe pilot’s “twist” ending.

Helen’s home life is a more interesting part of the show. I love Nicholson, always good in everything she does, and her character’s relationships are authentic. It’s easy to see her love for Gabe, and how Gabe is much more into being a foster parent than she is. She struggles with work/life balance, of course, but I think generally, her unit, while sticky, is sympathetic.

Where the show kicks up a few more notches for me is Philip’s story. Dealing with a druggie mom, liking the foster parents he’s been placed with but not really feeling like they’re his family, and struggling with being openly gay, is plenty for a kid to deal with. But the fact that he is the EYEWITNESS in the title, along with his deeply closeted friend, Lukas (James Paxton, Term Life), whom Philip is just hooking up with when things go down, and there’s some real drama to mine here.

Television has gotten better about its portrayal of homosexual characters in general, and EYEWITNESS has something I haven’t specifically seen before. It puts a complex, tense situation in a seriously-made drama, and the result is very compelling. My favorite scenes are easily the ones with Philip and Lukas as they work out what they mean to each other and discover their own identities.

So EYEWITNESS is a mixed bag. The quality is pretty decent, despite a few minor missteps, but it’s the lack of originality that drags it down. When it covers new ground, it mostly excels. What I want from the series is to rely less on what other shows have done and try to find new angles to approach. It’s probably too late for season one to give over to that completely, but if the Philip / Lukas story stays central, it might be worth it to stick around and see what comes later.

EYEWITNESS premieres Sunday, October 16^th at 10/9c on USA.

Failing WATER

Article first published as FALLING WATER Review on Seat42F.

Following the critically acclaimed, ratings-challenged Mr. Robot, USA seeks to copy that, um, I guess you could call it success, with the new, trippy FALLING WATER. (That was not a knock on Mr. Robot, which I love, but a musing as to why a network wants to replicate a show that almost no one is watching.) Like Mr. Robot, FALLING WATER is high-concept drama that blurs the lines of reality and attempts to build a mysterious mythology that will spark much debate and predictions. But it is definitely a whole different show in a lot of ways.

As episode one begins, we meet three separate protagonists, each with their own pain. Tess (Lizzie Brochere, Versailles, American Horror Story: Asylum) is a trend-spotter who believes she may have had a child, though most people think she’s crazy. Burton (David Ajala, Black Box, The Dark Knight) is a fixer who has lost the woman he loves (Anna Wood, Reckless). Taka (Will Yun Lee, Hawaii Five-0) is a cop whose mother (Jodi Long, Sullivan & Son) is in a coma.

The connections between this trio are not immediately apparent, but it isn’t long before it’s explained to us. They are having very vivid dreams, or rather, pieces of the same dream, and if their experiences are combined, they could herald a very real danger.

To this end, the cast includes Bill Boerg (Zak Orth, Revolution, Wet Hot American Summer) and Woody Hammond (Kai Lennox, Legit, Beginners). Woody is bad news, jumping between dreams, and definitely seems like he can’t be trusted. Bill may be no less noble, a tech guy clearly wanting to profit based on his dream research, but at least he’s offering to help Tess in exchange for her assistance. So these are our shady peeps who pull the threads together.

Unfortunately, they don’t pull them together all that well. I’m not complaining about either character, or any of the cast; they all do a pretty good job, it seems to me, at least in episode one. Instead, my problem is that the series is boring, confusing, and I have no confidence that it is going anywhere neat. Granted, I’ve only viewed one episode, and plenty of great shows have poor pilots. It would just take a lot to come back from this one.

I give the series credit for not going procedural. I mean, they have a cop as one of the main characters, so I expected them to do so, but the plot seems completely serial instead. But it’s more a lack of cohesiveness and engagement that hurts it. We don’t get to know any of the characters very well before we’re distracted by all the dream stuff. And the dream stuff isn’t obvious, with viewers sometimes left wondering if what they’re seeing is reality or not.

Don’t get me wrong, on paper this sounds like a show I’d be totally into. I dig a cool premise that tells a new tale. Sure, it has similarities to Mr. Robot and Netflix’s Sense8, but FALLING WATER is far from a copy of either. Tess’s career of being the reclusive woman who sees patterns before anyone else makes sense for someone who sees the world a little more than the rest of us, and I can even extend a similar trait to the cop, as even though I’m burnt out on cop shows, it makes sense to use one here.

However, the execution leaves much to be desired, seeming more messy than anything, and not well thought or mapped out. I don’t know where things are going, and because of the haphazard way elements are introduced, I’m not sure the writers do either. More importantly, I don’t care to find out because I’m not drawn to any of the characters, who all seem like they could be bad people. (They could also be good people, it’s just not clear.) Even the title isn’t explained.

That’s just too much confusion for a series that doesn’t seem, on its face, worth the effort. There has to be some hook to bring people back, and there’s not in this one.

FALLING WATER premieres Thursday at 10/9c on USA.

USA Continues Populating New TV COLONY

Article originally published as COLONY Review on Seat42F.

USA has been stretching itself beyond what viewers had come to expect from them over the past few years, and their newest drama, COLONY, is no exception to that trend. Set in a dystopian future in which someone or something (I presume aliens) has conquered the world, or at least Southern California, the drama follows one family as they try to both fight back and get along in this new power structure.

The faces at the center of COLONY should be familiar. Lost’s Josh Holloway plays Will Bowman, a man who used to hunt people when he was a soldier, but now will do anything just to keep his family safe and intact. He is married to Katie, played by Sarah Wayne Callies (The Walking Dead, Prison Break), who feels slightly different than her husband, unhappy with the way things have become, and constantly pushing back in ways big and small against it. The main visage of the enemy is House’s Peter Jacobson, who plays Alan Snyder, a collaborator who seeks to get the Bowmans to do his bidding. So we have a pretty familiar trio of performers to television fans.

