THE SLAP Stings

Article first published as THE SLAP Review on Seat42F.

Zachary Quinto as Harry, Thomas Sadoski as Gary | THE SLAP | Photo : Virginia Sherwood/NBC

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NBC’s new mini-series, THE SLAP, premiered last night. Based on the book of the same name, and following a successful Australian adaptation, this drama tells the story of a man slapping a child who is not his own at a party and the fallout from the incident. It will unfold over eight weeks, presumably showing us the varied lives of the group gathered who witness the encounter, as well as what happens to the man who slaps.

THE SLAP starts out interestingly enough. Narrated by the great Victor Garber (Alias, Titanic, Eli Stone), viewers are introduced to Hector (Peter Sarsgaard, The Killing, Jarhead), a man just turning 40 who is passed over for a major promotion at work. Hector is also frustrated with his wife, Aisha (Thandie Newton, Rogue), the type of woman who passes up a free vacation to Greece because she’s busy with her job, which leads to him fantasizing about the babysitter, Connie (Makenzie Leigh, Gotham). Hector is able to resist those fantasies until he finds out that Connie shares them, but even then, he’s not willingly to all-out cheat on his wife. Yet, anyway.

The first twenty minutes of the show, painting the portrait above, are actually interesting. They’re not wholly original, of course, a restless man in a mid-life crisis being a familiar archetype, as is the ingénue that catches his attention. But because Sarsgaard and Garber are involved, I liken it to a weaker version of The Affair playing out, and it’s good.

Unfortunately, the show goes downhill fast when everyone else arrives at Peter’s house for his birthday party. Suddenly, there are lots of people whom the show does a poor job of explaining the relationships between, mentioning a few connections, but mainly just tossing everyone together. There are also some very flat roles, and tons (and I do mean tons) of foreshadowing for the upcoming conflict. The party sequence takes what seems like a higher-quality, quiet drama and turns it into a predictable cartoon.

This is most obvious in the dynamic between fathers Harry (Zachary Qunito, American Horror Story, Star Trek) and Gary (Thomas Sadoski, The Newsroom), as well the behavior of Gary’s son, Hugo (Dylan Schombing, Girlfriends’ Guide to Divorce). Hugo is the epitome of an out-of-control, spoiled brat, making messes on purpose and endangering the other children. Gary and his wife, Rosie (Melissa George, The Good Wife, reprising the role from the Australian version), don’t punish Hugo, allowing the walking, talking kid to breast feed instead. This offends Harry, who has extreme anger issues, and Gary and Harry bicker often.

The slap itself is equally ludicrous. The kid is a brat, absolutely, and should be spanked (in my opinion) – by his parents. Instead, Harry slaps him not to stop an action being taken, but to get his attention and to punish. I know there are anger issues involved, but what kind of grown man hits a child in their face, hard, especially in those circumstances? Harry is a complete, irredeemable monster, and his lack of being apologetic is inexcusable, even among those who approval of corporal punishment.

I think all of the telegraphing of the event is worse than the slap itself because, not only is the series called THE SLAP, but promos for it heavily feature Harry smacking Hugo. I haven’t seen the Australian version and have no idea how it was marketed, so I’m judging the U.S. production purely on its own approach. I’d probably still object if I didn’t know Harry and Hugo were the two involved in the titular event because of the lack of subtlety in how the situation is presented, but if viewers weren’t aware of who slapped who, at least THE SLAP could trick us with teasing several possibilities instead of delivering something so ridiculously packaged.

I don’t blame the failure of THE SLAP’s first episode on the cast. All of those listed above are usually great performers (though Quinto seems miscast here), and they are joined by Uma Thurman (Smash, Kill Bill), Penn Badgley (Gossip Girl, Easy A), Brian Cox (Braveheart), Marin Ireland (Homeland, Masters of Sex), Maria Tucci (Law & Order), and Lucas Hedges (Moonrise Kingdom). This is a pretty strong ensemble, so if they can’t make a script work, that’s saying something, unfortunately.

Still, The Slap is not completely without promise. Like I said, I really enjoyed the first twenty minutes or so. If the other seven episodes can really focus on character development, using the actors’ strengths to tell a moving, personal drama, it could be worth watching. But the sheer shallowness and sloppiness of most of this first hour is disappointing, so while I’ll probably give the series a second chance, if it doesn’t clean up its act, it likely won’t get a third.

