Stop CHASING LIFE

Article first published as CHASING LIFE Review on Seat42F.

ABC Family’s newest drama is CHASING LIFE. April Carver (Italia Ricci, Don Jon) is an ambitious, young, up-and-coming journalist. She lives at home with her widowed mother, Sara (Mary Page Keller, Hart of Dixie), rebellious teenage sister, Brenna (Haley Ramm, X-Men: The Last Stand), and grandmother, Emma (Rebecca Schull, Suits, Wings), a pretty happy existence. But her world is rocked when she finds out she has cancer.

My first impression is that CHASING LIFE is a step up from most of ABC Family’s fare. It does not center on a bunch of teenagers, as the network has sort of become the adolescent version of Lifetime. Its characters are better developed and played by actors who aren’t totally cheesy. It’s soapy, to be sure, but leans more ABC-esque than daytime level.

But upon further examination, the writing still suffers many of the same foibles that CHASING LIFE’s peers fall victim to. Too many bad things happen in quick succession to April, threatening to tear down her cheery disposition. Developments happen too quickly in ways that don’t make sense. Short cuts are frequently taken, possibly for pacing’s sake, but it makes the story feel unrealistic.

Take, for instance, the delivery of April’s cancer diagnosis. Her estranged uncle (Steven Weber, Dallas, Wings) secretly does blood work on her after April faints, which could be chalked up to the actions of a concerned relative. But then he’s worried she’s in eminent danger, and starts stalking her when he can’t get a hold of her for half a day. He hasn’t had the chance to run any tests yet, so how does he know how serious it is and how dire April’s circumstances are? April’s nose blood does confirm her uncle’s suspicions, but it seems far too convenient when it happens.

Also stale is the way April’s love interest, Dominic (Richard Brancatisano, Reef Doctors), is handled. They have one date and they’re smitten. Then she blows him off because she has other things on her mind (i.e. cancer), and he gets sulky. An overheard conversation between April and her uncle gets Dominic suspicious that she’s untrue (again, after only one date, so he has no right to expect exclusivity), but the whole thing is sorted out after April confronts him. It’s neat and false, not at all an authentic relationship beginning.

The Dominic subplot is completely unnecessary. Why does April need a guy in her life at this juncture? Doesn’t she have enough going on? What are the chances that her love life begins right at the time her career is taking off and illness strikes? It’s all just so obviously scripted, lacking in authenticity and originality altogether, which rips the viewer out of the fictional world.

Add to this the Big Twist at the end of the “Pilot,” which I won’t reveal in case you haven’t watched yet, and CHASING LIFE is little better than Pretty Little Liars and its ilk. While the characters may appear to be mature, sort of, the storytelling is not, relying on cheap tricks and cliché crutches to move along. Instead of creating something new, CHASING LIFE follows a pale version of a tried and true formula, which is not a good thing during the current golden age of television, surely to be lost amid the plethora of series that are way better.

I did enjoy CHASING LIFE, despite the glaring plot holes and logic jumps, but it’s nothing more than fluff entertainment, failing to be anything that makes you think. It may tug one’s heartstrings, but in a very much planned, manipulative way. One day ABC Family may make a series worth watching again, which it really hasn’t had since the cancellation of Kyle XY, but today is not that day.

CHASING LIFE airs Tuesdays at 9 p.m. ET on ABC Family.

POWER "Not Exactly" A Draw for Starz

Article first published as POWER Review on Seat42F.

Power | Omari Hardwick

Starz’s latest attempt at a scripted series, POWER, is about as good as their last few efforts, unfortunately. Like the canceled Magic City, the show follows a mobster who wants to be an honest business man. Like the now-gone Boss, the lead is a complex guy trying to win out over those that are against him. Like a huge number of organized crime movies, there is death, nudity, and a familiar cast of characters, trying to get the audience to root for our hero to escape, but as most of these type of films do, POWER falls short.

The pilot, “Not Exactly,” which aired last night, introduces us to James “Ghost” St. Patrick (Omari Hardwick, Dark Blue), an extremely successful kingpin who dreams of owning a night club. Now that he has said club, he’d really like to go on the straight and narrow, building the kind of life he imagined he would have before going down the dark path. Can he do it?

One obstacle in Jamie’s way is long-time friend and current business partner Tommy Egan (Joseph Sikora, The Heart, She Holler), who is enjoying their current situation. Tommy sees the club as an extension of their laundry mat scheme, a front to launder money, not a serious effort. This puts him at odds with Ghost, who doesn’t feel comfortable trying to convince Tommy of his goal yet, preferring to allow his friend to believe they are on the same page.

