THE New Old HARDY BOYS

 Article first published as TV Review: THE HARDY BOYS on Seat42F.

This week, Hulu gave THE HARDY BOYS their sixth(!) television adaptation. This 1980s-set mystery series follows Frank and Joe Hardy as they investigate a family tragedy, with their friends and loved ones sometimes helping. The case is surely spread out over the entire first season, as each episode finds the boys getting just a clue or two to the bigger picture.

I was not expecting to like this show, nor was I eager to watch it. I’ve never read a single book from THE HARDY BOYS series, despite being a big reader, because I just wasn’t interested. I love many CW shows, but I did not care for the recent Nancy Drew reboot, and the two are often lumped together (and have been on television as one in the past). So this seemed like another program I’d suffer through a pilot and type out a review for without ever giving it a second thought.

Instead, THE HARDY BOYS is intriguing and engaging right off the bat, and I immediately went straight into a second episode. I probably would have kept going if I’d had the time, and I do plan to go back to it this week. It’s a slower starter, which makes sense for the tone. But by episode two, it quickly seems to sort itself out with a structure and order that I would expect to continue through the rest of the season.

The boys are a bit further spaced in age than they are usually portrayed. Athletic and brainy Frank (Rohan Campbell, Virgin River) is a teen, while tech whiz Joe (Alexander Elliot) is a bit younger. This provides separate friend groups and different focuses for their investigations. It may seem a bit odd that the locals in the small town the boys move to for the summer are so friendly and immediately sign on. Then again, the family is already known in the area, and there is an impression that not much usually happens around these parts.

Further splintering the story are the scenes, admittedly fewer, that follow their father, Fenton Hardy (James Tupper, Men in Trees), as he investigates the case internationally. Himself a police detective and their mother a journalist, the Hardy boys come by their skills honestly. It’s no wonder they dive into the work when the right motivation prompts them to.

Essentially, by splintering the case out into three distinct plot threads, THE HARDY BOYS gets kind of a Stranger Things structure, with the teen group keeping most of the focus (rather than the younger crowd in that show), and the adults reduced to the smallest chunk. (Though the coming together to share information at times feels a bit forced and expedient.) Admittedly, THE HARDY BOYS is a lot more grounded than that Netflix series, with not even the whiff of anything supernatural happening, though the spy antics are a bit of heightened reality. Still, the comparison is favorable, and is likely to appeal to a broad overlap of audience.

The 1980s setting isn’t strictly necessary, but I would assume it’s done to eliminate the internet and smart phones from the mix. Probably a wise idea, given the investigative style the franchise is known for and wants to recreate. Nothing will be gleaned quickly, and the slower pace fits well in what appears to be a simpler time. I think it works for them.

THE HARDY BOYS is an entertaining watch in the mostly-family-friendly mystery category, and it likely has a place in the current television landscape, as this type of show isn’t all that prevalent. Nostalgia will bring some in, the target demographic likely to be those millennials who grew up with tales of the duo. The ease of viewing will likely also serve potential new fans, as that age group can watch this with their kids.

The first season of THE HARDY BOYS is streaming now on Hulu.

What is BLACK NARCISSUS?

 Article first published as TV Review: BLACK NARCISSUS on Seat42F.

This week, BLACK NARCISSUS premiered on FX and the BBC. A joint-production, FX marketed it as a creepy show based on the 1939 novel by Rumer Godden. Though, watching the three-episode miniseries, I’m not sure that accurately describes it. In fact, this show is very hard to define exactly what it is or what genre it belongs in.

BLACK NARCISSUS begins high up in the Himalayas with a disturbing opening in a cliffside “house of pleasure,” or that’s what it appears to be, anyway. (The truth is close enough to that.) A tragic event happens. Then, about twenty years later, a quintet of nuns move into the abandoned building to form a school for the locals. The place seems suitable to their needs, though there are just a few strange things that happen, especially to one nun in particular, sort of related to that opening.

I’m halfway through the miniseries as I write this and I plan to finish it. But I’m still not sure exactly what to say about BLACK NARCISSUS when considering it overall. There isn’t a sense of urgency or danger in any real way (except when climbing those railing-less steps). There also isn’t any certainty that something big will happen before the end. I am not familiar with the novel or the 1940s film adaptation, but this seems to be a slow-moving drama without an overriding central narrative, other than running a school, and maybe being haunted just a tiny bit.

The setting of BLACK NARCISSUS is absolutely beautiful. The views from the mountain are, as you might imagine, breathtaking. I don’t have much frame of reference to say how accurate it is, and I wonder about the feasibility of building a ‘palace’ so far up and having other stone-hewn villages nearby. But the design is very cool and detailed, and this certainly seems like a place I would love to visit.