Now, a good cast doesn’t necessarily mean a good show, but in this case, COLONY is actually quite interesting. It takes a premise similar to TNT’s recently ended Falling Skies, but makes it more heavy and serious, and focuses on a few people instead of a group. In this way, it grounds the story more and zeroes in on the emotional heft of the situation in a more meaningful way. It gives all three actors a chance to be layered, as we can see both why and why not the Bowmans would want to be a part of the resistance. And as detestable Alan is, one can understand his reasoning.

What I like about COLONY is that it is one of those shows that feels like a lot of thought has been put into the setting and premise before anything was written down. There are many differences between the world that the Bowmans inhabit and our own. Yet, every choice the show makes to change things makes sense, and taken together, it begins to paint a picture of who the conquerors are. Considering we don’t see them at all, and they are generally only spoken about indirectly, it is super important to get some feeling as to what the characters think of their overlords. The detail in the program itself provides this.

It also manages to be dramatic without being melodramatic. For instance, something happens to Will midway through the first episode. While the moment itself feels a little off (given the drastically different health outcomes between Will and the man next to him), everything after the fact, from Will meeting Snyder, to Katie dealing with her husband not returning home, seems authentic. There aren’t sidelong glances and sobbing fits just for the sake of it. These are emotionally complex people, not crippled by their mental state.

Katie herself is far from an obedient housewife. In fact, of the two spouses, she is the least predictable and the one more likely to take risks, and arguably the most heroic. COLONY will not be accused of being sexist.

Besides the three mentioned above, two other main players exist. Amanda Righetti (The Mentalist) is Madeline, the younger sister of Katie. Tory Kittles (True Detective) is Broussard, the Bowman’s connection to the resistance. Neither gets nearly as much development in the pilot as the core trio, so I’m not entirely sure what role they will play in the series. But I like that they are well established to be in the show without giving anything away about them yet. COLONY keeps its cards close to the vest.

COLONY is not (yet) my favorite USA show; Suits and Mr. Robot both edge it out. However, it has the potential to be something special, and definitely is worth checking out. It continues a solid upward trend for the cable network, and I am very interested to see where it goes next.

COLONY premieres Thursday at 10 pm on USA.

DONNY! Should Be donny

Article originally published as DONNY Review on Seat42F.

USA has a new comedy series called DONNY!, premiering this week. One might be forgiven for thinking it’s a reality show, considering it airs right after the reality series Chrisley Knows Best and follows TV personality Donny Deutsch (Today) as he hosts a self-help series (think Dr. Phil). But it’s not. DONNY! is a scripted comedy where Donny plays a fictional version of himself that satirizes the very thing he often actually participates in. Does your head hurt yet? (It shouldn’t, because there are gobs of shows right now doing the same thing.)

The Donny in DONNY! is an egotistical player who flirts shamelessly, gives his cell phone number to attractive psychopaths, and needs attention and affection heaped on him at all times. He has hired three attractive woman as his assistants, Jackie (Hailey Giles, Scorned), Zoe (Meera Rohit Kumbhani, Weird Loners), and Violet (Jessica Renee Russell, Fullmetal Alchemist: The Sacred Star of Milos), and works with an attractive female producer, Pam (Emily Tarver, Best Week Ever). While none of these girls seem to fall for his shtick, surrounding himself with them says something about Donny, as does paying more notice to his too-young, greedy girlfriend, Galina (Tina Casciani, Role Models), than to his kids.

DONNY! reminds me a bit of Blunt Talk on Starz. The major difference is that Donny seems to be getting along just fine with his life as it currently is, while Patrick Stewart’s Walter Blunt is falling apart spectacularly. The thing is, with an unlikeable persona, as both Blunt and Donny are, it’s satisfying to watch them fail, so Blunt Talk has the edge there. Plus, Stewart is a far superior performer than Deutsch (or most people, really), so any comparison between the two is not positive for this newer series.

Is there anything redeemable about Donny or DONNY!? Well, that’s debatable. Donny does have charm, or else he wouldn’t get so much attention. I do like that not everyone in DONNY! falls for Donny’s game, and Donny (the person, not the character) has to have some level of humility or redeeming qualities to allow that. My assumption is that Donny (again, the real person) is a pretty nice, interesting person, and it’s just this show and the character of Donny that I don’t like, though I haven’t seen him elsewhere.

It has been said that DONNY! does for Donny Deutsch what Curb Your Enthusiasm does for Larry David, but I think that’s an inaccurate comparison. David is a brilliant writer who created one of the most beloved sitcoms of all time, Seinfeld. Curb is an extension of the Seinfeld world in that it shows a character named Larry who has a personality perfectly suited to write that show. DONNY! tackles a completely different genre, one I would argue takes far less talent to make. Abhorring reality and the fake ‘health’ professionals, I find it hard to hold it anywhere near the same regard.

Now, one could point out that DONNY! pokes fun at the hated genre. Except, because Donny himself is part of that system (or so I’ve read on Wikipedia), not a comedian on the outside, it doesn’t come across as a scathing commentary on it. Instead, it seems like Donny is having fun being self-referential in a way that reinforces the ‘character’ he is playing.

I admit, my bias against reality television in general could definitely be coloring my view of DONNY! But try as I might, it’s very hard to separate that out in this instance, given the show’s content. I get that people like reality for reasons I cannot fathom, but it definitely isn’t quality television, and contributes to the ‘junk that rots your brain’ stereotype some see the medium as being. As a defender of quality programming, this type of thing is a total turn-off and I can’t recommend it.

That being said, if you like reality television or Donny Deutsch, then you might enjoy this.

DONNY! airs Tuesdays at 10:30 on USA.