Another issue for Ghost is his wife, Tasha (Naturi Naughton, The Playboy Club). Tasha met James before he became a big-time drug dealer, prior to being rich, so we know she’s not just after his money. But she is quite happy with the wealth they have accumulated and has no desire to turn off the tap, not believing that owning a club is enough of an income source. Strangely, though, she claims to just want more attention from Ghost, which doesn’t quite gel with her comments about their money nor her actions in “Not Exactly,” giving Ghost few chances to prove himself before testing the cheating waters.

Tasha and Ghost have a terrific family, whom Tommy also cares about, but this means different things to different characters. Ghost wants to provide his children with a legitimate means of support, not endangering himself or them. Tasha wants to give their kids the best, though she also doesn’t want to spoil them, seemingly another contradiction for the role. Tommy is the fun uncle who likes everyone and is well liked, which will make Ghost’s inevitable betrayal that much more painful when Tommy is cut off from the whole clan.

To make matters more complicated, “Not Exactly” brings in Angela Valdes (Lela Loren, Gang Related), Ghost’s old girlfriend. Ghost sees her as a symbol of what he was and desires to be again, which means he can’t quite stay away from her, even though he claims to love his wife and be happy in his marriage. Angela, of course, is actually with law enforcement and is hunting Ghost, not knowing yet that her query is the man she’s never gotten over.

It does take several paragraphs to explain what’s going on, but POWER is not complex or ground-breaking. It’s extremely similar to other efforts in the genre, and the production, while slick, is also fairly two-dimensional. POWER looks good, but it’s all surface, lacking the true depth and complexity a compelling drama needs. The characters are just not interesting or unique enough to care about, making the whole thing rather boring. The acting is pretty solid, but the material isn’t very intriguing.

Even the frequent use of mirrors, both literal and figurative, and I’m not just talking about in the theme song, seems too on the nose. We know Ghost is reflecting on who he was, who he is, and who he wants to be; we don’t need to be constantly reminded of this time of self-evaluation. Does he like what he sees reflected back at him? Who cares? If he wants to make a change, he should do it, not just keep playing around with Tasha, Angela, and Tommy, not telling any of them what’s fully going on.

What could save POWER is a sense of threat or a ticking clock, prompting urgency to change. Neither is really there. The cops have no real lead on Ghost, and Ghost’s boss is not coming down on him at this point. These things may happen later, but should be present in the set up. They are not, which makes the whole effort seem rather lackluster.

There’s also the draw for 50 Cent fans of the singers involvement and contribution to the soundtrack. Not being someone who cares for this particular artist or his product, that is not me, nor will it be the vast majority of the potential viewership. Perhaps those who like 50 Cent will see something of his music in the plot, but I can’t say that for sure, not being familiar enough with his repertoire.

Every month, I wonder if I should keep my Starz subscription, as none of their series ever seem to rise to expectations. And every time I’m on the verge of cancellation, another announcement of a show coming on the horizon makes me pause. But with shows like POWER, the network is definitely not doing itself any favors, failing to compete with the quality of FX or Showtime, let alone AMC or HBO. Subscribers expect better, and we’re not getting it.

STARZ airs Saturdays at 9 p.m. ET on Starz.

"The Watchers on the Wall" Play the GAME OF THRONES Solo

Article first published as TV Review: 'Game of Thrones' - 'The Watchers on the Wall' on Blogcritics.

HBO’s Game of Thrones mades an unprecedented move in last night’s penultimate episode of the season, “The Watchers on the Wall,” by setting the entire hour in and around Castle Black. With a sprawling cast and multitude of settings, its rare that one group gets a large chunk of a single episode, let alone the full installment. Yet by lingering during a very important time, it allows some great character development and an easier way to get lost in the world. It’s a bloody, moving episode, memorable even in a season that’s already had so many major moments.

At the start, an Alamo-esque situation presents itself. There are barely more than 100 men of the Night’s Watch at Castle Black as the enemy approaches from both sides. It may be true that there’s a giant Wall between the soldiers and Mance Rayder’s (Ciarán Hinds) 100,000 men, but fierce Ygritte (Rose Leslie), brave Tormund Giantsbane (Kristofer Hivju), and the brutal Thenns are on the south side, where the fort is lightly defended. They must be held off while keeping the giants and others who would break into the tunnel at bay.