Gemma Arterton (The Girl with All the Gifts) stars as Sister Clodagh, the leader of the little group, and she is very compelling. Sister Clodagh’s inner life is explored through a series of flashes to a different time. It’s unclear if these are things that actually happened or just what she wishes her life to be like. But it’s informative to see her wavering of the mission when outwardly she is so focused and holy. She is doing her best in running the group, and she’s not bad at leadership. Though she can be a bit petty at times.

The rest of the roles are well-performed, too. My second favorite is Mr. Dean (Alessandro Nivola, Chimerica), an immigrant who has blended in with the locals, and who offers handyman support and eye candy for the nuns. I assume he’ll have something to do with how things end, but that’s unclear at the moment. I really like friendly Sister Briony (Rosie Cavaliero, Hold the Sunset), a good moral center and caretaker to the group. Sister Philippa (newcomer Karen Bryson) is intriguing and odd. Sister Ruth (Aisling Franciosi, The Fall) provides the right amount of crazy, pretty shocking, but not so much as it feels weird that she’s still among them. Nila Aalia (Wolfblood) is wonderful as Angu Ayah, the local who lives among the nuns, and seems to be the only one who really knows the secrets of the place.

For the performances and the vistas, I recommend BLACK NARCISSUS. After all, it’s a small time commitment, basically a movie and a half, and those are important elements. My hesitation stems from the lack of clear story, but maybe the second half will pick up? I doubt it. Even so, it’s neat to sit in this world for a few hours.

BLACK NARCISSUS is available to watch in its entirety now on Hulu, through FX.

NO MAN'S LAND

 Article first published as TV Review: NO MAN'S LAND on Seat42F.

Hulu has a new series called NO MAN’S LAND. The eight-episode drama follows a young Frenchman who goes to Syria looking for the sister his family believe to be dead. Unfortunately, the country is in the midst of a long civil war, so it’s not that easy to go in and find someone, especially as the sister seems to be right in the thick of the fighting. Needless to say, the journey does not go smoothly, and the man ends up being caught up as a prisoner of the YPG, an all-female branch of the Syrian Democratic Forces.

The lead of NO MAN’S LAND is Antoine Habert (Felix Moati, 50 nuances de Grecs), the Frenchman mentioned above. His family is not supportive, or even aware ahead of time, of his efforts, not believing Antoine when he thinks he catches a glimpse of his sibling, Anna (Melanie Thierry, The Zero Theorem), on the news. His wife, Lorraine (Julia Faure, Love Me If You Dare), thinks he’s crazy. But he stubbornly sets off to find her anyway, and thankfully is punished for his efforts. I say thankfully not because Antoine seems like a bad man or that his motivations aren’t pure, but because if someone runs off half-cocked into such a dangerous situation, there should be consequences.

In the premiere episode, Antoine falls in with some wanna-be ISIS fighters. Antoine doesn’t seem to even suspect he’s gotten involved with the exact opposite group that he wants to be with. His naivety and unfounded optimism are rewarded with violence and capture, as he soon falls into the hands of Sarya (Souheila Yacoub, Savages), who seems very dangerous, but not at all evil. So presumably, despite a bit of suffering and no easy way home, Antoine did get lucky.

Honestly, NO MAN’S LAND seems to be a gritty, high-production drama. Things look bleak and dirty, but they should in the location chosen. I have no complaints about the direction or the look of the piece. It seems to do a fair job of transporting the viewer to a different world, though admittedly not one I know enough about to fully judge.

A lot of the criticism lobbed against NO MAN’S LAND runs along the lines that it is made by people who have no experience in the subject matter and who have chosen to focus on foreign perspectives to the story they’re trying to tell. After all, NO MAN’S LAND features an all-women’s force, but the lead character is a man. And he isn’t even a native of the country, nor does he have stakes in their conflict.

On one hand, using Antoine as the core could provide a way in for audiences who, like me, don’t have the experience or framework of the story. But on the other hand, I get the complaints that we need more representation, and this series squanders that chance by who it chooses to focus on. Of course, we have been making show after show forever that are told from a white, male perspective, even if not all the characters are. Yet, that is justifiably changing. So NO MAN’S LAND seems a bit trapped in this debate, arriving at the wrong time to stand on its own.

As a reviewer, I will try to judge it purely on its merits. In doing so, I honestly find it boring and hard to get into. The subtitles didn’t bother me, nor did the Middle Eastern setting. I just was confused about Antoine and his relationships and motivations for much of the pilot. I didn’t like that things weren’t all that clearly laid out, and not recognizing any of the performers, I didn’t feel like I had a hook. None of the characters felt compelling enough to make up for these things, and my attention wondered. That may not be fair, but I really found NO MAN’S LAND didn’t capture my attention, and I likely won’t be watching the rest of the series.