Thank You Very Much, MR. ROBOT

Article originally published as MR. ROBOT Review on Seat42F.

USA’s latest series is MR. ROBOT, a conspiracy theory tale of the digital age. In a world where corporations can gobble up holdings, the rich at the top acquiring more and more wealth and control on a global scale, it’s hard to gauge the true range of the threat or mount a defense against it. Who stands up for the average person, unaware of their life being bought and sold out from under them, and without the tools to fight back? Why, MR. ROBOT, that’s who. Maybe.

The first hour begins by introducing us to Elliot (Rami Malek, The Pacific, Night at the Museum). He is not the title character, but he is the most important. Antisocial and not used to expressing himself, MR. ROBOT uses voice over a lot to have Elliot tell the viewer what he’s thinking. It’s an effective tool, really taking us into his head and letting events unfold from his perspective.

Elliot works for a company he dubs Evil Corp, which hilariously is what it is referred to by every other player and even signage because Elliot says he has adjusted his head to always think of it that way. Elliot doesn’t want to serve The Man, but he’s there for his best friend, Angela (Portia Doubleday, Mr. Sunshine). To ease his conscience, since he’s protecting the bad guys all day with his super cyber security skills, he moonlights as a vigilante, taking down one scumbag at a time.

Enter Mr. Robot (Christian Slater, Breaking In, Archer, etc.). Mr. Robot is a mysterious, smooth man who offers Elliot the chance to bring down the villain from the inside. In Elliot, Mr. Robot has found the perfect tool to accomplish his mission, and he seems to offer Elliot the perfect way to right the wrongs of the world.

But is Mr. Robot whom he says he is? Because the show is told purely through Elliot’s eyes, we only see what he sees, and Elliot’s impressions are skewed. Mr. Robot can certainly talk a good game, and the way he plays Elliot’s recruitment is with superb talent. But how much do we really know about him? His work is only hinted at, and while he has a cool lair and a delightfully abrasive sidekick, Darlene (Carly Chaikin, Suburgatory), is what he is offering genuine?

On the other hand, the face of the villains, Tyrell Wellick (Martin Wallstrom, Simple Simon), is as obviously slimy as Mr. Robot is cool. He is exactly the type of guy you would think heads up Evil Corp, and he is smart enough to be a fitting foe for our bold but naïve hero. Is this reality or just Elliot’s imaginative way of sorting the world?

Because MR. ROBOT lives in the world of conspiracies, there are bound to be many, many twists. With Elliot’s specific and unreliable guidance, the viewer is immersed in an individual, and subject to the limitations of such as well, which makes for an unpredictable ride.

I LOVE the MR. ROBOT pilot. It has the huge, almost mythological, arcs and a hero’s journey, coupled with a somewhat unique and very modern sensibility. The tone is incredibly consistent, the main character is much easier to relate to than one would think such a person would be because of the incredibly detailed way in which he is written and performed, and the story sucks you right in. It’s exciting, it’s entertaining, it’s smart, and it’s far from business as usual in the television landscape.

Will MR. ROBOT find an audience? I don’t know. It is offbeat and weird enough that it can’t possibly appeal to even a wide majority of people. Yet, it has quality in spades and seems extremely well done in pretty much every aspect, from score to casting to production design. I can’t imagine that most my friends won’t like it as much as I do. I hope you will give it a chance and be similarly drawn in.

MR. ROBOT premieres Wednesday, June 24^th at 10 p.m. ET on USA.

COMPLICATIONS Too Messy

Article first published as COMPLICATIONS Review on Seat42F.

USA has a new drama from Matt Nix (the creator of Burn Notice) called COMPLICATIONS. It is the story of Dr. John Ellison (Jason O’Mara, star of Terra Nova and several other short-lived series) and his terrible, horrible, no good, very bad day. Well, it starts off as roughly a single day, but it quickly spirals into major ramifications for his entire life and he may be spending a long, long time trying to get things back on track. Sounds a bit like Nix’s previous project, no?

To be fair, COMPLICATIONS doesn’t feel much like Burn Notice, despite that central similarity. Both men are good people whom bad things happen to and who have major skills they use to help people, but they are also quite different. While Michael Weston was an emotionally challenged spy, John Ellison runs much, much hotter, his emotions boiling over, and he works in a hospital alongside a team, not operating solo for-hire in his apartment. Plus, there’s no chain-smoking mother in sight.

John is a good-hearted man, the type who will use his medical skills to try to heal a squirrel his dog gets a hold of. When he comes across a drive-by shooting and intervenes perhaps a little more than he should, that’s when things get rocky. He is soon drawn into gang wars and neither his home nor his workplace are an escape from this.

But does John even want to escape it? Part of the pilot involves him discussing what’s going on with a shrink (Constance Zimmer, UnReal, House of Cards) and this is where we get some insight into who John is. Maybe he isn’t happy with the calm, normal life he’s been living; he definitely has some deeper issues to deal with, and these events help bring those to the surface. The only thing that seems certain right now is that John is unstable and unpredictable.

O’Mara doesn’t really play the protagonist as an overly sympathetic character. Because of his wild mood swings and erratic behavior, it’s hard to tell if he’s someone that deserves to be rooted for. Yes, he saves lives, but that’s his job. He certainly has compassion for his patients, but as he goes to greater lengths to do what he thinks is right in the moment, one begins to wonder if the ends justify the means. He is not trustworthy right now.