Game of Thrones has departed more from the books in the past few weeks than in the last few years combined, but most of the differing choices make good sense. For instance, Tormund and his crew attack separately, before the vast army, in the novels. However, a coordination is good battle strategy, and it allows for a very big battle. Tormund and his ilk are the more immediate threat, and so most of the recognizable faces spar with them, rather than the larger army, but there will surely be more combat to come.

Those disappointed that we only get a few establishing shots of the huge fighting force and then a handful of close ups of a couple of giants should take comfort in the fact that this war is far from over. While the Night’s Watch defeats the Thenns, capturing Tormund, stopping a single giant in the tunnel and knocking a bunch of climbers off the Wall is hardly enough to send the army fleeing for good. The Wildlings are disorganized and break when the going gets tough, but their survival is on the line and they remain near by. “The Watchers on the Wall” is merely the first night of the fight, unless budgetary concerns prevent a truly epic showdown.

More important, though, are the personal stories in this episode. Sam (John Bradley) finds what it takes to be a man. He tells Pyp (Josef Altin) that he isn’t himself when killing a Walker, but in “The Watchers on the Wall,” Sam is fully cognizant of what he’s doing. He doesn’t hide away with Gilly (Hannah Murray) and her baby, as does the traitorous Janos Slynt (Dominic Carter), who is supposed to be a seasoned soldier. Sam doesn’t give up when Ygritte shoots Pyp and Pyp dies in Sam’s arms. Instead, he rises to the occasion, proving himself a worthy member of the sacred order.

It will be interesting to see if Sam stays in the Watch, though. He takes his vows seriously, but he also looks for a loophole in order to be with Gilly. Seeking love advice from Jon Snow (Kit Harrington) and Maester Aemon (Peter Vaughan) reveals Sam’s desires. And while Gilly claims Sam is abandoning her when he joins the fight, surely she will respect him for his bravery and commitment now that he has survived.

Jon has an even better-defined emotional journey. Taking command by default after Alliser Thorne (Owen Teale) is wounded and Slynt hides, Jon has to rally the troops. It’s telling how quickly the men around Jon fall in line to his orders, even if no one is sure Jon has the power to back them up. He’s a born leader and can make the hard decisions. Even his choice at the end, to go beyond the wall and deal with Mance one-on-one, is not an abandonment of his position, but rather, the difficult choice that must be made in desperate times.

Amidst all this, Jon does get one last encounter with the woman he loves, Ygritte, as she pulls her bow on him again. This time, she doesn’t shoot, and for a second, it looks like there could be a reconciliation, or at least a peaceful parting of ways, even though Ygritte has killed Jon’s friends. Then, one of those clever Game of Thrones twists reveals itself and the very boy whose life Ygritte spared a few weeks ago kills her, giving her a moving death scene in Jon’s arms, far more powerful than her demise in the books.

This actually sets up Jon well for the continuation of the story. He now doesn’t have any romantic ties, freeing him up to be the leader he must be. At this point (ignoring what I already know from reading the books), it’s not clear whether Jon will command the Night’s Watch or not. But it is certain he has a role to play in the direction of the group, having proven himself in battle, in front of the other men. Jon has a destiny to fulfill, and as much as I and most viewers like Ygritte, she stood in the way of that.

As regrettable as it is to lose a few familiar faces in “The Watchers on the Wall,” including Grenn (Mark Stanley), this is only a precursor for next week’s season finale, which will likely see a higher body count, and with more prominent characters. Part of the draw of the series is seeing who will die next, but couched in a compelling tale with high stakes and well-developed characters, Game of Thrones is much more than that, an excellent series newly defining a genre. “The Watchers on the Wall” may be a ‘very special episode,’ but it furthers the groundwork already established in new and interesting ways, keeping the spirit and tone of the show and hammering it home more than ever. Great job, all involved.

Game of Thrones concludes its fourth season next Sunday at 9 p.m. ET on HBO.

VEEP No More

Article first published as TV Review: 'Veep' - 'Crate' and 'New Hampshire' on Blogcritics.

HBO’s Veep is good in its first season, great in the second, and really finds its stride in the third year, which completed its run last night with two-part episodes “Crate” and “New Hampshire.” Selina Meyer (Julia Louis-Dreyfus) finds her presidential ambitions slipping away again as one screw up after another by her inept team and herself keeps getting her into trouble. But when the POTUS decides to resign in order to spend more time caring for his wife, who recently attempted suicide, Selina suddenly finds herself in the highest position in the land, the first woman to hold the office, woefully unprepared.