If the premise sounds interesting to you, the first season of NO MAN’S LAND is now available on Hulu.

It's Time For ANIMANIACS

 Article first published as TV Review: ANIMANIACS on Seat42F.

You may be surprised to learn that the original run on ANIMANIACS was only ninety-nine episodes long. It has such an oversize place in our culture that I assumed it boasted more seasons under its belt than that. The gently subversive cartoon that brought original music and adult humor (of the kind that easily flew over kids’ heads) in the 90s is well-remembered by my generation, and found great popularity a few years ago when it arrived on Netflix.

So it shouldn’t be much of a surprise to learn, if you didn’t already know, that the series is back on Hulu this week with the first new batch of new episodes in twenty-two years (and a second season already ordered). That’s right, Yakko (Rob Paulsen), Wakko (Jess Harnell), and Dot (Tress MacNeille) Warner have returned to the Warner Brothers movie lot and moved right back into the tower as if they’d never missed a beat.

The first episode back (the only one I’ve yet reviewed, though I’ll surely watch more) spends a fair amount of time breaking the fourth wall and discussing not only their time off the air, but everything that has transpired since. Some of this is done in original music, with full orchestral accompaniment. Later, the focus is on reboots specifically. Of course it’s funny, of course it’s timely, and of course it’s smart, because that’s the ANIMANIACS brand. It would be insincere for them not to comment on their return, and comment they do, in spades and in song.

As much as the difference is acknowledged, though, the show feels exactly the same. Jokes are topical and fresh, but they were back in the 1990s, too. The brand of humor espoused is unchanged, not quite biting, but not exactly tame, either. Ralph the Guard (Frank Welker) is still chasing the trio and easily being bested. There is acknowledgment that the characters may be a bit more accepting and forward-thinking in a socially liberal way, as the culture has gone, but ANIMANIACS never spent too much time commenting on that, so that doesn’t feel like a focus. And possibly problematic characters like Minerva Mink and Hello Nurse are nowhere to be seen, though not missed.

When it comes to the side stories, though, that’s where fans will likely notice the difference, though not right away. The most successful characters, which garnered their own contemporary spin-off, Pinky (Paulsen) and the Brain (Maurice LaMarche) are fully intact. The pair have the middle of three segments in the new premiere, with updated technology, but little else different for them. (The opening and closing segments are given over to the Warners.) But the theme song indicates we shouldn’t expect to see Slappy Squirrel, the Goodfeathers, Buttons and Mindy, or the others anytime soon. They’ve been cut from the show. The opening credits only hint there will be new characters, but other than a fresh network exec, none are revealed in episode one.

Unsurprisingly, a saxophone-playing Bill Clinton is also absent for the opening title sequences. References to W., Hillary, and Trump are in the first episode to acknowledge there may be some political jabs, though it’s doubtful there will be any true opinions expressed about such people. So worry not those who aren’t looking for culture wars in their cartoons. Celebrities and pop culture characters are familiarly referenced.

In short, the differences are minor, and though I’m anxious to see what the new side segments are, the premiere is a return to form. I’m sure it will perfectly give most people tuning in exactly what they want. ANIMANIACS doesn’t seem likely to jar fans or disappoint. I do wonder how long more-of-the-same will be able to continue, but for the moment, I’m just glad the Warners are back on television.

The first new season of ANIMANIACS premieres Friday, November 20th on Hulu.

FARGO Goes Back On Its Return

 Article first published as TV Review: FARGO Season 4 on Seat42F.

After a more-than-three-year drought, FARGO returns to FX for a fourth season. The latest installment in the anthology drama goes back to 1950 and is set in Kansas City, an oft-mentioned place in previous seasons, though not explored all that deeply. The story centers around two rival gangs, one African-American, one Italian, both considered minorities by the rest of the locals, as they try to gain control of illegal activity in the area.

As usual, FARGO’s season is in no hurry to get started, though the fourth season premiere provides quite a bit more historical exposition than previous openers. This may or may not be necessary, we’ll see as the rest of the run unfolds, but really sets up context for where this gang war comes from and how it might play out. Having glimpsed what the dominant faction becomes decades in the future, viewers will feel plenty prepared to get going by the time the title makes its appearance, about a third of the way into the premiere.

The gangs are stocked with plenty of familiar faces, as well as a few less so, as is FARGO’s custom, introducing us to new, terrific performers alongside talented veterans. Comedian Chris Rock (Saturday Night Live) heads one side as Loy Cannon, a family man whose people are not going to be pushed around anymore, and has ideas for legitimate business success if only a funder would take a chance on him. On the other side is Josto Fadda (Jason Schwartzman, Bored to Death), son of the long-time ruler who, at first glance, appears to be unable to live up to his father’s legacy, though he likely will surprise us. Standing out among the rest are Ben Whishaw (No Time to Die) as an Irishman who works for the Italians and Glynn Turman (House of Lies) as Loy’s elder advisor.