John is surrounded by enough of a supporting cast to keep the story going for awhile. There’s: John’s wife, Samantha (Beth Riesgraf, Leverage), whom he’s not exactly open with; his straight-laced co-worker, Dr. Bridget O’Neill (Lauren Stamile, Burn Notice), who probably would not participate in John’s madness if she knew what was going on; Gretchen Polk (Jessica Szohr, Gossip Girl), an abuse survivor (I assume) who believes justice trumps rules; Darius Bishop (Chris Chalk, The Newsroom), John’s link to the criminal element; and Dr. Quentin Harper (Ronreaco Lee, Survivor’s Remorse), whom I didn’t get a good read on in the pilot. This is a decent ensemble, and with various people being out of the loop right now, there will be fodder for conflict as they find out more of John’s secrets.

The thing is, though, I don’t know if I want to stick around to see it. The first hour of COMPLICATIONS is a hot mess, not told linearly, no grounded character to view the world through, and no compelling hook to stick around and see what it catches. USA has been moving away from formula and taking some bold chances. I won’t say COMPLICATIONS is boring in the way programs of the past have been on the network, but this is one experiment that is failing because of a lack of direction or anchor, at least out of the gate, and I didn’t find anything in this pilot that makes me want to give it a second chance.

COMPLICATIONS premieres Thursday, June 18^th at 9 p.m. ET on USA.

DIG Deeper

Article originally written for Seat42F.

USA’s DIG has an intriguing premise, the kind we need on television. Created by Gideon Raff (who created the show Homeland was based on) and Tim Kring (Heroes, Touch), DIG is a globe-spanning mystery set mainly in history-teeming Jerusalem and full of biblical prophecy. Our hero has to investigate a murder and a conspiracy despite overwhelming odds against him, while forces are rising in other parts of the world that will soon converge in Israel. It’s a really great concept for a TV show.

Unfortunately, DIG is not as well-executed as it should be. The story plays out in a predictable manner with some really trite dialogue, and an absolutely stupid use of a grainy surveillance photo. There are good things of note in the pilot, but the pacing makes much of the hour boring, and there’s real a lack of depth in several of the lead characters.

It’s known that Jason Isaacs (the Harry Potter films, Awake) is a good actor, and I’m sure he can convincingly carry a show. Just not this one. His character, Peter Connelly, sleeps with a very young woman, Emma Wilson (Alison Sudol, Transparent), who reminds him of his dead daughter, which is icky. He is married, by the way, and also already sleeping with his boss, Lynn Monahan (Anne Heche, Hung, Men in Trees), making him doubly repulsive. He’s bad at his job, pissing off the local cop he works with, Golan Cohen (Ori Pfeffer, World War Z), and inserting himself where he isn’t needed or wanted. He’s unlikeable, without even a bit of charm that normally makes such jerks tolerable.

While Peter is the main protagonist, thankfully there are others. There’s a side story about a red calf, and even better, a secret compound in a New Mexico desert that is keeping an orphan boy (Zen McGrath) hostage. These add actual intrigue to the plot, and provide a reason to keep watching, to see how they may tie into the story and if the mythology of the series will be worth committing to.

I particularly enjoy the compound scenes in the pilot. The place is run by David Costabile’s (Suits, Breaking Bad) Ted Billingham. Costabile is a reliable character actor, and his creepy cult leader is interesting. He is served by evil Faye (Angela Bettis, May), who matches his demeanor. Even better is Lauren Ambrose (Six Feet Under, Torchwood: Miracle Day) as his truly demented follower, Debbie, who is far too lax with their hostage, probably my favorite performance of the piece. Together, these three are far more compelling than anything going on with Peter, and so I kept finding myself eagerly anticipating their scenes.

I think the fundamental flaw with DIG is that it’s a Tim Kring show. Kring’s Heroes was a series that started out with an excellent premise and cool characters, then lost steam as he didn’t know what to do with them to keep them going. After the failed Daybreak, he then did Touch, which also involved global conspiracies. Again, Touch was a neat series that hooked the viewer, especially the pilot, which gripped a certain type of audience, myself included, in just the right way. But like Heroes, Touch suffered from a lack of direction and vision, and faltered as it wore on.

DIG feels very much like Touch, and that worries me. While there are some definite differences, including a darker tone, the lack of cohesion in the pilot itself makes me think this will go the way of Kring’s other efforts. Creating a poor core arc certainly doesn’t help, but this definitely feels like a one-and-done season because it squanders its ambitions from the start.

Television deserves a show like DIG, but not DIG itself, which falls short of the heights it should be reaching.

DIG airs Thursdays at 10 p.m. ET on USA.

"Au Revoir" WHITE COLLAR

Article first published as TV Review: 'White Collar' - 'Au Revoir' (Series Finale) on Blogcritics.

To me, White Collar represents a turning point for USA. It straddles the line between light-hearted procedural, which is the old style of show USA used to make a la Monk and Psych, and the character-driven, higher-concept stuff currently ruling the network, like Suits and Graceland. I almost gave up on it in its early days, but was hooked just enough to give it a chance to grow, and was rewarded for my effort. The sixth and final season, which consisted of a mere six episodes, ended this week with “Au Revoir” and, unfortunately, White Collar did not sprint through to the end.

In the past, the show has developed some really cool arcs, such as pitting Neal (Matt Bomer) against Peter (Tim DeKay) as the former considered returning to his criminal lifestyle. In the final year, the show returns to case-of-the week installments, mostly, with the final story, which spanned a few episodes, feeling like a longer version of the same. Neal and Peter go undercover to take down what is supposed to be one of the best illegal groups of all time, the Pink Panthers, but instead of this being a huge capper to their career together, the case unfolds the same as always and the good guys win as easily as ever.

There are signs that White Collar could go in a better direction. Long-time foe Keller (Ross McCall) gets involved. Instead of seeing Neal and Peter wrestle with what he’s done to them in the past, though, his part is glossed over and he’s just someone they work with. Elizabeth (Tiffani Thiessen) worries about Peter staying in the field now that they are expecting a baby, leading one to believe a major life decision will be made. But instead, Peter just jumps into danger as willingly as ever, and there’s never even a chance for Neal to save him, as I expected to happen.