A major draw for Veep, and the source of much of its humor, is the way in which Selina constantly and hilariously fails. When considering this, many viewers may wonder why the Vice President could suddenly achieve her goals, rising to the Oval Office, without starting to bleed some of the loser spirit. Veep pulls it off, though, maintaining the same tone and humor at the characters’ expense by making Selina’s ascension accidental and full of flubs such as an overly expensive crate and squeaky shoes. Selina may be president now, but she may just be worse at that than being the veep, and isn’t likely to stay in the office long.

Will Veep stick with the development next season, changing the premise slightly, or will she soon be vice president to one of the primary opponents, still beating her in “New Hampshire,” despite the fact that her election campaign is now a re-election battle? It’s understandable that Selina’s biggest competitor doesn’t drop out of the race, even though it would be customary to do so in the real world, since he is pretty darn clueless, and Selina is definitely vulnerable. There’s a sense of unease and instability as Veep‘s third season draws to a close, and its hard to tell yet just where the writers are going with it.

Yet, there is little doubt that wherever they want to take us, viewers will stay on board. The wry wit and tight pacing keep the show entertaining, constantly upping what’s already been established. It seems like these days the characters can be taken even further, building upon what we already know about them and deepening it. With a top notch ensemble, there are no shortage of directions to play the cast from here.

In “Crate” and “New Hampshire,” each player gets their chance to shine. Mike (Matt Walsh), quite surprisingly makes an awesome press secretary, until he doesn’t. Ben (Kevin Dunn) begs Selina not to make him chief of staff, but she does so anyway. The chemistry between bitter rivals Dan (Reid Scott) and Jonah (Timothy Simons) is excellent as Dan tries to use Jonah and Jonah stays arrogant, in spite of his precarious position. They are matched only by Kent (Gary Cole) and Sue (Sufe Bradshaw), now exes who must share the workspace. Gary (Tony Hale) is under-valued again, feeling bad for himself, while Amy (Anna Chlumsky) is passed over again, trying to grin and bear it.

What’s great is the way that the group passes the ball effortlessly from person to person, taking turns. All the actors take these situations and milk them for every laugh they’re worth, expertly entertaining, being way more important to the show than any detail or joke. They all rise to the occasion when they get their focus, but don’t steal the spotlight from any of their co-stars. The talent here is so thick that any weak link would immediately stand out, but there is none to be found, a casting coup that is appreciated each and every week.

Of course, the queen of the series, Louis-Dreyfus, is even better than the rest, which is truly a feat. Julia makes Selina–who should not be likeable in the slightest–sympathetic. Selina isn’t a good person, she lacks compassion, has a severely broken moral compass, and will gleefully play the political game, allowing her opinion to be swayed as the polls dictate. Yet, there’s a desperation and vulnerability under the surface that makes her incredibly compelling. Selina is narcissistic, to be sure, however we can see her dreams and desires and feel her frustration with every set back. She just wants what she thinks she deserves, and those who achieve it instead of her are no more worthy. It’s a fascinating performance, a career-defining role from an actress who already proved herself numerous times before now, meaning no one needed or expected this much from her, and its easy to be impressed that she’s done it again.

Veep has been renewed (thankfully) and will likely return in 2015 to HBO.

"Thirst" for ORANGE IS THE NEW BLACK Quenched

Article first published as ORANGE IS THE NEW BLACK Review Season 2 on Seat42F.

Note: This review is for the season two premiere, “Thirsty Bird,” and does contain spoilers from that hour. It does not contain spoilers from any episodes after the season two premiere.

Netflix’s ORANGE IS THE NEW BLACK has returned with a second batch of episodes, beginning today, streaming for their subscribers. It is the story of a woman named Piper Chapman (Taylor Schilling), who is serving fifteen months in prison for her role in a drug ring, which she got involved with through her girlfriend at the time, Alex Vause (Laure Prepon). Piper’s life has drastically altered and she has to learn to her adapt to her new world while, possibly for the first time, recognizing the humanity in others.

As season two begins in “Thirsty Bird,” Piper has been in solitary for beating would-be assassin Pennsatucky (Taryn Manning) severely. In the middle of the night, Piper is ripped from her cell, taken by bus and plane to a much higher security facility in Chicago without explanation. Panicking, Piper now has to adjust to an even tougher world with more dangerous inmates.

