LOVECRAFT COUNTRY a Fantastical (and Scary) Place

Article first published as TV Review: LOVECRAFT COUNTRY on Seat42F.

HBO premiered LOVECRAFT COUNTRY this week. Based on the novel of the same name by Matt Ruff, it has been adapted to television by Misha Green (Underground) and produced by the likes of Jordan Peele and J. J. Abrams. The story follows a man named Atticus Freeman, his uncle George, and Atticus’ friend Letitita as they flee and fight murderous bigots on their way to find Atticus’ missing father. It’s a fantasy-horror-sci-fi adventure that tackles race head-on, and is set in 1954, when Jim Crowe ran rampant.

This show is excellent, and I mean that on every level. To start with, the style and production of LOVECRAFT COUNTRY look fantastic. It’s a grounded period piece, that also has fantasy elements in the style of author H.P. Lovecraft (obviously). Yet, these are blended in such a way that, even what shouldn’t be able to occur, feels like it fits into this world. It’s also a well-conceived universe, aided by actual history, that has layers beneath the surface and a lot going on.

For instance, one of the leads in LOVECRAFT COUNTRY, Uncle George Freeman (Courtney B. Vance, American Crime Story), is in a loving marriage with Hippolyta (Aunjanue Ellis, Quantico), living in a small town while pursuing travel and astronomy, respectively. George’s travel guides specifically tell African Americans where it is safe to stop on their troubles. Which means it makes perfect sense when George accompanies his nephew, Atticus (Jonathan Majors, When We Rise), on Atticus’ quest to find his father, given his unusual employment and the wanderlust he shares with his wife.

In contrast to this perfect-seeming family, Atticus’ own immediate clan is pretty messy. Atticus doesn’t have an easy relationship with his father, and there’s mystery surrounding Atticus’ mother. There is also tension between Atticus and George, so even within the happy abode, there is drama. The third lead, Leti Lewis (Jurnee Smollett-Bell, True Blood, Friday Night Nights), doesn’t get along well with her siblings (we see two in the pilot), so there are lots of juicy personal interactions to pick apart.

Which means when the danger hits in LOVECRAFT COUNTRY, there are already stakes. We care about Atticus, George, and Leti very quickly, and it would be a major blow to the story if any one of them didn’t make it. Which seems like a distinct possibility, given the monsters and creatures they face.

The monsters being the white people who don’t want the trio, or anyone that looks like them, around. By the time the multi-eyed animal forest dwellers attack, horror has already taken place, from a chase down a road, to guns in the woods. There is a very real feeling of danger, much in the style of Peele’s Get Out, as our protagonists stare into the empty eyes of people who want them dead for no reason more than the color of their skin. Sure, some will complain about the one-dimensionality of these antagonists. But I think we’ll get a little more complexity as things go along, and given the situations presented, it makes sense to simplify it in the way that it is.

All three of the lead actors are performing the hell out of the piece, and several of the supporting players make impressions, too, especially Ellis and Wunmi Mosaku (Fantastic Beasts and Where to Find Them) as Ruby Baptiste, Leti’s darker skinned half-sister with a killer singing voice and a strong will.

My only complaint about the first episode is I feel I don’t fully understand the scope of the story LOVERCRAFT COUNTRY seeks to tell. I really would have felt better with a second episode before I wrote my review. I can tell the show is great, I’m just not entirely sure what it is, as it seems like there’s more than presented in the first hour.

TED LASSO Hired For This Team

Article first published as TV Review: TED LASSO on Seat42F.

This past Friday, Apple TV Plus launched TED LASSO, a half-hour dramedy about a perpetually cheery amateur football coach from the United States hired to head a pro-level football team in the UK. And as you probably know, football in the UK is not the same as football in the US; they’re two different sports. No, this is not a mistake, the decision to hire Ted was purposeful, and now we’ll see how this guy does in an extreme fish-out-of-water scenario.

I’ll be honest, I did not expect to like TED LASSO just from the logline. I’m not a big fan of sports (or a fan at all), and I hate dumb-guy comedies, especially where the jokes are played on the man’s ignorance. But because it was created by Bill Lawrence (Scrubs) and Jason Sudeikis (Saturday Night Live), the latter of whom also stars, and both of whom have delivered funny very well in the past, I tried to keep an open mind going in.