As “Au Revoir” draws to a close, the script gets really messy. Neal faking his own death, I sort of get, especially because he does let Peter know he’s OK. But Neal built a family here, so why would he abandon them? Why does White Collar hint Neal may have (or may not have) gone back to being a criminal without letting us know if his growth has paid off? Why doesn’t Peter try to arrest Mozzie (Willie Garson), whom he knows stole money? There is a bond of mutual respect between Neal, Peter, and Mozzie that allows them to work together, but Peter would never sit idly by and let the other two get away with anything as he appears to do here, nor would Neal be so heartless as to abandon everyone he cares about and wait an entire year to clue them in.

It’s just not good storytelling. One expects a show, in its final episode, to give some sort of pay-off to what’s come before it. Tiny bits of the epilogue do this for some of the supporting characters, but not in any way that matters so much. The core players, though, aren’t well served at all. Instead, they appear inconsistent and shy away from the personalities they’ve developed. Though I do admit that DeKay and Garson do get some juicy emotional bits to prove their range.

I mention supporting players, and “Au Revoir” does make time for Jones (Sharif Atkins), Diana (Marsha Thomason), and June (Diahann Carroll), as it should. Unfortunately, June’s role is basically a cameo, and the other two get happy endings without being shown to do anything special at the end to earn them, made even less satisfying by the time jump.

White Collar was very good at times. Sadly, its finale was not one of them. It will be missed, but if this is the direction the show was heading in anyway, I’m glad it’s gone before it completely tarnishes what it did when it was at its best.

USA Not Likely to Be BENCHED For New Sitcom

Article first published as TV Review: 'Benched' - 'Pilot' on Blogcritics.

USA’s newest comedy, premiering this week, is called Benched. A smart lawyer named Nina (Eliza Coupe, Happy Endings, Scrubs) suffers a breakdown after being dumped by her fiance, Trent (Carter MacIntyre, Undercovers, Drop Dead Diva), and being passed over for promotion at her company. Her explosion is spectacular, and leaves her lucky to find employment in the crummy public defender’s office. Here, though, she might just find a sense of purpose amid the downtrodden misfits.

Benched doesn’t have much that one could call fresh and original. The Jerry Maguire-opening and tale of a person who finds deeper meaning than money is nothing new. There are quite a few other shows like it on television, both dramas and comedies, and so it seems like USA is just repeating a common structure. But there’s something charming and breezy about Benched that makes for good entertainment, even if it’s not exactly high quality.

One thing Benched has going for it is the quirky supportive cast. Like Brooklyn Nine-Nine, our lead is surrounded by a number of cartoonish players who give the proceedings a hyper reality. Sheryl (Maria Bamford, Adventure Time) looks to be very near the edge, even as she’s flighty enough to not let much in her day bother her. Oscar Nuñez plays Carlos, a role that, at first glance, seems quite similar to his part in The Office, non-showy, but still funny. Micah (Jolene Purdy, Under the Dome) keeps Nina going, the intern who tells the hard truths. Phil (Jay Harrington, Better Off Ted), a compulsive gambler, serves as a love interest and cautionary tale for Nina. And Trent is still around, often facing Nina in court. Because of these various personalities, I like the show.

Coupe is a great leading lady. She has proven her worth as part of an ensemble, and as much as I enjoy seeing her do that, she can also carry a program as the protagonist on her own. The second fiddle here is Harrington, who has been desperately missed on television, a few years having passed since his last starring role, and together the pair have terrific chemistry. It’s a no-brainer match, one audiences are sure to eat up. I did.

In the first episode, a lot of time is spent establishing the premise. We have to see Nina get to where she’s going to be. Still, it seems like there is time for her to start to find her footing, giving viewers an idea of what Benched will be on a regular basis. Nina spends time in the court room, sparring with Trent, Judge Nelson (Fred Melamed, Silk Stalkings), and a grumpy bailiff (Cedric Yarbrough, Reno 911!). While the case isn’t all that important, just watching the cast interact is good enough, and will probably be the best part of any installment.

Benched is genuinely humorous, well-crafted by creators Michaela Watkins (last see on-screen in Trophy Wife) and Damon Jones (Tammy). Even if they didn’t come up with many ideas of their own (maybe they were instructed not to by the network?), they show great talent in putting the various pieces together to make them work. Not every effort in this vein is nearly as good as Benched is. It takes some people who know what they’re doing to pull it off, and given the small writing resumes of the creators, this is a fine first big effort to be proud off.

Benched is far from perfect, and it has a lot of work to do if it wants to become anyone’s favorite show. Yet, there are some excellent ingredients here, well stirred, so it’s worth checking out. Given how funny those involved can be, it is likely there will be payoff if you start watching and stick with it.

Benched premieres Tuesday at 10:30 p.m. ET on USA.

USA Knows a Thing About SATISFACTION

Article first published as SATISFACTION Review on Seat42F.

You know the familiar small drama movie story of a husband and a wife who have been married a long time, have at least one child, and have drifted apart as he throws himself into his work and she seeks someone else to help her feel alive? Throughout the ninety-minute running time, they realize their mistakes and rediscover what they love about one another, eventually fixing the problems in their marriage and being happy all over again, a mid-life reckoning that leaves their bond stronger than ever? USA is turning that concept into a series called SATISFACTION.

It’s such an intriguing idea that I’m surprised no one has done it before, at least not that I’m aware of. After all, how many relationships can be repaired so simply, especially after the long deterioration of their union has eroded them into near strangers to one another? Is it really so easy to rebuild one’s life and put the mistakes made during that time of estrangement behind you? Can a new beginning truly be found? SATISFACTION seeks to answer that question by setting up the unoriginal plot, but advancing it far beyond what most of this genre has done.