This is a very well-crafted hour. I feel Piper’s frustration and terror at not knowing what is happening and being unable to get answers. As a prisoner, she has few rights, and information about where she is being taken and why is not among them. Those working for the system have no obligation to be forthcoming because she is low on the totem pole, but it would still be extremely unsettling to be the one so out of control of oneself. Much of ORANGE IS THE NEW BLACK is about life as an inmate, and “Thirsty Bird” hammers that helplessness home more than most installments.

Unfortunately, it cannot salvage the character of Piper, a drama-addicted narcissist who is wishy washy with her moral compass and often does and says the wrong thing. A flashback to her childhood, showing when Piper catches her father, Bill (Bill Hoag), cheating, and her mother, Carol’s (Deborah Rush), bad reaction to the news does inform on why Piper is the way she is, but it doesn’t make her sympathetic. Her forgoing the chance to pee in her search for answers, then paying for that decision later, illustrates how ridiculous she is in her self-righteousness. We, like her potential father-in-law / lawyer, Howard Bloom (Todd Susman), grow frustrated that she can’t pull herself together, but are done rooting for her.

One wonders if there is a happy way out for Piper. Her fiancé, Larry (Jason Biggs), seems to be done with her, though he remains a main character, so forgiveness is a possibility. Her sentence is likely to be lengthened both from beating up Pennsatucky and because she lies under oath. She doesn’t have anything to go back to, anyway, though.

For some reason, Alex is more likeable than Piper. Yes, she betrays Piper, twice, but she is consistent. We know who Alex is, and Alex actually shows compassion for others. Even if she does stab Piper in the back by convincing Piper to lie on the stand and then confessing the truth herself, Piper deserves it, so it’s hard to be mad at Alex, someone who has the right crisis of conscience at the right time. Sadly, Prepon has been down-graded to “special guest star” status, so she isn’t likely to be around much, if at all, moving forward. This makes sense because her arc with Piper has run its course, but is regrettable because I hate to lose the character.

What “Thirsty Bird” is lacking, despite being a terrific stand-alone, isolated episode, is the ensemble that makes ORANGE IS THE NEW BLACK so good and gives the show its identity. All of the various women who are locked up with Piper have become memorable and intriguing personalities. From Red (Kate Mulgrew) to Crazy Eyes (Uzo Aduba) to Taystee (Danielle Brooks) to Nicky (Natasha Lyonne), all of whom are now main characters, as well as a slew of recurring parts, each has landed with the audience. I miss them, none of them appearing in this season premiere.

In episode two, I assume things will get back to normal, and I look forward to that. At the same time, I don’t think ORANGE IS THE NEW BLACK makes a mistake by departing here because, as I said, taken on its own, the hour is solid, even if it doesn’t feel like the same show. Plus, it furthers along the story of the protagonist, Piper, and what is going on with her case. Great start, Netflix, and I look forward to what else the show has in store for us this year.

All thirteen episodes of ORANGE IS THE NEW BLACK are available now on Netflix.

DVD Review: ‘Graceland – The Complete First Season’

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

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

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

 

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

 

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

 

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

 

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

 

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

 

Graceland – The Complete First Season is available now.

Blu-ray Review: An Adventure in Space and Time

Article first published as Blu-ray Review: ‘Doctor Who’ – ‘An Adventure in Space and Time’ on Blogcritics.

As part of Doctor Who‘s 50th anniversary celebration, BBC America aired a made-for-TV movie called An Adventure in Space and Time. This two-hour film gives us a piece of the story of the early days at the BBC when Doctor Who was first being made, with a focus on the show’s first titular star, William Hartnell (David Bradley, Harry Potter, Broadchurch), and producer Verity Lambert (Jessica Raine, Call the Midwife).

This project is a huge one to tackle. Not only does An Adventure in Space and Time reveal the origins of a legendary show, which is one of the longest-running series ever, but it also represents a bold, brave era for the network, an important tale to tell. Talk about groundbreaking, Doctor Who was the BBC’s first real attempt at science fiction and Lambert was the youngest producer at the network, the only female producer at the time. An important tale of this magnitude deserves better than this TV movie, unfortunately.

Now, let me preface my opinion by saying An Adventure in Space and Time is pretty good, definitely enjoyable. I think the acting is terrific, and I am excited to learn new things about this show and era. It is well-paced and the production looks good.