Boy, am I glad that I did. TED LASSO is wonderful. It’s not dumb-guy comedy, and while there are humorous jokes, it’s not a straight-out comedy at all. It’s a moving piece with layered characters and emotional situations that will tug your heart strings just as often as it tickles your funny bone. And in the first two episodes, it’s not about sports at all. (Though, if it later becomes so, Friday Night Lights has already proven that good television trumps a distaste for athletics.)

Much of the success of Lasso can be credited to the writing. But much can also be credited to Sudeikis’ performance as the titular character. It would be so easy to dismiss Ted on his face. Yet, Sudeikis plays him with genuine earnestness and depth that keeps him from being a cartoon. Small scenes, when Ted is alone in his apartment or on the phone, prove just how much his caring is genuine, not an act at all. His coaching style, one in which he focuses way more on team cohesion than logistics of play, is also inspiring and one can see how it would work – when the team already has plenty of talent to make up the other side.

Though, it’s quite possible that Ted’s assistant, Coach Beard (Brendan Hunt, Bless This Mess), is the one who actually knows how the game is played and helps on that front. I think there is more to Coach Beard’s words about “fast” in episode two than plays for the joke. So together, they make a decent manager.

TED LASSO avoids dropping into the typical out-of-one’s-element tropes by making Ted curious and accepting of his surroundings, as he is about the team. There are exceptions, of course; Ted hates tea. But by minimizing that element, it keeps the show from being too silly.

Perhaps the main draw is a message that optimism can win. In these dark times, it’s easy to give in to the hate and vitriolic and tension between sides in this country, and around the world. So often, we dismiss our fellow humans because of their beliefs, and while we may often feel justified (maybe actually be justified) in doing so, it’s heart-warming and hopeful to see someone approaching things differently and succeeding.

Of course, Ted will still have his fair share of obstacles to overcome. The main antagonist is revealed at the end of the pilot, and I was pretty surprised. Though I also see how Ted may defuse the situation without making any real enemies.

TED LASSO is buoyed by a wonderful supporting cast, including Juno Temple (Maleficent) as a player’s girlfriend, Hannah Waddingham (Krypton) as the club owner, Jeremy Swift (Downton Abbey) as the communications manager, and Nick Mohammed (Intelligence) a the equipment boy.

I’ve been lassoed by Ted, and I’m anxious to see what else is in store. The first three episodes are available now on Apple TV Plus, with new installments dropping every Friday

Go Below With STAR TREK: LOWER DECKS

 Article first published as TV Review: STAR TREK: LOWER DECKS on Seat42F.

A new kind of STAR TREK has arrived, with STAR TREK: LOWER DECKS premiering today on CBS Access. It follows the ensigns who work on the lower decks of the starship U.S.S. Cerritos and do the grunt work of the vessel, not getting the credit and glory the senior staff enjoy. Oh, and it’s a cartoon.

Believe it or not, this is not the first animated Star Trek series. There was a show in the early 1970s called Star Trek: The Animated Series that starred the same cast as the original show, voicing their characters on continuing missions. That series took the liberties of a few big aliens and worlds that the live action budget could never have achieved, but was basically the same type of story the original had already told, albeit shorter. And also, speaking as someone who has seen all twenty-two episodes because I’m that kind of Star Trek fan, it was pretty bad.

STAR TREK: LOWER DECKS doesn’t need to go bigger on aliens, as Star Trek now has the budget and technology to do some pretty incredible stuff. It does, though, because why not? If you can do show races or shots you want, go for it.

My only complaint of this aspect is that it feels just a bit too cartoon-y. I’m not saying it should be as grounded as the its processor because, why even bother to make it animated then? But it’s just a tad too zany for the Star Trek universe, in my opinion. A cross between The Orville and Rick and Morty, I wish it been more of a cross between The Orville and Star Trek: The Next Generation.

TNG is the series that STAR TREK: LOWER DECKS owes the most to. It is set shortly after Star Trek: Nemesis, before disaster rocked the Federation and shook Starfleet to its core, as shown in Star Trek: Picard. This is from those post-Dominion War lighter times, with uniforms and starship design to match. The references are many and varied, and pull plenty of original series in, too, with Spock and Kirk getting shout-outs in the pilot. The visuals are full of Easter eggs, especially in the theme song, so it does feel set in the Trek universe, even if a few things get a little too wild.