While gangsters are a staple of FARGO, three other types of characters usually make up the universe, as well. There’s the hapless person who sees themselves as good, but gets roped into the evil. This seems likely to be filled by mortician Thurman Smutny (musician Andrew Bird), though his daughter, Ethelrida (E'myri Crutchfield, The Kicks), has a larger part thus far, a rarity for a minor in the franchise. Second is the kooky weirdo, which is brillianty filled here with Nurse Oraetta Mayflower (Jessie Buckley, Chernobyl). And third is the noble member of law enforcement, which is completely absent from episodes one and two, though Marshall Deafy (Timothy Olyphant, Justified) may take up that mantle in the third hour.

By leaving out the cop, the fourth season of FARGO feels drastically different. The closest thing we have to a hero at the start is Ethelrida, but she’s not taking an active role in anything, and certainly won’t be solving any big cases. Funny that in a period piece, it’s this missing element that stands out more than sets or costumes as moving FARGO in a different direction.

I love the FARGO formula, and adored the first three seasons. I’m not sure it needed a shakeup, but perhaps creator Noah Hawley disagreed, as they really did follow the same pattern (delightfully) thrice. However, given the quality delivered previously, I’m excited to see what they’ve come up with this for the senior round, and hope for more in the future.

Only two and a half hours in (I plan to watch more as soon as possible), I am digging the differences and the tale unfolding. There are lots of interesting personalities, and while one major arc may be clear, there are undoubtedly many others slowly simmering that haven’t fully revealed themselves yet. The ending is only sort of known, given this year’s general tie-ins to other seasons, and it should be a fun ride.

FARGO returns Sunday, September 27th on FX and streaming the next day on Hulu.

Get WOKE

Article first published as TV Review: WOKE on Seat42F.

Premiering on Hulu next week is WOKE. The dramedy follows cartoonist Keef Knight, whose career is just about take off when he finds himself pushed into becoming a social justice warrior. That is exactly the opposite personality from the one Keef has carefully crafted his entire life, determined to blend in with white people and not make waves or be the slightest bit controversial. But after a traumatic run-in with the police, he begins hallucinating talking objects who won’t leave him alone until he finally speaks his mind – very loudly and publicly.

Lest you think this is one of those dumb, weird comedies about a man going crazy, WOKE is not that. The talking objects are never more present than they are at the beginning, later used sparingly and with care, not a constant gag that you have to struggle through if you’re not into it. WOKE is much more focused on the emotional and mental turmoil that Keef is experiencing as he tries to pull himself out of the hole he digs into and find a new normal. This series was so compelling,  I couldn’t stop until I’d blazed through all right episodes in a single day.

Lamorne Morris, best known as goofy sidekick Winston in New Girl, shines as Keef in WOKE, perfectly balancing an everyman quality with someone who can be serious and inspiring. He carriers this show on his back, as its almost entirely from his perspective, and he does it with excellence. I hope this show runs for many years because I can’t wait to see him play more of this character, or any character, really, after this.

He is supported by an amazing and varied ensemble, all there for how they relate to Keef, but complex characters on their own. Keef’s roommates are Clovis (comedian and writer T. Muph) and Gunther (Blake Anderson, Workaholics). Gunther is the super-woke white guy who seems to fight more for racial justice than the Black characters that surround him, even at times telling them how to act concerning sensitive issues. Yet, he stops short of being too annoying and patronizing, and displays a huge heart at all times. Clovis, meanwhile, is a player who lies to women constantly, and yet is somewhat good to his friends. One wonders what his backstory is that has made him this way, as his charm makes him difficult to hate, even as his actions are despicable.

Sasheer Zamata (Saturday Night Live) is introduced as a journalist who has strong morals, though further episodes reveal just how far from perfectly noble she is. Rose McIver (iZombie) is Keef’s fellow artist love interest, and they struggle with their interracial relationship and personal drama as they come together during a very disruptive time for Keef.

The subject matter is timely, though definitely written before recent events. Still, the conversation is more than relevant. Who really needs to watch this show is the Blue Lives Matter crowd. This will humanize the other side of the debate in a way that is badly needed in this hyper-partisan time, and in the tradition of great television shows, will foster understanding. But who is more likely to watch it are those already in support of Black Lives Matter and the series will preach to the crowd.

Apart from that, though, WOKE is an extremely well-made series, no matter what issues its tackling. It has terrific characters, is beautifully set in San Francisco, and expertly balances itself well between smart writing and really funny stuff, simultaneously being a true exploration of society at large and individual personalities, shining a light on so much that needs it. A koala subsplot is particularly insightful, in my opinion. This show is excellent, and season two can’t come soon enough.