But it feels like a TV movie, rather than an epic film, not a good choice for such an iconic moment in history. Much of the story is told in small vignettes, stand-alone occurrences, rather than a cohesive narrative. Either Verity or Hartnell could easily rate their own full movie, but instead, each part is cut down so that there’s room for them both in one production. By combining them, both are under-served, without much exploration as to what Verity herself did to help the show along. Hartnell’s plot is bit more complete, with a clear beginning, middle, and end, but still, I would like a few more details, including a slower descent at the end. Not to mention, the film starts at the end then flashes back to the beginning, a tired trope that comes across as quite cheesy.

Bradley and Raine could pull off more complex versions of the roles, I’m sure. They both manage to get a lot into their parts, conveying beyond what’s on the page. We see Hartnell’s rise and fall, and what it costs him. We see Verity coming into her own. Were they given more time, or if this were made into a miniseries rather than confined to two hours, these actors could have absolutely risen to an award-bait level.

They are joined by Sacha Dhawan (Outsourced, Chuggington) as director Waris Hussein, another part that feels like it didn’t get is due. While playing a smaller role in the history, and thus confined to only a portion of the movie, Dhawan makes an impact. Sadly, he is not developed much beyond filling a vital, but small, position.

Other than those three, most of the rest of the cast are merely on the sidelines, with only a couple that sort of stand out a bit. Brian Cox’s (Bob Servant Independent, Deadwood) Sydney Newman is overblown and cartoonish, in a good way, fitting for someone of his temperament in his position. Claudia Grant seems to capture Carole Ann Ford perfectly. Lesley Manville, Jeff Rawle, Jemma Powell, and Jamie Glover all play parts that should matter, but are largely forgettable, likely more because of a lack of focus from the script than the performers themselves.

Luckily, this release is flush with extras. The very first Doctor Who serial, “An Unearthly Child,” is included in its entirety (with its own bonus features) so fans can compare the look of An Adventure in Space and Time to the actual episodes. There’s a “Making Of” narrated by Carole Ann Ford herself, as well as a featurette on William Hartnell, delete scenes, and reconstructions. Best of all (in my mind) is a comedy sketch about the creation of Doctor Who starring producer Mark Gatiss and David Walliams. These help make the set feel worth it, and as I said, the film itself isn’t bad, if you can get past the squandered potential.

An Adventure in Space and Time is available now on Blu-ray and DVD.

SILICON VALLEY An "Optimal" Comedy

Article first published as TV Review: 'Silicon Valley' - "Optimal Tip-to-Tip Efficiency" on Blogcritics.

HBO’s new comedy, Silicon Valley, wrapped up its freshman run last night in “Optimal Tip-to-Tip Efficiency.” The team is still at the Disrupt conference, their project having been fast-tracked to the finals to avoid legal action after a crazy judge ruins their first presentation. When Gavin Belson (Matt Ross) unveils a better version of Pied Piper, all looks lost. But some risque jokes among the dejected group give Richard (Thomas Middleditch) new inspiration, and the ending of the episode, while not surprising, is inspiring.

In retrospect, it always has to be Richard that steps up for his product, not Erlich (T.J. Miller). I love Erlich’s character, and he has plenty to do in this episode, but the technology and the brains belong solidly to Richard, and if he isn’t the face that wins the day, he’ll never be the real power in the company. Silicon Valley is the story of a meteoric rise of a hero, and in order to achieve greatness, a hero must overcome. Richard’s stammering delivery on stage may not be the stuff of legends, but what he’s come up with is, and “Optimal Tip-to-Tip Efficiency” lets Richard triumph while maintaining his loser character, including a puking scene afterwards to prove he still has a long way to go.

Richard does almost get the girl, Monica (Amanda Crew), icing on the cake, but his win actually costs him any chance at a relationship, as they can’t date while working together. I will admit, her attraction to him does seem a tad dubious, given how bumbling he is around her, and pushing off their almost-certain relationship is even more forced, Silicon Valley follows the example of most TV shows in that it keeps its lead single no matter what. I wish the writers would go there or forever close the door, rather than leave this thread flapping in the wind, and maybe next season they will. There is enough tension without this.

Silicon Valley is terrific because of its mix of dirty jokes and interesting personalities. There is a lot of conflict among the characters; Gilfoyle (Martin Starr) and Dinesh (Kumail Nanjiani) even think about abandoning the company mid-episode, and that drives the story. It’s not a group of guys that inherently like each other at the start, but they are united by shared purpose and dreams of fortunes. As they go through these trials together, they will probably grow into fast friends, but that’s likely to happen without any of them realizing it, a welcome departure from people who really want to be together.