The idea of focusing on the non-bridge crew has been around for awhile on Star Trek. It was the plot of a Star Trek: The Next Generation episode, also called “Lower Decks,” and is the subject of much fan speculation. So it makes sense in a time where we’re getting so much Trek, we’d eventually get around to that idea.

A great cast has been assembled. Tawny Newsome (Space Force) steals the show as Ensign Mariner, a very capable young woman who has problems with authority and a huge chip on her shoulder. She has the most interesting story, to be sure, but even if she didn’t, Newsome would shine. Her sidekick is Ens. Boimler (Jack Quaid, The Boys), who is much more predictable, but hopefully will grow over time. Secondary to the pair are Ens. Tendi (Noel Wells, Saturday Night Live) and Ens. Rutherford (Eugene Cordero, The Good Place), who are obsessed with their work in the most delightful way, and are surely destined to be a romantic couple.

But unfortunately, STAR TREK: LOWER DECKS doesn’t commit to this conceit of just portraying the junior staff. Instead, we see Captain Freeman (Dawnn Lewis, A Different World), Commander Random (Jerry O’Connell, Billions), Dr. T’Ana (Gillian Vigman, Suburgatory), and other senior staff pretty regularly. And of course these characters are great. But they aren’t needed, and I think the show would be far more interesting if we saw them only fleetingly if at all, like the president in the early seasons of Veep. I could excuse the captain, given her role in relation to one of the core group, and even the doctor popping up makes sense when Tendi is on duty. But the others are in the show too much.

In short, I like the show. Quite a lot, actually. But I think it misses the mark in a few areas that would elevate it to something really special. It’s good, but it could be great, and the squandered potential is a bit sad. Even if I still want it to run for years while I obsessively watch every episode. After all, it is easily the best animated Star Trek series ever made.

STAR TREK: LOWER DECKS streams new episodes every Thursday on CBS All Access, beginning today.

WE HUNT TOGETHER For the Best TV

Article first published as TV Review: WE HUNT TOGETHER on Seat42F.

This weekend, Showtime premieres the drama WE HUNT TOGETHER. Made by BBC Studios and already aired overseas, the six-episode run is now making its stateside debut. It follows two serial killers, who may be in love, or possibly the attraction is one-sided, as well as two detectives that don’t seem to get along at all who are hunting the murderers. Which pair will you root for and who will win?

Honestly, WE HUNT TOGETHER doesn’t feel all that fresh. Yes, it has two pairs instead of one, but the British crime drama of cops hunting a killer is now so well established that there are dozens of other shows to compare it to. It’s become as tired and overdone as American procedurals, helped along only by the fact that the seasons are shorter (and storytelling is serial), and the accents and locales are slightly exotic. Yes, it’s well-written and well-performed, but so is pretty much every other program in the genre.

The detectives are played by Eve Myles (Torchwood) and Babou Ceesay (Into the Badlands). It’s great to see Myles in a regular role again, and DS Lola Franks is delightfully grumpy, a bit of a departure from her most well-known role, though not exactly a new archetype. Ceesay’s Jackson Mendy is a bit more original, an always cheery man who also works with internal affairs, investigating crooked cops. You would think that would make Mendy jaded and suspicious of his fellow officers, but Franks is the one who views him with a wary eye. The joyful detective is something pretty new, usually a character like this being outside the force or in a supporting role, so their scenes play better to me than the others.

The opposing side of WE HUNT TOGETHER follows Freddy Lane (Hermione Corfield, The Halycon) and Baba (Dipo Ola, Baghdad Central). The chemistry between them is instant, or so it seems, given the circumstances of their meeting. Freddy seems attracted to Baba right away, but could that be because he saves her? She then uses his obvious mutual feelings to manipulate him into helping her kill people. The first guy they take out is a real jerk, but who knows who their next victim will be? Is Freddy delighted to find the Clyde to her Bonnie (with murdering), or is she just using Baba to do her dirty work? It’s impossible to tell from the initial premiere.

WE HUNT TOGETHER is enjoyable; don’t get me wrong. I’m sure the story can sustain viewers who are interested through six installments. But with KILLING EVE being the premiere cat-and-mouse thriller of the moment, and with the myriad of other shows in the vein, will this one stand out? I’m just not sure it will.