As the pilot begins, we meet Neil Truman (Matt Passmore, The Glades), a money man who absolutely hates his job. He loves his family, even though he doesn’t have much time for wife, Grace (Stephanie Szostak, Iron Man 3), and teenage daughter, Anika (Michelle DeShon), always working, even when he’s at home. This frustration isn’t held back by a nice house and a fancy TV any longer, and Neil has one of those snap moments where he has to act out. He actually has a couple of them, since his boss (Spencer Garrett, Yes Man) laughs off the first one, and Neil feels the need to keep exploding bigger until someone pays attention.

Meanwhile, while Neil might not be aware of it, Grace is equally unhappy. Her break comes one night at book club when she demands her friends accompany her to a club. Once there, she meets a charming man named Simon (Blair Redford, The Lying Game) who wants to hear her story, and even though he ends up being an escort whom she must pay if she wants sexual attention from him, the two soon begin getting together on a regular basis.

As one might expect, both Neil and Grace begin discovering each other’s secrets, all while dealing with Anika, who has her own scene of rebellion, acting out against the private school she hates. But this is only the beginning.

SATISFACTION doesn’t have a moment of confrontation, where the family talks frankly with one another. In the movies, this has to happen because that’s what’s required to air the dirty laundry so it can be cleaned and put away. Instead, the TV show keeps going forward. Most of what I’ve mentioned in the preceding paragraphs happens in the first half of the pilot, barely scratching the surface of the tale waiting to be told. This will be about emotions and motivations and feelings of emptiness and lies and desires and consequences. Can these people stay together, or are they too far removed to make it work any longer? If the pilot is any indication of the level of quality, sign me up to find out.

While most of the cast, which also includes Deanna Russo (Being Human), Katherine LaNasa (Deception), and Chris Williams (Californication), are not widely known, they are solid performers who really sell the depth and complexity of their characters. It’s easy to be drawn in by the Trumans and what they’re going through. Many will relate to their situation, even if only obtusely, and it’s the authenticity of the situation that is so fascinating.

USA has, in the past few years, allowed itself to not be boxed in any longer by only making a certain type of show. Even with the loosening of the reigns, SATISFACTION feels like a complete departure for the network, a slow burn human piece that will tell a very real story. I recommend checking it out when it premieres Thursday, July 17^th at 10 p.m. ET.

RUSHing Around

Article first published as RUSH Review on Seat42F.

USA’s new drama RUSH is not very original. Like the network’s own medical series, Royal Pains, it follows a private concierge doctor who works for those rich enough to afford on-call and home-based services. Unlike Hank Lawson, though, the titular character in RUSH is more along the lines of House M.D. in that he’s a heavy drug user whose life is falling apart and like Greg Kinnear’s Rake in that he enjoys his iffy lifestyle a tad too much. Thus, while RUSH is an interesting show, it just doesn’t feel all that fresh.

This is my main problem with RUSH. In a golden age of television (don’t let anyone tell you it’s not), it’s hard to have time for just-good shows any more when there are so many great ones. RUSH is a series that, five years ago, would have been the best thing on USA and certainly a solid entry for cable. Now, though, it is entertaining, but not nearly special enough to kick it into that top tier worth paying attention to. If you haven’t discovered the wealth of programs available from various sources that are better than RUSH, you may like it. But trust me, better-than-broadcast does not necessarily mean it’s at the top of the pack these days.

RUSH is fronted by Welsh actor Tom Ellis (Vera Drake, The Fades), who does a serviceable job with the cad. Rush is intelligent, of course, and much better at helping others than himself, which is an archetype quite familiar to most viewers at this point. Ellis does give him a charm and vulnerability, especially late in the pilot, that makes him seem like a real person, even if his actions and situation are far from average.

Unfortunately for Rush, he is nowhere close to being the man he should be. He has far too many enablers in his life. Dr. Alex Burke (Larenz Tate, Rescue Me), his best friend, makes excuses for Rush and still allows him to attend his godson’s birthday party, despite Rush’s less-than-sober appearance. Rush’s assistant, Eve (Sarah Habel, Underemployed), does criticize Rush, but doesn’t really do anything to try to force change. Both judge our antihero, but don’t exactly push him to change.

The one person who could have an effect on Rush is his ex-girlfriend, whom he was with for four years, Sarah Peterson (Odette Annable, Banshee, House M.D.). But Sarah’s already given Rush all of the chances she’s willing to give, and unlike Eve and Alex, is washing her hands of Rush. Perhaps Rush’s friends should follow her example because Rush seems like the type who needs to hit rock bottom before he can start to rebuild anything resembling a successful life.

Rock bottom may not be as far as off as most who know Rush might expect. There are some Latino gang members, one of whom is named Manny (Rick Gonzalez, Reaper) and sells Rush his cocaine, that Rush gets too involved with. I won’t go into details, but while part of their story may wrap a little too easily, the pilot also leaves the door open for them to take Rush down a road he should absolutely avoid if he wants to be an upstanding individual.

RUSH also has the tendency to venture into cheesiness from time to time. Early in the first episode, multiple characters tell Rush that he looks bad. He doesn’t; not even close. You’ll see near the end of the installment what Rush looks like when he really lacks sleep and is stressed out. Instead, those early lines feel like what the script writer thinks we expect, and those making the production forgot to make it true, nor should it have been, given the larger arc of Rush’s journey. A moment meant to show Rush is a good man, giving cash to someone who turns out not to be homeless, also is forced.

The potential lies in the backstory. Rush clearly has done something to inspire the loyalty of Eve and Alex, and I do think that will eventually be revealed, though only a hint about Eve creeps into the pilot. While I don’t think the history will be enough to redeem the current man, at least there might be an engaging story there.