The show makes sure to serve each of the characters well. Erlich trying to start rumors about Belson to the press, dancing around anything that could seriously get him into trouble, is hilarious and a totally perfect moment for him. Gilfoyle and Dinesh wrestling with their consciences is terrific, convincing themselves they aren’t dickheads as they are being dickheads. Even Jared (Zach Woods) tosses in a great contribution to the jerk-off equation when he brings up girth, finally feeling like part of the group. Each is a distinct individual, and each has their own piece of the plot, getting development and growth for their characters.

It’s fantastic that Richard’s inspiration comes from the team calculating how Erlich can jerk off 800 dicks most efficiently. It’s a throwaway line at first that the guys, tired and slap-happy, can’t help but double and triple down on, until it grows into a beast of his own. This gives Richard his eureka moment, but it also beautifully illustrates the dynamic of the group and tone of the series, taking something ridiculous completely serious and geeking out over it. It’s a perfect sequence, saving a last-minute save from being too cheesy or stylistically abrupt.

A glaring hole in “Optimal Tip-to-Tip Efficiency” is the missing Peter Gregory (Christopher Evan Welch), weirdest of the weird and Pied Piper’s benefactor. The reason the part is absent is because the actor passed away from cancer prior to completion of the season. Rather than write him out immediately, Silicon Valley treads water, keeping him alive by mentioning where he is, but fans will likely miss his fantastic performance. What the show will do from here is still up in the air, and he is not easily replaced.

Even without Gregory, though, Silicon Valley delivers a nearly flawless season finale, with plot and characters well served, twists feeling fresh even when they shouldn’t, and a good, new starting place for next year to pick up from. I’ve been impressed with the entire first year of the show, and sticking a landing like this should solidify it as a must-watch by the time it returns.

A second season has been ordered, and Silicon Valley will likely be back on HBO in early 2015.

Yo Ho CROSSBONES

Article first published as CROSSBONES Review on Seat42F.

NBC’s CROSSBONES is pure summertime popcorn fun. It features the noble hero, Tom Lowe (Richard Coyle, Covert Affairs), going undercover as a doctor in an attempt to get close to and assassinate the notorious pirate, Blackbeard (the great John Malkovich). It’s a swashbuckling action adventure, a bit cheesy, a tad unrealistic, but thoroughly enjoyable.

Because CROSSBONES airs on NBC, it is at a disadvantage to its Starz competitor, Black Sails, which can show more blood, violence, and nudity. After all, this is a series about pirates, and unless one makes outlaws of the cartoonish variety, one is going to want to see some of that gritty reality, even if there’s a light spirit about. That’s just the nature of the show, and CROSSBONES has to keep these things toned down, hinting at much more than showing such elements, not getting anywhere near as bloody as the boundary-pushing NBC series Hannibal.

Yet, even so, I enjoy CROSSBONES. It could be the simplistic hero story, one that inspires and excites in the right hands. We know who is on the side of good, and we cheer for them to succeed, even if we want it drawn out a bit to enjoy the villain a little longer. Or it could be the excellent Malkovich, playing Blackbeard as an odd, thoughtful, intelligent commodore ruling an island in a way that only Malkovich can. Whatever it is, the show draws one in and captures the imagination.

Malkovich helps set the tone for the piece, distinguishing it from its peers somewhat. Because of who the actor is, Blackbeard is someone viewers are likely to feel sympathy towards, and with the uneven balance of power in a land run by those against institutions, his position is precarious and likely to change. Alliances will be formed and broken, and one is never quite sure what Blackbeard will do, his unpredictability being a positive.

In the name of fairness to the fairer sex, CROSSBONES, like Black Sails, makes sure to include plenty of women in its ensemble. There’s Selima El Sharad (Yasmine Al Massri, Carmel), who Blackbeard tasks with decoding the plans for technology captured along with Lowe, and who thinks that she knows better than the commodore. Kate (Claire Foy, White Heat) is the wife of the man Blackbeard asks to build the machine, and an obvious love interest for Lowe. And Nenna (Tracy Ifeachor, Doctor Who “The End of Time”) is a pirate henchman, pretty much on equal footing with the other pirate in the show, Charles (David Hoflin, Neighbours), both of which are not completely loyal to Blackbeard.

Should there be so many strong females in this series? Well, that’s debatable. Black Sails adds females through the inclusion of prostitutes and the capable daughter of an important man, while CROSSBONES makes the girls more part of the action. In the name of historical accuracy, the balance probably should be more male-heavy. Yet, these actresses do a fine job, and a little political correctness, as long as it doesn’t take away from the story, never hurt anything.