Why did Showtime buy the drama, is my question. It doesn’t seem super on-brand for them, unless they’re branching out. Their series tend to be more outrageous than WE HUNT TOGETHER, which is relatively grounded. If they’re trying to fill programming at a time when filming has basically stopped, it seems a little early to be pulling from the international well. Other networks have this niche covered, and it seems weird Showtime would want to compete for the corner. Especially when I’m sure there are foreign shows they could pursue that are more in their wheelhouse.

Whatever the reason, WE HUNT TOGETHER is good, not great. Or maybe it would have been seen as great if it didn’t open itself up so fully to comparison of others. The fact that the show hasn’t even rated a Wikipedia page yet, months after its British premiere, should tell you something about its chances at longevity.

WE HUNT TOGETHER airs Sundays at 10PM on Showtime.

INTELLIGENCE Questioned

Article first published as TV Review: INTELLIGENCE on Seat42F.

Today, NBC’s new streaming service, Peacock, premiered (among other things) a British comedy series called INTELLIGENCE. First airing on Sky and posted on streaming Now TV in the UK, the six-episode series (first installment free to non-subscribers) follows an intelligence agency investigating cyber crimes who has just received an obnoxious NSA agent as liaison.

The first thing that strikes me is that INTELLIGENCE feels tonally similar to Netflix’s Space Force. There are very amusing bits and a great cast that is totally committing, but the show isn’t all that funny on its face. Which doesn’t mean it couldn’t be hilarious; all the key ingredients are there. It just isn’t yet, going through some weird, awkward humor that doesn’t quite land.

The Steve Carell of INTELLIGENCE is NSA agent Jerry Bernstein (David Schwimmer, Friends). Jerry clearly was not appreciated nor accomplished in the United States, despite what he says. But he’s exotic enough to the English that many seem to hold him up quite high, and he leans into that, pretending to be the hero. Unlike Carell’s Space Force commander, Jerry isn’t actually in charge. He also lacks the heart, caring about boosting his own profile, rather than helping others succeed, determined to be looked up to in this new environment where no one actually knows him.

The true boss of the office is Chris Clark (Sylvestra Le Touzel, The Crown), a no-nonsense leader whose underlings rarely meet her expectations. It feels quite strange that someone as put together as Chris has allowed this team of misfits to flourish while bucking her authority and seeming inept at almost all times. One has to wonder if she has no control over office staffing. Or perhaps this team is very effective and the audience just hasn’t seen it yet. Either way, Jerry clashes with Chris, even though Chris is bending over backwards to be accommodatingy, while stopping short of letting him run all over her.

The rest of the department (besides extras) is made up of fanboy Joseph Harries (Nick Mohammed, The Martian), cool hacker Tuva Olsen (Gana Bayarsaikhan, Wonder Woman), airhead secretary Evelyn (Eliot Salt, Normal People), and clueless mess Mary (Jane Stanness, Sally4Ever). All four seem to be some sort of stereotype. Mary looks like she could be Professor Trelawney’s sister. Only Tuva acts like she can accomplish things, but her role in the pilot is mainly to be hit on by Jerry. Hopefully, she won’t sleep with him. But given the type of show INTELLIGENCE is, it seems likely she will.

The office itself is much more The Office than Alias or any other spy show. It would be at home in a business park, mostly anyway. While there is great-looking technology, there’s also stained, threadbare carpet and dull walls. The HR department takes a week to even issue a pass, and the lobby is less than impressive. There’s a bureaucratic drabness that works well and takes away from the high tech setting one might expect in a delightful way.

Now, I’ve only seen the first of six episodes as I write this, but if the other five are anything like the pilot, we’re in for a season that has a few authentic, earned laughs each installment, but never really takes off. Which is a shame, because all the actors are really giving it their all, and there isn’t a weak link among them. All deserve to be on a solid series, so hopefully this will get there in its already-ordered second outing. Or maybe even its first, past episode one.

INTELLIGENCE is streaming now on Peacock, which you can watch via phone, browser, and only a few other devices, not including popular options like Roku and Amazon Fire.

Catch THE CAPTURE

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

NBC’s new streaming service, Peacock, launched today with a handful of original series. One of them is THE CAPTURE, a six-episode drama (with the first installment free to non-subscribers) in which a military officer, just cleared of a crime during wartime, possibly commits murder against the barrister that defended him. Did he do it? If he did, was he sane at the time, since he doesn’t seem to remember it? If he didn’t do it, who faked the CCTV footage showing him do it and why? The last seems far-fetched, but it is a very interesting story.