RUSH isn’t bad. It’s just not stellar. Judge it for yourself when it premieres this Thursday at 9 p.m. ET on USA.

GRACELAND Toes "The Line"

Article first published as GRACELAND Review Season 2 on Seat42F.

USA’s GRACELAND is back for a second season this week. The show that does for law enforcement what Suits does for lawyers, it’s one of USA’s best efforts, and it’s gratifying to have it back on the air after a very long hiatus. What’s more, while things have changed, all the familiar faces are back, and GRACELAND hits the ground running, kicking off some new, very interesting arcs.

As season one closes out, Mike (Aaron Tveit) accepts a job in D.C., his dream posting as he seeks to work his way up to a top position with the F.B.I. The season two premiere, “The Line,” picks up months later, with Mike settled into his new life, complete with a love interest. But Mike is not as happy as he first appears, and it takes no time at all before the plot forces him to return to the titular house.

Viewers always knew that Mike would have to be at Graceland again, a necessity for the premise of the show to continue, so it will be no surprise that the premiere lands him back there. What I didn’t expect it just how natural the writers would make it feel for Mike to return. He is not forced to do so against his will, nor does he go back because of a single reason. Instead, the complexity of life suggests a return as an opportunity he needs, and it fits seamlessly into the larger story.

Which is not to say that GRACELAND goes right back to a case-of-the-week procedural. Elements of that genre sprinkle the first season, and some stand-alone missions do pop up from time to time. However, GRACELAND is not a formulaic, stale series, and each installment does not exist apart from the others. Mike coming home is a much larger thread, one that has both solid reasoning behind it and implications for the future. It’s the start of something new, not just a reset.

In season two, the house has a new leader, and the entire team will be working together more. We have already been introduced to the characters, and while they do tend to help each other out, the fact that they represent different branches, such as F.B.I., ICE, and DEA, has necessitated separate stories from time to time. GRACELAND’s second season has a huge project that needs all of their attention, and Briggs (Daniel Sunjata) is not the one put in charge of this operation.

It will be interesting to see how Briggs handles taking orders. Very clearly, given his illegal activities, this senior agent is not used to playing by the rules or just falling in line. The current boss, who takes over in “The Line,” is not a new character, and knows Briggs well enough to come up with a plan for how to handle him. But can Briggs be tamed, even temporarily?

The dynamic is further shifted now that two of the housemates are hooking up. It is unclear in “The Line” if a real relationship exists or if two friends are just releasing pent-up sexual longings, but I would definitely lean towards the former. It seems unlikely that this couple is destined to stay together long-term, at least not without working through some major obstacles, but the development shakes things up in the house, even if it isn’t an obvious big change at first.

Of course, Mike does not return to all cheery smiles. He has earned the affection of his co-workers, which include Johnny (Manny Montana), Paige (Serinda Swan), Charlie (Vanessa Ferlito), Jakes (Brandon Jay McLaren), and Briggs, but that doesn’t mean history doesn’t influence how they react to him rejoining, especially as his room has already been given away to a new team member. Will Mike only stick around long enough complete the assignment laid out in “The Line,” or can he truly earn a spot among these people, one that will last?

I kind of hope it takes Mike a few years to really feel like a full-fledged member of the group. He has connections, to be sure, and he isn’t a newbie, but there’s still a feeling of outsider status clinging to Mike. This may have dissipated by now had he not moved to D.C., but he did, keeping him at arm’s length from the others. This is actually a good thing for the story, as it adds a layer of tension that would otherwise not exist. Conflict is what keeps shows interesting, and GRACELAND has plenty of it among its central cast.

As if all of this is not enough, one of the group has undergone a serious personality change. It is not explained yet, but it is commented on, definitely a purposeful choice with more to it, rather than an inconsistency. The characters are too well-defined for such a slip, and instead, it could be another new arc just getting started.

GRACELAND is a great series and “The Line” is not only true to form, but a heck of an interesting way to start the season. Fresh episodes air Wednesdays at 10 p.m. ET beginning this week.

"Go" SUITS

Article first published as SUITS Review Season 4 on Seat42F.

USA’s SUITS does not do small and slow, so it will be no surprise that the fourth season premiere, “One-Two-Three Go…,” aptly named, starts out fast and loud. No, that is not a sex thing, though the opening montage does find multiple main characters in a bedroom setting, including one whose love life is revealed for the first time. From there, things only get more heated as the episode promises more shake ups to come.

Mike (Patrick J. Adams) isn’t doing so well three months into his new job. It seems the only career less suited to being warm and fuzzy than lawyering is operating a hedge fund. Mike’s tried-and-true strategy of finding a win-win scenario that makes people happy does not produce big enough returns for his boss, who cares far more about the bottom line than saving jobs. In true Mike fashion, he searches for a solution. He does find one, but he needs Harvey’s (Gabriel Macht) help to make it happen, and that part of it does not go as smoothly as one might wish.

The relationship between Mike and Harvey, while no longer being the primary focus of SUITS as it once mostly was, is still a linchpin of the larger dynamic. The issues that arise between them are not the fights of enemies, but rather the actions of two men trying to find a balance in new roles. Harvey isn’t quite sure whether to treat Mike as a friend or client, and the same can basically be said of Mike.

Before this fragile arrangement can even begin to work itself out, its very existence is threatened. I love that SUITS isn’t afraid of making big plays, such as having Mike quit Pearson Specter last winter, but at the same time, I worry the writers will go too far. I tell myself that I shouldn’t be concerned, as there’s never been any reason to doubt them, each episode of the three already-aired seasons being excellent examples of drama. Still, it’s hard not to feel the tension in this situation, seeing Mike and Harvey at odds so steep.

