MACGYVER Is Back Or Is He?

Article first published as MACGYVER Review on Seat42F.

CBS is bringing back MACGYVER this week, a rebooted series for a new generation. This show resets things at square one; it is not a continuation with a son or grandson or nephew of the old character. So if you’ve never seen the original, it won’t be any problem to keep up. But the central story of a top agent who doesn’t shoot people and can make inventions out of nearly nothing, often alongside ridiculously unrealistic explosions, remains. And if you are a fan, there are tons of Easter eggs stuck in just for you.

As many know Angus “Mac” MacGyver (Lucas Till, the latest X-Men movies) works for the very secret Department of External Services (DSX), a government agency that few know exists. He carries a Swiss Army knife and uses his superior mental abilities to save the day. In the new pilot, that means stopping a man (Vinnie Jones, Galavant, Snatch) from releasing a biological weapon on the unsuspecting public. Can he do it? Of course he can.

Unlike the previous MacGyver, though, this one doesn’t work alone. Sure, old Mac had his boss, Pete Thornton, who has become Patricia Thornton (Sandrine Holt, House of Cards) in the new series. But now he also has buddy and muscle Jack Dalton (George Eads, CSI), roommate Wilt Bozer (Justin Hires, the Rush Hour TV series), tech whiz criminal Riley Davis (Tristin Mays, The Vampire Diaries), and love interest Nikki Carpenter (Tracy Spiridakos, Revolution).

Now, not all of these characters are new, though the cast does look appropriately more diverse. In fact, Riley is the only one who never appeared in some incarnation back in the old days, which makes sense because technology wasn’t really an everyday thing then. However, besides Mac and Pete, Jack was the third-most seen character back then, and he was still only in 19 of the 139 episodes. So Mac working with a team is definitely different, and feels forced both by the standards of today and the lazy structure most case-of-the-week procedurals take, unable or unwilling to dig deep into one lead character. Even though yes, it doesn’t make sense for Mac to know tech, so that one addition is kind of necessary.

Also, the pacing is quite a bit faster. In the 1980s, Mac could take his time disarming a bomb or hunting down a single villain. In 2016, that’s not going to be the case, with the new MACGYVER rocketing through several obstacles pretty darn quickly and not stopping to catch his breath too much until the end of the hour.

What this makes for is a very odd mishmash of periods and styles. MACGYVER borrows a lot from the crime shows of today, as noted in the two preceding paragraphs, but it also tries very hard to mimic some of the things that the old MacGyver is remembered for, such as Mac’s narration, his charming niceness, a light touch, and of course, the really big, cheesy explosions, all of which feel very out of place on television now.

So can the current formula work with enough nostalgia and resurrected style? My gut tells me no. While the MACGYVER pilot is fun, the two competing tones don’t gel all that well together. I think the production should either have doubled down on creating a true 1980-1990s feel or updated for the modern day (though the latter would really have annoyed me) rather than trying to do both. The result is messy and uneven, and I feel like people will see right through the gimmick, making it tough to build a following.

I do recommend watching the pilot anyway, though. It is a relatively unique piece of drama precisely because of the things listed above. Just be warned it may make you long for something you can never have. And maybe you’ll be inspired to rewatch the original series on Netflix, which is nearly impossible to do because the aspect ratio is messed up and the quality is so bad. Can you get on fixing that, Netflix?

MACGYVER premieres Friday, September 23rd at 8/7c.

The "Uprising" Of ARROW

Article first published as ARROW Review Season 3 Episode 12 Uprising on Seat42F.

Bex Taylor-Klaus as Sin, Katie Cassidy as Black Canary and Colton Haynes as Arsenal | ARROW

 

This week’s installment of the CW’s ARROW is called “Uprising,” though I would certainly contend that the series has been raising its game for more than just this single hour. With the police having given up The Glades to Brick (Vinnie Jones), Team Arrow is left defending the lawless neighborhood on its own, which they are not quite up to. Looking for options, they receive an offer they are very tempted to refuse.

“Uprising” is an excellent episode. It pits our heroes in a losing situation, testing their mettle and their moral compass as they seek to find a way out of it. Malcolm’s (John Barrowman) offer of assistance could end the fight with Brick, but it will also cost them a bit of their soul, teaming up with the man who killed their friend and almost destroyed the city. Yet, they are divided on whether to accept. Even when compromising their code appears to be the only solution, some of the team want to take the higher ground, and those people win out.