My first thought about THE CAPTURE was that it feels like a British crime drama. Unsurprisingly, it is, having aired on BBC One last fall. So by saying it’s a Peacock ‘original’ series, that only means it’s original on the platform here in the States. In my opinion, Peacock doesn’t deserve much credit for buying it, although the show certainly deserves an American run. If the streaming site (not available on most streaming devices, a major knock against it) is seeking to set a brand for itself, this doesn’t do it any favors, being obviously someone else’s borrowed style.

At the center of THE CAPTURE is DI Rachel Carey (Holliday Grainger, The Borgias), a fast-rising cop who needs to oversee a major investigation to move up the next rung on the ladder. The case mentioned above may just be it. Not everyone who works with her is happy about her rapid ascension, but the ones that seem smart apparently respect her, so she’s a Good Guy; a typical driven, strong hero. Grainger fulfills the role very nicely.

Shaun Emery (Callum Turner, War & Peace) is the soldier who spent time behind bars and then was cleared, just before being arrested again. This character is the complex one, and surely will be given the most thought by audiences. It seems extremely likely that he did commit the murder, given that the CCTV stream was witnessed as it ran live, even if he doesn’t have any memory of it. And he has no explanation for what is shown. As long as you believe Shaun is telling the truth as he knows it, there definitely appears to be mental issues key to the issue at hand. Shaun’s lack of memory could be an act, but it doesn’t feel likely.

What’s more, knowing he could do something like this calls into question if he was innocent of the other crime, which was chalked up to bad technology. But maybe the tech wasn’t flawed. In fact, camera advancement is as much a character as the two leads. CCTV is shown quite a bit, as is the body cam Shaun wore overseas. Most of the evidence in both cases hinges on this footage. How reliable is it? Given that it is called into question right away, it certainly seems to have its fair share of flaws. So can it be trusted at all, even when what it’s showing seems like an obvious crime?

There have been other shows with a similar hook as THE CAPTURE uses cameras. There have also been plenty of other British crime dramas in this vein that are widely lauded and highly entertaining. This could indicate that THE CAPTURE isn’t needed, given that it fits very firmly into already established molds. And yet, it is compelling, with solid direction, writing, and acting that mean, even if you’ve seen a bunch of the others, it may be worth it to watch this one, too.

Admittedly, I’ve come out against American crime procedurals in the past. I don’t know why I find British six-episode formulas better than a case-of-the-week format, but I do. THE CAPTURE is a great example of this.

Watch THE CAPTURE on Peacock now.

Not-So BRAVE NEW WORLD?

Article first published as TV Review: BRAVE NEW WORLD on Seat42F.

Peacock, the new NBC streaming service that launched today, wants to take you to a BRAVE NEW WORLD. The book by Aldous Huxley gets a nine-episode television adaptation, with two episodes free to everyone and the other seven for subscribers only. For this review, I watched only the first two.

BRAVE NEW WORLD is one of my favorite books, though it’s been a little while since I read it. Many of the familiar elements are present in this version, such as the extreme caste society. On the higher end, everyone is connected at all times by a network, and are barred from any privacy, monogamy, or pregnancy. Children are genetically engineered from birth and raised in groups, rather than by parents. Out in the desert live the ‘savages,’ or people closer to what we have today, who still marry. But they’re violent and miserable, while the ones in the New World are happy. If they’re not happy, there are plenty of drugs readily available to make them so.

Most of the main characters are there, too. Bernard Marx (Harry Lloyd, Game of Thrones) is near the top of the food chain as an Alpha Plus. But he’s a little off. He soon becomes taken with B+ Lenina Crowne (Jessica Brown Findlay, Downton Abbey), who experimented with a single partner for a while. Together, they journey to the Savage Land and meet John (Alden Ehrenreich, Solo: A Star Wars Story), who is being raised by single mom Linda (Demi Moore, Empire). But revolution breaks out while they’re there. While back at home, the Director (Ed Stoppard, Knightfall) and Mustafa Mond (Nina Sosanya, Good Omens) try to figure out why CJack60 (Joseph Morgan, The Originals) is acting funny after the death of his friend.

But there are quite a few differences, too. The character of Helm (Hannah John-Kamen, Killjoys) is quite a bit different from her literary counterpart. And the Savage Land is a lot more developed and fleshed out, with more action going down there. I’m not sure if these additions are designed to build a world that can keep going past the initial adaptation of the novel, inevitably a one-season project, or if they’re just meant to enhance aspects of the story that aren’t explored all that much on the page.