The Slap airs Thursdays at 8 p.m. ET on NBC.

Smash drops a "Bombshell"

Fade in on a girl...

It's not secret that fan reaction to NBC's Smash has been mixed. But it's hard to call the series boring. With more twists than a red vine, this initial fifteen episode order has switched the star in its play within a play no less than three times. Possibly more, but three women have been involved. And with scant moments left in the season finale, the question still hangs in the air: Who is Marilyn?

This is a question that lingers throughout "Bombshell." While one girl is named to be the lead early in the episode, there are many points where that decision could be changed, even at the last minute. Smash does a good job at building suspense, and never letting one get too comfortable with their conclusion until the musical actually begins near the end of the hour.

Rebecca (Uma Thurman, Kill Bill) is out, after merely one preview performance. Derek (Jack Davenport), Julia (Debra Messing), Tom (Christian Borle), and Eileen (Anjelica Huston) fight over who should take over for her. They have an understudy, of course, but this early in the process, the understudy hasn't started rehearsing, and there's someone who is more prepared waiting in the wings.

Though the vote is 3 to 1, the 1 is Derek, and he wins. He puts his foot down, as he is the one with the creative vision. Is he right in this situation? Does the director override the producer, writer, and composer? It seems that way. Julia and Tom don't even fight it, and while Eileen tries, when Derek admonishes her, she shuts up. Going forward, there should not be a doubt in anyone's mind that Derek is in charge of Bombshell.

Then again, why shouldn't he get final decision on casting? Tom and Julia are off doing what they do best: writing. Eileen is more suited to the business side of things. At the end of the day, Derek is the one putting together the live performance, and he should have a great deal of say. They hired him because he is brilliant, which he has proven over and over again throughout this process. When the chips are down, he should be trusted with things in his arena. Casting is one of those things.

Who should not be trusted is Ellis (Jaime Cepero). Ellis wants to be in charge badly, and doesn't mind playing dirty to get there. This single-minded devotion leads to an arrogance, acting like he already has a seat at the table long before he does. It's kind of a wonder that Eileen stays blind to his true self as long as she does. But thank goodness she fires Ellis when he proudly touts how he ran Rebecca off. It may be best for the show that Rebecca is gone, but his timing couldn't have been worse, and his methods are terrible! Bombshell does not need the stink of this kind of scandal on its hands!

Of course, we haven't seen the last of Ellis, which he vows as he stomps away from Eileen. He did suggest the musical be about Marilyn, and while he has contributed little since then, other than kissing butt, he is going to sue. That writing is on the wall. He doesn't deserve to win, and if there is justice, he won't. But that doesn't mean his actions won't cause problems, and possibly even halt production. So this little pain, who just will not go away, needs to be put in his place! Please!

It turns out that Dev (Raza Jaffrey) isn't trustworthy, either. He has no intention of telling Karen (Katharine McPhee) that he slept with Ivy (Megan Hilty). It's hard to believe that he thinks Karen won't find out. It's even harder to believe that he expects her to just forget about it and instantly move on. Again, this couldn't come at a worse time. Dev is definitely not the right man for anyone. Even if he does deliver a truly awesome Bollywood number earlier in the season, it's time for him to make his exit, stage left.

Why does Ivy tell Karen about sleeping with Dev? Is she still being manipulative and sneaky? It doesn't seem so. Ivy is crushed that Derek cheated on her, and then, worse, chose Karen over her for the role of Marilyn. But even so, Ivy and Karen have formed a sort of bond. And seeing how upset Karen is, and how much pressure she's under, trying to learn the part at the last moment, it looks like Ivy might just be doing a kindness by not letting Karen stay with a lying cheater. There is no malice or pleasure in Ivy's face when she tells Karen the truth. Which means, as the season comes to an end, that Ivy is a likable character, something hard to see coming back at the beginning.

Though Karen might make a better Marilyn on stage, which is, admittedly, debatable, Ivy is more like Marilyn in real life. The end of "Bombshell" finds her contemplating a palm full of pills, something the real Marilyn would do. Many believe that Marilyn killed herself. Hopefully, Ivy won't do the same. She's too interesting a character to lose now.