Roy’s (Colton Haynes) reasons for wanting to work with Malcolm do not stem from desperation. After a talk with Thea (Willa Holland), Roy sees that Malcolm may be redeemable. Malcolm is misguided, but at least he cares. This highlights Roy’s sensitive side, and also makes Malcolm far more interesting, enhanced by flashbacks that show how he becomes a murderer in the first place. These flashbacks are way more interesting than the ones we usually get with Oliver (Stephen Amell). Roy could also just be championing Malcolm because of his feelings for Thea, though.

Laurel’s (Katie Cassidy) reasons for wanting to join with Malcolm have to stem more from desperation, right? After all, Malcolm is responsible for Laurel’s sister’s death, and Laurel knows this. It’s surprising she’s willing to set that aside and work with the monster, a sign of just how dire things are.

Diggle (David Ramsey) is the one who makes the final decision, backing up Felicity’s (Emily Bett Rickards) objections. Diggle is trying to fill Oliver’s shoes, taking on the mantle of leadership. Being in charge is not easy, and that person must make some tough calls. Diggle does what he thinks Oliver would do, and what is the more noble thing, and that’s refuse Malcolm. It may make Team Arrow’s job tougher, but it makes sense.

Diggle also comes up with another idea, and that’s to get the citizens, including Ted Grant (J.R. Ramirez) and Sin (Bex Taylor-Klaus), to rally and stand with the costumed heroes. It’s a genius plan, really. The superheroes work on behalf of the population, so it makes sense to ask the population to repay that protection. Their battle seems epic as the sides clash, like a blockbuster film, though obviously with fewer extras and less impressive sets than, say, Lord of the Rings.

There is one problem that stems from this war, though, which ends with victory for the good guys. The more people let in on a secret, the harder it is to keep it. Sin immediately recognizes that Laurel is not the same Black Canary that she’s used to. In turn, she mentions this to Quentin (Paul Blackthorne), whom Team Arrow has been lying to. This will not end well, though “Uprising” does not reveal what happens.

“Uprising” also features the return of Oliver, a.k.a. the titular Arrow. I think this comes a bit too early. Arrow-less Team Arrow has been through many challenges, but they have not gotten anywhere near boring nor played out everything they could. I wish this story would have been stretched out just a few more weeks. If the writers didn’t know what else to do with Oliver in the cabin, he didn’t have to appear in those episodes at all.

As Oliver comes back, he strikes up a deal with Malcolm. He can be forgiven for doing so because he has a very different perspective on things than his team, with additional knowledge about who Malcolm is and was. But it’s also easy to see why Felicity and Diggle would feel betrayed, thinking they were upholding Oliver’s righteousness and being disappointed that Oliver himself will not do the same. Felicity, in particular, doesn’t give him a chance to explain, which again, is understandable because she’s experiencing very strong emotions upon learning Oliver is not dead, as she thought he was. All in all, it’s a messy return.

“Uprising” presents an exciting, engaging story, challenging our heroes and expanding our minds about who some of the characters are. Something ARROW has been doing extremely right this season is deepening the mythology and the players, and I’m happy to see that trend continue.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

"Midnight" For ARROW

Article first published as ARROW Review Season 3 Episode 11 Midnight City on Seat42F.




The CW’s ARROW continues a harrowing plot last night in “Midnight City” as those left in Starling try to make up for the presumed-dead Arrow (Stephen Amell). This is easier said than done, though, as powerful villain Brick (Vinnie Jones) has crippled the city and frightened the mayor (Christina Cox), and not every new costumed vigilante is up to snuff yet. Will Oliver return to save the day before it’s too late?

I think the best thing “Midnight City” does is expose Laurel’s (Katie Cassidy) weaknesses as the Black Canary. She hasn’t been training that long, nor does she go through the experiences Oliver and Sara (Caity Lotz – whose voice returns!) do. Arsenal (Colton Haynes) and Diggle (David Ramsey) have spent more time on the job, but even they’re not up to the same level as Oliver and Sara were, so it’s nice to see Laurel isn’t, either. Better for ARROW to take its time developing its next hero than to unrealistically rush in.

And develop, she will. This week’s episode finds several members of the team struggling to carry on. Laurel has plenty of self-doubt. Felicity (Emily Bett Rickards) has quit because she’s so discouraged. But with Brick doing what he’s doing, someone has to step forward. So the series lets our main players wonder if they’re cut out for this kind of life, but then they recommit themselves to it because someone has to and they realize they stand the best chance of anyone in the city to do so.