WOKE premieres on Hulu on September 9th.

UnCROSSING SWORDS

Article first published as TV Review: CROSSING SWORDS on Seat42F.

Hulu recently premiered CROSSING SWORDS, an animated series in the style of stop-motion featuring little round people with no arms nor discernable legs. It is set in a silly medieval world, the type that could only exist in a cartoon unconcerned with realism, and follows a young squire who is on a quest to be a brave and noble knight. This is all the more challenging when everyone around him, from the monarchy, to his parents and siblings, to his neighbors and friends, have not an ounce of morality in them.

Nicolas Hoult (The Great) stars as Patrick, the squire who so desperately wants a life he can only dream about. His skills are not good, but he does have tenacity. Somehow, despite being the only one around trying to do good, Patrick keeps failing. Thankfully, his buddy Broth (Adam Pally, Happy Endings) will stick by him and show him how to have a good time, even if Broth isn’t helpful at all.

Of course, Patrick is used to not be helped. His sister, Coral (Tara Strong, The Powerpuff Girls), is a pirate queen; his brother, Ruben (Adam Ray, She-Ra and the Princesses of Power), is a forest outlaw; and his other brother, Blarney (Tony Hale, Veep), is a clown. All three tormented him mercilessly as a child, getting him into trouble and sometimes causing bodily harm. Patrick’s parents, Glenn (Breckin Meyer, Franklin & Bash) and Doreen (Wendi McLendon-Covey, The Goldberg), weren’t sympathetic or protective, either. So you see, Patrick has had a rough life.

But like any young, naïve, eternal optimist, Patrick is determined to overcome. Which has led him to seek employ under King Merriman (Luke Evans, The Alienist) and Queen Tulip (Alanna Ubach, Girlfriends’ Guide to Divorce), whom are depraved and horrible to one another, as well as their subjects. It’s a small enough kingdom that these rulers immediately know who Patrick is, though they often forget any past dealings with him as soon as he leaves their sight. Or so it seems.

There’s also a wizard, Blinkerquartz (Seth Green, Family Guy), though it’s unclear if he actually knows any magic.

CROSSING SWORDS is created by John Harvatine IV and Tom Root, whose names might be familiar to you if you’re a fan of Robot Chicken, another vulgar stop-motion animated series. Although CROSSING SWORDS isn’t made up of shorts, instead featuring full-length episodes and an ongoing plot, it contains many of the same dick jokes and similar types of humor. People often get kicked in the balls, puked on, and have chum thrown at them. Boobs and dicks are frequently on display on the toys. Death seems to have little meaning.

One might say CROSSING SWORDS is a more complex version of Robot Chicken, as if spun off of one of its shorts. However, the fact that continuity only applies when they feel like it kind of goes against that, even if other animated shows often do the same thing. Most scenes from this new series would feel right at home tucked into that veteran program.

CROSSING SWORDS is not going to earn these guys any new fans, but if you already like their style, then you’ll probably be happy. There’s an all-star voice cast, and although the special effects are jenky (like fire made out of cotton), it fits very well with the toy style. The images are pleasing and cute, contrasting nicely with the comedy. Details are paid attention to, with great visual gags, and the characters even look like their wood is aged and paint is chipping. So it looks fantastic. But people will tune in most likely for the jokes, which only appeal to specific viewers.

CROSSING SWORDS’ first season is available on Hulu and it has been renewed for a second season.

What Are BARKSKINS?

Article first published as TV Review: BARKSKINS on Seat42F.

Recently, National Geographic aired the scripted drama BARKSKINS, based on a small part of the Annie Proulx novel of the same name. Now available on Hulu, the eight-episode drama follows French (and a few English) colonizers in the so-called New World, or New France as it was known, in the late 1600s. What would become the United States and Canada is still a wilderness, and the people portrayed live far away from their familiar civilizations. Their best connections back to their homeland are the new arrivals, but those newcomers must adapt quickly to the harsh life of the forest or die. Native Americans fight for their land, while the Europeans bicker amongst one another. It’s a wonder our current society came out of it.

The title BARKSKINS refers to indentured servants who labored three years in return for freedom and a chance at prosperity. Two of the characters in the series, Rene Sel (Christian Cooke, Witches of East End) and Charles Duquet (James Bloor, Shoplifters of the World), are in the titular position. Though, Charles has no intention of serving out his time. They work for Monsieur Claude Trepagny (David Thewlis, the Harry Potter films), who has dreams of building an everlasting city. Will they help him?