Neither the Enlightened nor the Savages have it all that good. There are pluses and minuses to both worlds. Sure, the Savages have more freedom, but they also have less overall, and are treated like dirt, made to play for the amusement of the advanced society. Either one of these two worlds could make up a post-apocalyptic landscape, and combining them is both interesting and a bit confusing because it’s hard to know which side to root for. Don’t we want things to get better? But at what cost? With more focus on the Savage place, this springs fully to light.

What might be remarkable is that the main ideas presented in BRAVE NEW WORLD no longer feel new. There have been so many dystopian series, especially as of late, that have borrowed elements from the source material that this one almost feels like a repeat of what’s come after the book. I’m not sure if that’s a testament to how far Huxley could see into the future, or just proof that good ideas are often stolen and done to death. With Westworld, Altered Carbon, Black Mirror, and so many others, does BRAVE NEW WORLD stand a chance of breaking through?

I guess, maybe. There’s some fine acting, though it stops short of breathtaking (which I’m not sure is fully the actors’ fault). The obligatory sex and danger is present in this iteration of BRAVE NEW WORLD, and that keeps the pacing moving. I’m not sure these particular ideas are begging to be explored again on screen, but they are always relevant. I liked it, but didn’t fall in love the way I expected to. Still, I want to finish watching.

The biggest obstacle BRAVE NEW WORLD faces is the platform it is on. Peacock rudely launched without much access for those who don’t enjoy watching TV on a phone or browser. Certain Smart TVs can access it, and it works with Chromecast. But it lacks an app on Amazon Fire, Roku, TiVo, or other streaming devices. Personally, I was very annoyed at the hoops I had to jump through to watch, and hope Peacock gets its act together if it wants to succeed. Then again, at a too-high price tag ($9.99/month for the ad-free version without nearly the catalogue that Netflix or Hulu boasts), do we even need another streaming service? Maybe it would be easier for another streamer to absorb the content.

BRAVE NEW WORLD is available now exclusively on Peacock.

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.

Take a Boat to HIGHTOWN

Article first published as TV Review: HIGHTOWN on Seat42F.

Starz’s most recent drama is HIGHTOWN. Jackie Quiñones is a National Marine Fisheries Service agent, loves to party hard and hook up, both things easy to come by in Provincetown, Massachusetts, a gay-friendly tourist town. But when she finds a dead body, and lets her vices take a little too much control, she ends up battling demons both inside and out.

Monica Raymund (Chicago Fire) stars as Jackie, and could not be a more compelling lead. Jackie’s behavior is abhorrent, but Monica finds the humanity and sympathy, as well as the driving motivations. It’s easy to see why Jackie’s partner, Ed Murphy (Mike Pniewski, Madam Secretary), likes her, and viewers will, too. Despite her substance abuse and womanizing ways, she seems to be a good person who cares about people and isn’t too strict on the rules, seeing the humanity in others. Though, she doesn’t seem to see it in her sexual conquests. The murder victim forces Monica to examine herself, and the audience gets the privilege of watching that introspective character arc.

Obviously, an antihero is nothing new. But there are many types of them, and Jackie feels fresh. It’s not just the fact that she’s not white, straight, or male, though that’s certainly welcome. It’s that her outlook feels a little different than most of the others I’ve seen, her attitudes being realistic and relatable as present. Aside from one big action-related thing, Jackie seems pretty darn authentic. Her pain seems real.

There is a great supporting cast that fills out Jackie’s world and plays varying roles, all of which will surely come together, even if it’s not obvious how right away. Amaury Nolasco (Prison Break) is a kingpin behind bars who is still pulling the strings outside. Riley Voelkel (The Originals) is his exotic dancing girlfriend who is much more capable than she first appears. James Badge Dale (The Pacific) is a police detective who takes his job a little too personally. The three of them are introduced in the same thread in the pilot, but I’m eager to see Jackie interact with them.

The setting is great, with the beauty of Cape Cod and the ocean grounded in grimy reality, a place both lovely and dirty. Much of the series was filmed on location, and it shows. It helps to move a show away from Hollywood and to somewhere more visually interesting, or at least diverse in its look, and HIGHTOWN looks great. I hope more productions keep up this trend of getting away from Southern California, a vista we’ve seen enough of for awhile.