Felicity should also calm a bit when she decides to help Ray (Brandon Routh) finish his super suit. Ray may not be ready to take on any baddie too big, but he does have some of the same qualities that many of the rest on the team do. If they aren’t up to Oliver’s level, their strength can come in numbers by adding another capable person to the mix. As we see in “Midnight City,” Laurel can afford to stumble if Arsenal has her back. Ray should help with this.

Of course, there are more people to watch out for than even Team Arrow knows about. This week, it is revealed that Chase (Austin Butler) is working for Maseo (Karl Yune) and the League of Assassins. That certainly explains his interest in Thea (Willa Holland), though she deserves someone genuinely attracted to her. But it also leaves a big question mark in what Chase’s intentions are and what he is prepared to do.

Maseo is a shady character. He rescues Oliver, sure, and that makes him somewhat noble, repaying Oliver for the past. However, Maseo also still works for The League. And while he’s willing to kill some of his fellows if it endangers Tatsu (Rila Fukushima), his ex-wife, and himself, that doesn’t mean he doesn’t have any loyalty left towards his employer. This arc is far from over.

It’s nice to see Thea stand up to Malcolm (John Barrowman) using his own words against him. That’s a strong sign she has not turned into his puppet, and may not listen to him at a crucial moment when she shouldn’t.

As if all of the action isn’t enough, major emotion comes into “Midnight City” when Quentin (Paul Blackthorne) hears that Black Canary is back in town. Naturally, he assumes it’s Sara, as he still doesn’t know that Sara is dead. Laurel goes to great lengths to keep him believing this, with assistance from Felicity in mimicking Sara’s voice. I don’t think it’s smart to keep stringing this out because Quentin is going to learn eventually and then be even more upset with Laurel for keeping it from him. But the reasons behind Laurel’s actions are pure, and it’s very moving to see how faking it affects her.

What ARROW is doing well is building large mythology and big arcs. Even this week’s flashbacks are more tolerable because they seem even more relevant to the present than most. At a time where some serial shows are disappointingly shifting more procedural (I’m looking at you, Sleepy Hollow), it’s nice to see a show go the other way, as it makes for a far more compelling story.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

ARROW "Left" Me Excited

Article first published as ARROW Review Season 3 Episode 10 Left Behind on Seat42F.

The CW’s ARROW comes back from a nail-biting cliffhanger this week with “Left Behind.” Several days after Oliver’s (Stephen Amell) deadly battle, his team has heard nothing of his fate and struggle to accept the possibility he might not be coming back. They valiantly try to continue the good fight in his name, but they may not be up to the task without their leader.

Oliver is the glue that holds Team Arrow together. Personally, I think it would be really cool for ARROW to kill off Oliver, something that happens in comic books, an alter ego dying and another picking up the mantle, but I don’t believe has ever happened to a central superhero on a television series. Yes, Black Canary is killed and replaced, but not being a main or titular character, it’s not the same thing. It’s not that I don’t like Amell or Oliver; it would just be a very bold, unexpected move that would signal to the viewers that this series means business.

Instead, because Oliver is made to be the glue, things cannot function without him. Felicity (Emily Bett Rickards), once she stops denying the most likely scenario, quits the team, and tells Ray (Brandon Routh) that she won’t be helping him fight crime, either. Diggle (David Ramsey) tries to wear the green hood, but he is not that skilled with a bow and finds it easier to return to his plain clothes and gun. Roy (Colton Hayes) is the only one that seems to be doing well, but he can’t go it alone.

An answer to Team Arrow’s problem could be Laurel (Katie Cassidy), who dons the Black Canary outfit for the first time at the end of “Left Behind.” She has a strong enough personality to be a leader, though there’s no guarantee the existing members would take orders from a semi-outsider. Plus, she’s been acting a little reckless, so she may not make the best decisions for them.

So Team Arrow is left in a holding, or disintegrating, pattern until Oliver can return. He’s alive, of course, Malcolm Merlyn’s (John Barrowman) evidence to the contrary, though Malcolm can be forgiven for believing as he does. Maseo (Karl Yune) rescues Oliver from the cliff because, as we see in flashback, Oliver risks his neck to save Maseo’s wife, Tatsu (Rila Fukushima). Thus, it will only be a matter of time, and perhaps some physical therapy, before Oliver resumes his role as protector of the city.

That time can’t come soon enough. The bad guy in “Left Behind” is Brick (Vinnie Jones), a returning foe who is able to gain the upper hand here. He isn’t someone to be trifled with, and now that he knows the heroes are vulnerable, he’ll probably be breaking quite a few more laws than previously. If he is to be stopped, either Team Arrow needs to pull itself together or Oliver needs to get back on the job.