It’s actually quite easy to miss that Rene and Charles are supposed to be the leads. Yes, there is a quite a bit of screentime with them, but there’s plenty without them, the show boasting a sweeping cast. Among the most recognizable are Marcia Gay Harden (Code Black), who plays innkeeper Mathilde Geffard, Matthew Lillard (Good Girls) as the sleazy Gus Lafarge, Zahn McClarnon (Longmire), Aneurin Barnard (The White Queen), and Thomas M. Wright (Outsiders). But there are plenty of others besides, representing a wide swath of people that make up the residents of the area.

BARKSKINS is trying to be a sweeping drama, but lacks the feel of one. Quite honestly, most of the characters blur together, and after watching the premiere, it’s hard to actually sit down and pick out each player and actor (sans beards in their IMBD photos). It’s not confusing, exactly, since the same players tend to stay in scenes together. But picking up names is difficult, and without the context and backstory as the show begins, harder still. Lots of these characters have pasts, but they are slow to reveal them to the audience.

The production looks fantastic, of course. This is clearly a show with a budget, or at least they spent it on look. Period costumes and miles of actual wilderness help BARKSKINS feel like it’s another time and place, nature only beginning to be spoiled by man. But it lacks the epic feel that compelling characters and a sweeping score could lend it to kick it up a few notches. There are a number of recent shows that have achieved a similar thing with a lot more filled out than BARKSKINS presents, leaving this more like a cable also-ran than an awards contender. It doesn’t feel like a show that’s going to amass a following and run for very long.

Also confusing, while it is a National Geographic series, and NatGeo’s website boasts that you can watch your favorite shows from them on Disney+, don’t look for this one among the offerings on the new streaming app. Surprisingly, it IS on Hulu, so you can find it if you want it and are up on your streaming subscriptions. It’s just not in the obvious place.

All in all, I can’t say BARKSKINS is disappointing because I’d heard almost nothing about it and no expectations had been built up. But it doesn’t feel like the type of series that will be a sleeper hit, either. It’s fine, no major complaints other than the size of the cast and lack of distinguishing characteristics and personalities (at least initially). Just nothing special.

As mentioned, you can watch BARKSKINS now on Hulu.

Who Is THE GREATest?

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

Last month, Hulu premiered THE GREAT, a series about Catherine the Great and her combative marriage to Peter in Prussia during the 18th century. Far from a straight period piece, though the costumes don’t look modern, it’s an outrageous, cartoonish take on the scandals, with huge liberties drawn in events and lineage. Despite the complete lack of accuracy, which the show does not disguise, it’s a fun, salacious romp in the vein of Gossip Girl or other teen dramas. But do the kids want to watch this genre in a foreign land and time? If they won’t, I will.

I’ll admit, I loved Gossip Girl, and a few other shows like it. I have also thoroughly enjoyed what I’ve watched of THE GREAT. It’s not high-brow, but it is high-quality in the way its made. The plot makes sense, and the characters are well-developed. The acting is delightful. Yet, something about the way it leans into the messiness and away from facts makes it seem less-than the sum of its parts. This doesn’t affect the glee to be had in watching, but it does keep it out of a list of prestige television. Even though, from the standpoint of originality and its production, it might just deserve to be up there. There’s a certain superficial sheen over the whole thing, which is not a complaint, but a stylistic choice.

Elle Fanning (Super 8) stars as Catherine. Elle plays her as intelligent, but prone to giving in to emotion. She can fake her way along at court, but is so self-righteous that she struggles at first to do so, even when it endangers herself and others. THE GREAT doesn’t spend too much time dwelling on this, but just enough. Layers are added as the piece unfolds, such as her surprising taking to Leo (Sebastian De Souza, Medici), the lover her husband ‘gifts’ her. But her best moments are when she plots with her lady’s maid, an out-of-favor noble named Marial (Phoebe Fox, Eye in the Sky). (It must be said, Fox steals every scene she’s in.) Fanning may be at her best when Catherine runs roughshod over counselor Orlov (Sacha Dhawan, Iron Fist), whom she wants to help kill her husband, while he just wants to bring modernity slowly and safely to the country, one beard at a time.

Speaking of the husband Catherine is locked into a mortal battle with, Peter is played by Nicolas Hoult (X-Men: First Class). It’s easy to underestimate what Hoult is doing with the childish dummy, a petty tyrant who embraces pleasure and demands love and devotion while giving none in return. This isn’t Peter the Great; this is his son (grandson in real life) who cannot live up the shadow of his father, and is too consumed with love for his dad to see that everyone else has perceived the failing. It’s a thankless role, one viewers will root against, but upon later reflection, Hoult is killing it in the part, certainly a contender for best performance in the show.