HIGHTOWN is also well-written. I don’t want to give too high praise to a series just getting started, and I’ve only seen the first episode. But immediately, I drew comparisons in tone and style to The Wire Season 2 (which I also happen to be finally watching right now). I’m not going claim HIGHTOWN is as good as The Wire, but the fact that it didn’t suffer for the comparison says something.

The murder and drug plots are far from novel, making up a large percentage of television programming today. I review a lot of these cable or streaming pilots with similar goals and themes, and haven’t been taken in by very many of them. However, there’s a magnetism to HIGHTOWN greater than the sum of its laudable parts, and I found I had a hard time resisting its call. I hadn’t planned to renew my Starz subscription again until Outlander returns for another season, but I’m curious enough about the rest of this one to go ahead and give it a binge.

Check out HIGHTOWN on Starz now.

STARGIRL Flies a Little Lower Than Peers

Article first published as TV Review: STARGIRL on Seat42F.

The CW has yet another series based on DC Comics characters running right now and this one’s called STARGIRL. It’s a show about a teenage girl who discovers the father she never knew may have been a superhero, and she may have inherited his powers. But the group that killed her maybe-father is still around, and she’s not strong enough to handle them on her own. So she decides to revive the Justice Society of America and staff it with youngsters, intent on stopping the much older baddies.

Brec Bassinger (Bella and the Bulldogs) stars as Courtney Whitmore. As the series begins, her mother, Barbara (Amy Smart, Justified), has just married Pat Dugan (Luke Wilson, Enlightened), who has a son of his own, Mike (Trae Romano, 555). The four move back to Barbara’s hometown, where she has gotten a job. But when Courtney finds Starman’s staff among Pat’s things and the staff responds to her, she decides Starman (Joel McHale, Community) must be her father and decides to follow in his footsteps. This is much to the chagrin of Pat, Starman’s former sidekick.

The premise doesn’t feel too coincidental, though Barbara’s employer verges on that trope. Pat and Barbara found each other in a sweet, simple story. Teaming Courtney up with her step-father is relatively novel for a television series, leaving Barbara to bond with Mike in more mundane plot threads. Though the separation can’t possibly last long.

A lot of the running time of the first six episodes doesn’t dwell on much character development. Instead, it sets up all the heroes and villains, as Courtney quickly recruits a diverse team to help her out. Pat, of course, isn’t pleased, but gets dragged along for the ride as Courtney ignores his instruction again and again. At the same time, we see the villains come back together and further nefarious plots, conveniently not having made much progress in the past ten years. Small skirmishes abound, but the season seems poised for a large battle at the end.

STARGIRL is unique in CW’s superhero lineup in that it isn’t directly tied to the Arrowverse. Made for the DC streaming app (which premieres episodes a day before the CW, and at least for the first two installments, longer versions of those episodes), Stargirl made a cameo in last fall’s big event, but is said to currently exist on a new Earth-2. But has the Arrowverse even established that there is a second Earth again?

Those logistics aside, STARGIRL is its own thing. A teenage drama with superheroes isn’t a new concept, nor is an origin story. The fact that the kids involved are assuming identities once held by adults makes it a bit of a ‘junior’ type situation. Kids battling adults also makes it seem like a made-for-kids show. At least, that’s what similar properties have been geared towards in the past.

Honestly, a lot about STARGIRL feels made for a younger audience in a way that the rest of the CW’s DC lineup does not. While there is death and destruction, the emotional implications of them aren’t dwelled upon, rushing onto the next big thing. Part of this can be attributed to Courtney and her mindset at present, but overall, it makes the series feel weaker than it could be. Romance doesn’t even really play in much, either, the focus more on butt kicking than crushing. McHale is wasted in a cameo, and thus far, Wilson and especially Smart haven’t been given much more than typical television parent stories in a kid show, either. Which, when taken all together, makes STARGIRL the least developed in the lineup.

Of course, kids grow, and a show can mature. So perhaps STARGIRL will move beyond its childish beginning as it continues. For now, though, I recommend taking it at face value. If you don’t mind a heavy teenage bend on your dramas, then this one’s for you.

At the time of this writing, STARGIRL is six episodes into a thirteen-episode run. New episodes run on the DC app Mondays and air on the CW Tuesdays at 8PM.