The real draw of Smash is Bombshell. The characters are great, and, were time not an issue, this review could actually contain twice as much about them as it does. But the music and staging for the musical are more amazing! Tom and Julia's final number is much, much better than the dark, depressing original ending, and ranks among the top songs in the production! Debuted proudly in "Bombshell," it's easy to see how this is coming together. Smash would not work if its show within a show sucked. Thankfully, Bombshell doesn't. Not even a little bit.

Smash has been renewed for a second season and will return to NBC next fall.

If you like my reviews, please follow me on Twitter! Article originally published as Smash drops a "Bombshell" on TheTVKing.com

Smash does not deserve the haters

NBC's Smash faces "The Coup" this week, as Derek (Jack Davenport) has a musical number developed without the input or knowledge of Tom (Christian Borle) and Julia (Debra Messing). He isn't the only one facing loyalty issues, though. Ellis (Jaime Cepero) is only too happy to jump Tom's ship and go work for Eileen (Anjelica Huston). Also, Eileen's daughter, Katie (Grace Gummer, yes, Meryl Streep's daughter), comes to visit, and scolds her father, Jerry (Michael Cristofer), for how he is treating Eileen. Not to mention, Ivy (Megan Hilty) is totally jilted when she learns that Derek's new number stars Karen Cartwright (Katharine McPhee) as Marilyn. 

Smash has been getting a lot of flack lately from critics. They complain that the drama feels forced and the musical numbers aren't good enough. This seems odd, given the quality of the show. Glee still gets praise, and it is far campier, with less consistent characters. Perhaps that's the problem. Trained by two years of Glee to expect fluff, Smash presents more realistic situations, fewer spontaneous songs (though there are some), and lots of original music that has to be good. It is.

And if one still isn't happy, take heart there will be a new show runner when the recently renewed Smash returns for season two next year.

That doesn't mean Smash is without any problems. For instance, the kid playing Leo (Emory Cohen) is just not up to the task. Perhaps that is why the writers have Julia overact in the courtroom in "The Coup." Playing opposite of Cohen, Messing tends to run circles around him, so they lower her to his level. Or she is just an upset, concerned parent, and that could excuse a bit of an emotional outburst, too.

The Ivy vs. Karen plot has been pivotal to Smash up to this point, but it now appears to be over. Karen shoots herself in the foot with Tom and Julia by being sneaky with Derek, and Ivy is out because Eileen feels a star is needed if Marilyn's production is going to continue.

Eileen is probably right. As talented as Ivy (and Karen, for that matter) is, she isn't the audience bait that a famous person would be. One might think that Marilyn Monroe is the draw, and there's something to be said for the bold step of choosing a newcomer to capture Marilyn's early persona. That might still happen. But for selling the show to investors, having a big name attached will go a long way to making things easier, and ease is a desirable concept, with all of the other problems being faced. Along those line, Uma Thurman will soon be joining the cast.

The only thing really not working in "The Coup" is Ellis. He is a shifty, despicable character, but that it not the problem. Every show needs a villain, and Ellis fills that role nicely on Smash. What is hard to believe is that Eileen is not hip to his antics. Maybe Ellis lied and told her that Tom was cool with the job switch. But without seeing that, it feels wrong for Eileen to poach him. The characters are wise enough that they should be noticing his too-obvious behavior, and he should be cut out completely. Also, Cepero has absolutely no chemistry with the woman playing Ellis's girlfriend.

Overall, the story in "The Coup" feels authentic. Derek's background with Tom, the details of which slip out this week, explains their animosity. Derek's lack of people skills justify the mistake of going behind Tom and Julia's backs. His idea isn't horrible, he just presents it the wrong way. Gossip does spread like wildfire. Ivy's friends would cheer her up with song and dance, though a few annoyed looks from other bowlers should have been included, and a slip on the slick lane would have been nice.

But a show bound for Broadway never has an easy road. These are things that need to be shown for Smash to work, and hopefully the angry voices will quiet time in time. Watch Smash Mondays at 10 p.m. ET on NBC.

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