Thea (Willa Holland) doesn’t know that Oliver is dead, but since he’s really still alive, I guess that doesn’t put her at a disadvantage. She’s worried because she hasn’t heard from him, but despite the fact that she’s the one who sends Malcolm to investigate in the first place, Malcolm doesn’t share what he finds with her. So Thea still doesn’t know Oliver is The Arrow or that he went into a fight to the death on her behalf.

What is Malcolm’s game? Why doesn’t he tell Thea the truth about Oliver? Is he worried that the truth will make Thea think more highly of her brother, thus bleeding away some of the influence Malcolm has over her? Or does he want to draw out Thea’s distress so she comes to rely more on him as a shoulder to cry on? And is he sincere about wanting to be a father, or does he have some dark purpose for Thea?

These questions and more will surely be answered in upcoming installments of ARROW. If there’s one thing you can say about the show, it’s not boring (except some of the flashback parts). It’s also usually well crafted, with mysteries eventually being solved and elements playing into one another. If it were a little bolder, it would be nearly perfect.

ARROW airs Wednesdays at 8 p.m. ET on the CW.

PSYCH Uses "Goblet of Fire" to Ignite New Season

Article first published as PSYCH Uses "Goblet of Fire" to Ignite New Season on TheTVKing.

USA's Psych returned this week with "Lock, Stock, Some Smoking Barrels and Burton Guster's Goblet of Fire." That very long episode title finds Shawn (James Roday) and Gus (Dule Hill) called to Britain for undercover work by none other than Despereaux (Cary Elwes), who claims to have been working for INTERPOL the entire time they've known one another. But as the boys get involved in the case, they start to suspect INTERPOL is yet another clever cover for the cunning crook.

"Lock, Stock, Some Smoking Barrels and Burton Guster's Goblet of Fire" is fun because if brings back Despereaux and, for a time, paints him in a new light. He's a fan-favorite recurring player for a reason, though he seems more toned down this go 'round, having limited screen time and posing as an upstanding intelligence agent. At first, it's kind of cool to learn he might not be a bad guy, since he's very likeable, but that also takes away his edge, so in the end, viewers may be left a tad disappointment by his appearance.

It's also sad that we get only a couple of brief glimpses of Officer Lassiter (Timothy Omundson) back in Santa Barbara. Last year left us on quite the cliffhanger for his character, and not only is that not dealt with at all, but we don't even see any of the other main characters or how the police station is operating. Thus, while this premiere is an amusing little event episode, it doesn't deliver on those who love the serial arcs of the show.

The case itself is hokey. Shawn's antics usually get him into trouble, but that's OK because he has police protection. Here, not only is Shawn drawn into a dangerous gang run by Ronnie Ives (Vinnie Jones, Lock, Stock and Two Smoking Barrels), but he unnecessarily puts Gus in the line of fire, as well. There is nonsensical and then there is just plain stupid, and Shawn takes a huge risk putting both he and his best friend's lives in a delicate situation.

It's true that Ronnie is tickled by Shawn's outrageous personality, and that could make it OK to accept the premise. However, there are two others in the gang, 'Arry (Andrew Kavadas, Underworld: Evolution) and Dierdre (Olivia d'Abo, The Wonder Years), and these two aren't so easily fooled. Thus, the risks Shawn takes are unacceptable, even for Psych.

Psych has always straddled the line between comedy and crime drama, typically leaning more towards the former than the latter. But because there is death and peril in the series, the line walked has been a thin one, keeping things just a hair shy of overly campy in order to make it work. "Lock, Stock, Some Smoking Barrels and Burton Guster's Goblet of Fire" crosses that line into inane territory, pushing what should have been a great episode into a lesser category.

Now, the comedy parts of the installment still land. Gus' obsession with Harry Potter, being detained by the TSA for carrying a wand and walking around wearing wizard robes, is great. Shawn recklessly driving a car through an obstacle course and hitting every obstacle, trying to play it off as on purpose, it good, too. Plus, there are jokes to be had at Britain's expense involving meat pies and such, and a terrific one-liner quoting an unexpected source. But that isn't enough to save the hour.

Maybe next week, back in familiar settings with the entire cast returned, will be better. Or maybe, eight seasons in, the show has run its course and has now officially jumped the shark. My guess is, the answer lies somewhere between these two extremes, with the occasional emotionally hefty episodes landing, while other frivolous stinkers like this one making up the rest of the current run.

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