There are also plenty of players at court. Like Peter’s lover, Georgina (Charity Wakefield, Wolf Hall), who has more depth than you might expect. Georgina’s husband, Grigor (Gwilym Lee, Midsomer Murders), doesn’t like sharing his wife, but has to take that out on others than the man who is to blame. The Archbishop (Adam Godley, Breaking Bad) is like a Rasputin at first, though far less effective. Drunkard general Velementov (Douglas Hodge, Penny Dreadful) is in control of practically nothing.

If you’re trying to learn about Catherine and Peter, it must be noted that they were married many years before he was in charge, though in this series, he’s already ruling when she arrives. Instead, his Aunt Elizabeth (Belinda Bromilow, Doctor Doctor) was the competent leader, portrayed in this as a crazy, though kind, nut. And once Peter did ascend, Catherine deposed him within six months. I don’t think that’s the path THE GREAT will take, as the battle between them is too much a part of the fabric of the show.

I find myself reluctant to praise THE GREAT too highly purely because of the zaniness it embraces without trying to be an obvious comedy. Yet, as I’ve said, I find much joy in watching it. If you want something that is both deadly and light, silly in its seriousness and serious about its silliness, or just a grounded period romp, then check it out

THE GREAT’s entire first season is available on Hulu now.

Crown MRS. AMERICA

Article first published as TV Review: MRS. AMERICA on Seat42F.

FX and Hulu both make terrific shows in their own right. Now, a partnership has formed where viewers get FX series exclusively on the streaming platform. One of the first of those is MRS. AMERICA, a new miniseries based on the true story of the push for the Equal Rights Amendment in the 1970s. It completely lives up to the best programming from both sides.

Setting aside the politics, MRS. AMERICA is an extremely well-made, well-acted, compelling history lesson. It’s fantastic as a story, brilliantly directed and executed, with terrific production design. As a piece of television, it’s wonderful.

MRS. AMERICA begins with Phyllis Schlafly (Cate Blanchett, Carol), a housewife who has run for Congress twice. When the opportunity comes up for her to run again, her husband, Fred (John Slattery, Mad Men), balks because she might actually win. So to satisfy her own political ambitions and keep the peace in a marriage where she is subservient, she pours her attentions into organizing a national effort to stop the newly-passed Equal Rights Amendment, which must be ratified by thirty-eight states to become law.

It’s a good thing MRS. AMERICA shows us Phyllis before she embarks down this path. It doesn’t stop her from being a villain, but it does make her sympathetic at first, which viewers can hold in their minds as the rest of the story plays out. We get to see what motivates her, and why she makes some of the choices she makes. She is trapped in a patriarchal world and tries to grab power playing by the mens’ rules, even though her desire for power is antithetical to the system in the first place. This does allow for some sympathy, even when she’s being heartless.

Along for the ride with Phyllis are, most notably, Alice (Sarah Paulson, American Horror Story), Rosemary (Melanie Lynskey, Togetherness), and Phyllis’ sister, Eleanor (Jeanne Tripplehorn). Alice and Rosemary want the movement to succeed, and struggle with Phyllis’ leadership. But Eleanor’s story is the most tragic, as Phyllis describes the enemy to be pretty similar to her own sibling, while acting totally ignorant to how it sounds to Eleanor.

Lest you think MRS. AMERICA is just a liberal fantasy version of reality, the women on the other side are far from perfect. Gloria Steinem (Rose Byrne, Spy) finds it hard to fit in with the organized opposition, preferring to chart her own course without oversight. Shirley Chisholm (Uzo Aduba, Orange Is the New Black) risks wrecking party unity by staying in the presidential race too long. Betty Friedan (Tracey Ullman) is opinionated and has the tendency to rub just about everyone the wrong way. Bella Abzug (Margo Martindale, The Americans) is willing to compromise far beyond what some of her compatriots are willing to accept. And hell, Jill Ruckelshaus (Elizabeth Banks, The Hunger Games) is somehow still a Republican! They can’t get on message together to actually accomplish anything, and they fail to take the threat Phyllis poses seriously until it’s too late, blind to people whose opinions are so different from their own.

Each of the leads could support their own miniseries. One might argue they’re lumped together because of their gender, rather than just because of the cause. I still like the format. Each hour includes all the leads, but the episode title reveals with woman will get a little more focus for that offering. Phyllis and Gloria are probably the two biggest characters overall, and that shows.

I’ll admit, that it’s impossible to judge MRS. AMERICA without political views creeping in. At least it is for me. So the next portion is written from the perspective of a liberal, straight, white man, which comes with much bias and unearned privilege.

It would be hard for many conservatives to enjoy a show, even one featuring flawed liberal women, when their own position is so blatantly misguided. But I hope they watch anyway. The liberal in me wants to say, if you have a problem with MRS. AMERICA, then don’t have such evil viewpoints. But here’s the thing: this is an inspiring underdog story of the rise of feminism, made all the more tragic by the lack of progress of the heroes’ central goals nearly fifty years later. Though, now it’s common for both parents to be forced to work outside the home to make ends meet and the classic family dynamic has eroded by necessity, not choice, so really, we all lost.