Caught in the middle of this is Rachel (Meghan Markle). She may be living with Mike, but she’s Harvey’s new associate, replacing Mike at the firm that she owes major debts to. Mike and Harvey are stand-up guys and neither would intentionally ask her to choose sides, but there are bound to be conflicts in this situation, including at least one that arises in “One-Two-Three Go…” What will be interesting to see is how Rachel deals with such power-wielding men, generally preferring a softer touch herself, though she does rise to occasion.

Louis (Rick Hoffman), for his part, overhears Harvey spouting some platitudes and decides to adopt this as his new business strategy. One cannot blame Louis for emulating Harvey. After all, their friendship is firmly established, and Harvey now has what Louis yearns for – his name on the letter head. What better way to try to reach that goal than by copying the master? However, what works for Harvey has never worked for Louis, and one can see right away that Louis may not be making the right decision.

I continue to be slightly flummoxed by the role of Katrina (Amanda Schull), Louis’s associate, in the series. Is there sexual tension between them, or is she Louis’ Mike? I feel like it’s a bit of both. Things between Katrina and Louis, at least on her part, don’t quite feel platonic. Yet, they are almost as hands-off as Donna (Sarah Rafferty) is with Harvey. Is this going somewhere other than the professional, or is it just a weird relationship?

As usual, the best parts of the SUITS premiere are moments between characters, rather than the bigger twists. Mike and his client (Michael Gross, Family Ties) have a typical Mike scene where the former lawyer pours his heart out. Dialogue involving Donna and Harvey, Donna and Mike, Donna and Jessica (Gina Torres), and Donna and Louis sparkles, proving once more that Donna has some of the best written lines, at least among those not involving movie references. Mike has an assistant that is his version of Donna; there might just be some staying power there. And there’s a sequence between Harvey and Jessica that is extremely touching and insightful.

Toss in D.B. Woodside (24, Single Ladies) in a recurring role sure to excite many fans, and SUITS has done it once again, delivering another powerful, beautifully acted episode with as much soap as any other scripted drama, but far less cheese and far more authenticity. SUITS is a near-perfect series, certainly the best thing on USA, past or present. I can’t wait to see what else the summer has in store for it.

SUITS airs Wednesdays at 9 p.m. ET on USA.

DVD Review: ‘Graceland – The Complete First Season’

Article first published as DVD Review: ‘Graceland – The Complete First Season’ on Blogcritics.

The caliber of USA’s dramas has been steadily getting better over the past few years, and last summer’s Graceland continues that trend. A gritty crime drama, it has intriguing, layered characters operating in gray areas with long arcs, no goofy case-of-the-week stuff that used to be the network’s hallmark. Created by White Collar brain Jeff Eastin, and based on a true story, this show follows FBI, DEA, and Customs agents living together in a government-seized beach house that shares the moniker of the series.

The setting is very pretty. The house is impressive, with great views, and letting the characters spend time in the sand and waves is fun for the viewer, too. But there’s a dark edge to this location, too, knowing that it was once the site of some bad dealings, and this tone lives on today, underneath the surface of the friendly banter. While the housemates seem to get along well enough, there are some secrets that could unravel the whole thing. Perhaps keeping the name Graceland, which came about because of the previous owner’s Elvis obsession, is an intentional, constant reminder that everything is not as peaceful as it seems.

 

Our protagonist is Mike Warren (Aaron Tveit, Gossip Girl), a recent Quantico grad who requests an assignment in D.C., but is ordered to GRACELAND instead. The reason for this is that Mike’s bosses suspect grizzled veteran Paul Briggs (Daniel Sunjata, Rescue Me, Grey’s Anatomy), Mike’s new immediate superior, of illicit activity, and want Mike to find out definitively. We soon see that there may be some truth to the charges, and much of this first season is not only about the internal investigation, but also the shifting dynamic between the two men. What Mike will file in his report is not cut and dry, and he has to decide if Paul deserves to be put away.

 

Mike’s and Paul’s roommates include: Johnny (Manny Montana, East L.A.), the class clown and friend to everyone, who puts Mike through some affectionate hazing; Charlie (Vanessa Ferlito, CSI: NY), who has been undercover as a junkie, and is good with the makeup and mothering; DEA operative Paige (Serinda Swan, Breakout Kings), who does not appear in the pilot, but comes back in and befriends Mike; and Dale (Brandon Jay McLaren, Falling Skies, The Killing), the territorial customs agent.

 

If I have one complaint about Graceland‘s first year is that Charlie, Johnny, Paige, and Dale aren’t nearly as well developed as Mike and Paul. They all have their moments, of course, but this isn’t a true ensemble piece, with character development taking a much heavier focus on the leads. There is some tension between Mike and others, one of whom finds out what’s going on, but I look forward to an expansion of the supporting players in season two this summer, similar to how Suits began and then grew.

 

Story-wise, the pacing is a bit slow in some places, with twists coming pretty spaced out and the tension being more of a slow-burn than constant action. There is a romantic thread which is pretty cool because of the complications it causes. Smaller cases, tossed in from time to time in a Burn Notice-esque fashion where the characters sometimes shouldn’t help but can’t stop themselves from doing so,  keep it from being boring. Overall, it’s a pretty engrossing story, several notches above most USA fare, and has shown clear signs of not sticking to a status quo in the long-term, a promising sign.

 

This three-disc DVD release has all twelve episodes of the first season, as well as deleted scenes, a gag reel, and a ten-minute featurette on “The Real Graceland.” The latter is interesting, talking about the process of making the show and how the actors relate to the true source material. Ten minutes does seem quite short and the extra doesn’t go very deep, but its the only bonus of note included.

 

Graceland – The Complete First Season is available now.