There’s also the obligatory scenes showing that Lowe’s boss, Governor William Jagger of Jamaica (Julian Sands (24, The Girl with the Dragon Tattoo), is not on the up-and-up. This will provide opportunity for Lowe to work with Blackbeard down the line, possibly even setting up Lowe and Blackbeard to be the only characters we really get behind, them against the world. Yet, it’s unlikely fans will care about such predictability because they will enjoy the results of the structure.

CROSSBONES is confined by limitations and light on continuity and believability. Somehow, though, it’s highly entertaining anyway, and that’s important for a network summer series. There’s enough good stuff here to make it watchable and fun, a break from the dark drama filling the airwaves September through May. That’s why it works.

CROSSBONES premieres Friday at 10 p.m. ET on NBC.

Series Is UNDATEABLE

Article first published as UNDATEABLE Review on Seat42F.

NBC has a new summer sitcom, which premiered last night, called UNDATEABLE. Created by Adam Sztykiel (Due Date) and Bill Lawrence (Scrubs), it is the story of a cocky womanizer who becomes friends with a gang of geeky losers. They all learn from each other and form tight bonds in a friendly, warm tale, a few laughs tossed in.

Unfortunately, that’s not very original. Because Lawrence’s name is on this project, I expect it will deepen and make us care about the characters soon enough, but the “Pilot” is not good at all and the second episode, “Pants Buddies,” which aired just after the first, isn’t much better. Don’t get me wrong, Lawrence can write a bond between two men like no other, but most of the rest of what’s going on just feels done and tired.

UNDATEABLE stars Chris D’Elia (Whitney) as Danny, the aforementioned asshole, who is quite likeable. D’Elia is mega talented, and I loved him on Whitney because of his chemistry with the titular character. On UNDATEABLE, he has to be a bit too much of a jerk too much of the time, hard to swallow given his charisma. He’s also undermatched by most of his co-stars, especially the one he interacts with most often.

The ‘straight’ man to this odd couple, Justin (Brent Morin, making his scripted TV debut), doesn’t work nearly as well. He feels very similar to the lead in another recent Lawrence show, Brody on Ground Floor, but without the charm of Skylar Astin, Morin doesn’t quite live up to the role. He’s whiny and boring, and while this sometimes works for the character that everyone else plays off of, I find myself not caring about Justin and being happiest when he is off screen.

Now, UNDATEABLE seems poised to hinge largely on the chemistry between Danny and Justin, and I just feel like it’s very one-sided at this point, D’Elia being much better than Morin. A major thrust of the story will also be how the two come to balance one another out, but given that the growth starts immediately, this doesn’t seem a sustainable concept. Turk and J.D. they are not, and without a compelling friendship here, which the series definitely lacks, I feel like it’s doomed to fail.

What may redeem UNDATEABLE a bit is the supporting cast. Briga Heelan is funny as Maddie, though since she also stars in Ground Floor, further reinforcing the Brody / Justin parallel since Maddie is Justin’s love interest, NBC is not able to list her as a main character, and she will likely only serve a recurring capacity. Bianca Kajilch (Rules of Engagement) is pleasing as Danny’s sister, Leslie, and the two actors work well together. Ron Funches, who plays Shelly, can deliver a line in an excellent, unique way, and steals virtually every scene he’s in. Even Brett (David Fynn), who initially seems bland, starts to add color in “Pants Buddies,” leaving Burski (Rick Glassman) as the one creepy, weak leak, other than Justin.

The dialogue is a bit clunky. Leslie has a line about a “herd of turtles” that feels ham-fisted at the start, and is confirmed to be so when it’s used for a story connection later. Danny’s repeated calling of Justin “baby bird” starts to become forced, and about half of the jokes land flat. The episodes are not helped at all by what I assume is a live audience, whose laughter frequently is much louder than the scenes warrant, becoming a distraction.

Now, Lawrence fans may remember how rocky Cougar Town began, but with a terrific ensemble of players, it quickly grew into a beloved favorite. I concede there could be potential for UNDATEABLE to follow that pattern if it ditches the Danny-teaching-everyone-to-date and everyone-teaching-Danny-to-care premise pretty quickly and expands the roles of Shelly, Brett, Leslie, and Maddie. Failing that, however, I don’t see continuing what’s presented in the first two episodes becoming a show I’d want to tune in to on a weekly basis.

UNDATEABLE airs Thursdays at 9 p.m. ET on NBC.