The real take-away, in my opinion, is the reflection on modern society. We see the misinformation and twisting of facts to serve an agenda, and how masses of people buy into it. We also see what happens when good people fighting for a just cause fail to unite in their mission. There are plenty of strong reasons for individuals to draw the line in different places, but speaking with one voice can prove very effective, even when that voice is wrong.

Will this story have a happy ending? That remains to be seen, and it certainly won’t within the span of nine episodes, as the battle still rages on in 2020, reignited by the last presidential election in ways it hasn’t been since the events depicted in MRS. AMERICA. Hopefully, those that want to finish what was started learn a few lessons and draw inspiration from this story.

The first three episodes of MRS. AMERICA are available now on Hulu, with new installments weekly.

LITTLE FIRES EVERYWHERE Burns Bright

Article first published as TV Review: LITTLE FIRES EVERYWHERE on Seat42F.

Hulu recently premiered LITTLE FIRES EVERYWHERE, a mini-series adaptation of the novel of the same name from Celeste Ng. It’s the story of two families in Shaker Heights, Ohio in the 1990s. One is comfortably upper middle-class, husband and wife with four kids. The other is a single mom and her teenage daughter, sometimes homeless, always on the move, who blow into town. One kid from the first family is a misfit, and the single mother might be, too. Their worlds collide in interesting fashion. And, of course, there’s fire and destruction, as the opening scene promises.

The cast is led by Reese Witherspoon (The Morning Show) as Elena Richardson and Kerry Washington (Scandal) as Mia Warren, both of whom are producers on the project, as well. Both of these actresses are accomplished, and both are playing characters in their wheelhouses. As such, this seems like a strong duo to put out in front of the series.

Elena is a character study of a familiar archetype. She’s definitely racist and patronizing. She sees the world as one way and wants everyone to conform to it. Her good heart, wanting to help those she thinks need it, is commendable, but doesn’t excuse the glaring flaws, except maybe in her husband (Joshua Jackson, The Affair) and peers’ eyes. Yes, Elena’s attitude was a more common one at the time this story is set, but is a character everyone will recognize, and there is definitely a new version of the personality today. The attitudes haven’t gone away. It’s good the story doesn’t try to excuse her behavior, but instead paints a full picture of the woman.

Mia is not quite as glaringly familiar, but still relatable. She is warm and loving and protective of her daughter, wanting her to succeed. But she has flaws, too, being defensive and flighty, not always opening up with her daughter, and dragging her around without warning, frequently upending her life. Having these elements to her keeps the audience from needing to side with either Elena or Mia when they’re at odds. Usually Elena is obviously on the wrong side of those disagreements, but we get to see a more complex dynamic than we might have in a lesser show.

LITTLE FIRES EVERYWHERE doesn’t seem to be trying to pass judgment or send a message about Mia or Elena. It’s just showing fully formed individuals whose orbits happen to intersect by circumstance. It’s kind of nice there’s no bigger message here, even though I generally like when there is. Their actions will let the audience judge them without any assistance needed from the show.

The two women are at the center of the piece, but they aren’t the whole thing, with Elena’s son, Moody (Gavin Lewis, Prince of Peoria), daughter Izzy (Megan Stott, So Shook), and Mia’s daughter Pearl (Lexi Underwood, If Not Now, When?) taking a large chunk of screen time, too. For Moody and Pearl, it’s a sweet, innocent connection between two kindred spirits, and maybe even the development of romance. (I won’t spoil anything, but if the series follows the book, it won’t be so straight-forward.) For Izzy, though, it’s an isolated cry for help, rebelling against a family and school she doesn’t fit into, and a dark turn.

The child actors are good. If anything, we don’t get enough of Izzy in the pilot to really figure out what her deal is. But there’s plenty of time with Moody and Pearl to see a dynamic develop. I wonder if the other two Richardson kids will be further explored as the episodes unfold, or if the action will mostly be confined to these three. Either is a valid choice, but it does seem a little strange to have two ‘extraneous’ siblings hanging around.

LITTLE FIRES EVERYWHERE is set in a specific time and place, and there’s plenty done to show that. From the fashion to Janet Reno references to the bulky car phone, to the teenagers lacking cell phones and being excited about bicycles and abandoned vans, it feels very 90s. And yet, there’s a quality to the characters that doesn’t feel dated. Perhaps because the decade was so recent, add a little technology and they could still fit in to today’s world.

In general, I enjoyed the first episode of LITTLE FIRES EVERYWHERE, and will probably watch more. Catch the series, currently airing new episodes on Hulu.