SLEEPY HOLLOW Needs An "Awakening"

Article originally written for Seat42F.

Last night’s SLEEPY HOLLOW on FOX is titled “Awakening,” and if anyone in the audience is falling asleep, this hour is sure to correct that. Henry (John Noble) and Katrina (Katia Winter) team up to revive those with witchy powers in the area, intent of setting themselves in the middle of a powerful new coven. Ichabod (Tom Mison) and Abbie (Nicole Beharie) are freshly committed to their mission above everything else, but that is sorely tested in this particular situation.

If taken on its own, “Awakening” is pretty great. The drama of a family torn asunder is compelling, Ichabod prepared to stop his wife and son by any means necessary. The stakes are high, and the pacing is quick. For quite a bit of time, the outcome is murky, those with the upper hand shifting back and forth. By the time Henry is killed, a major event for the series, viewers are sure to be emotionally invested and on the edge of their seats. Tossing Abbie and Katrina back in time at the end is icing on the cake, a heck of a cliffhanger for next week’s season finale.

But I can’t take this episode all on its own, and that’s where the problems lie. Having Henry die in the penultimate episode of the season and posturing Katrina as the Big Bad is fine, and certainly fulfills the wishes of many a fan. But starting an all-new, time-traveling adventure with only an hour left is regrettable. Even more than exploring Purgatory at the close of season one, the past in SLEEPY HOLLOW begs for further examination. Abbie should spend some serious time there, and by not allowing her to do so, as I can’t imagine the season finale will end without her getting home, the series is squandering a heck of a third season premise.

Far worse, though, are the inconsistencies in character motivations. Katrina is a big offender, having hinted at changing sides during her captivity with Henry, but then seemingly recommitting to Ichabod and Abbie’s team later. Standing by Henry’s side makes sense, since she is his mother, but we need to see her wrestle with the decision more and understand why she is changing her mind again. Similarly, Henry has almost nothing but distain for both of his parents (Katrina far more deservedly than Ichabod) right up until the moment he decides to work with his mom. I assume he’s only using her, as it makes no sense for him to forgive her, but we don’t see that.

Ichabod is much better handled, as he has been struggling with putting down Henry, and in “Awakening,” finally agrees that it must be done. With the fate of the world at stake, Ichabod would like to save Henry’s soul but realizes he doesn’t have the means or the time to do so. Being OK with Henry dying, yet still running to his side as he slips away, is the perfect way to end Ichabod’s indecision, completely consistent for the role.

After Henry dies, Irving (Orlando Jones) seems to become good again. Sadly, Jenny (Lyndie Greenwood) accepts this far too easily. It’s likely Irving really is cured of Henry’s control over him now that Henry is dead, but Jenny has no way of knowing that. Why does she give in so easily?

Finally, as Abbie is arrested in the past, quite appropriate for the time and circumstances, she asks for Ichabod Crane. This makes absolutely no sense. Abbie is there prior to Ichabod’s hibernation and he would have no knowledge of her, nor his role as a witness. Why not ask for Thomas Jefferson instead, whom is part of the group guiding Ichabod to his destiny? It seems much easier to get someone already mostly in the know to believe her story than a man who has never met her, no matter how close they end up being in the future.

Which brings us to next week’s season, possibly series, finale. What do I want from it? Well, I want Katrina to succeed in saving Henry, at least partially, so John Noble doesn’t have to leave the cast. I also want a reset, possibly with a changed set of circumstances in our present day because of what happens in the past. This will allow the writers to play with the familiar, bring back beloved characters who’ve died, and hopefully clear out a lot of the missteps they’ve made this year in story and character. Above all, I want consistency next year, something SLEEPY HOLLOW sorely lacks in its sophomore run, with a mythology-heavy plot, not case-of-the-week crap. But those are simply my wishes, so we’ll see.

At this time, as a fan, and not a fair-weather one, as I’ve stuck it out and rooted for the best, I almost think the show deserves to be canceled, even if it ends without tying anything up, as it likely will next week. If season three is going to be like season two, I’d rather it not go on. However, if they can get back to what made the end of season one so special, then I’d like to see that.

SLEEPY HOLLOW airs Mondays at 9 p.m. ET on FOX.

"The Return" Of ARROW

Article first published as ARROW Review Season 3 Episode 14 The Return on Seat42F.



This week’s ARROW, “The Return,” flips the setting a bit, with the present day story taking place on Lian Yu, the island Oliver (Stephen Amell) was once marooned on, and the flashbacks happening in Starling City. Oliver and Thea (Willa Holland) are training to take on a villain, but they have no choice in their method when Malcolm (John Barrowman) unleashes a former foe on them. Meanwhile, it turns out Oliver did check in on his loved ones during his “dead” period, even if they didn’t know it.

Doing “The Return” this way greatly limits the screen time of a couple of the main characters, but almost everyone is worked into the hour in some way or another. Better, a number of long-missing players, such as Robert Queen (Jamey Sheridan), Tommy Merlyn (Colin Donnell), and Detective Lucas Hilton (Roger R. Cross), get a chance to pop up. By letting these returning guest stars take screen time away from the main players who logically wouldn’t have a large role in this time and place, “The Return” manages to tell a strong, cohesive story, rather than delivering the flimsy stunt it could have been. Sure, cameos by Felicity (Emily Bett Rickards) and Diggle (David Ramsey) are unnecessary, but they’re small enough not to distract from the main piece, which is a very good installment.

The Starling City of the past is one we’re aware of, but there’s a new twist tossed in by Oliver’s presence. We get to witness, through his eyes, just how bad some of the people in his life were doing, and see how Tommy tries to pull them out. We also get to see Oliver as a murderer again, and while he does so for a noble purpose, it’s more disturbing than I remember it being, highlighting his growth in the present.

Malcolm wishes Oliver would return to his killing form, which is why he unleashes Slade Wilson (Manu Bennett) on the island. Trapped with Thea to protect, Malcolm believes Oliver will have no choice but to kill his old enemy. Not only does Oliver not give in to the temptation, Thea also passes up the kill shot when she has the chance. Slade doesn’t deserve their mercy, but they are too moral to kill him if they don’t have to, which is a good thing for their journey towards being heroes.

Thea faces a major setback when, much to Malcolm’s chagrin, Oliver tells her she is the one that killed Sara. It’s a hard thing for Oliver to say, but Thea knows he’s keeping something from her, and he eventually decides she deserves to know. I get why Oliver makes that decision, because he doesn’t want his sister to distance herself again due to his secrets. But he hasn’t told her everything, including, I’m assuming, murdering her drug dealer, as we see him do in the flashbacks of “The Return.” Secrets have always been a sticking point between the siblings, and even as Oliver makes progress in being open with her, his growth isn’t complete.

It is really nice to see Thea and Oliver together, though. Whatever obstacles lie ahead, they get this time to be brother and sister, working together. Malcolm does many bad things, but helping Thea get to a place where she can be on Oliver’s level is not completely one of them, his methods of doing so aside. Thea justifiably hates Malcolm now, telling him he will never be her father, but that doesn’t erase what he did for her.

Are Oliver, Thea, and Malcolm ready to face Ra’s al Ghul yet? I don’t know. Oliver and Thea manage to take down Slade, but it’s quite a struggle for them to do so. Ra’s is arguably harder to beat than Slade, but they will have Malcolm helping, too. I kind of wish Oliver would ask Team Arrow for help, which would not only give him a better shot at winning, but show how he is developing into a team player, moving further and further away from the lone wolf he begins Arrow as.

The other subplot in “The Return” finds Quentin (Paul Blackthorne) mourning Sara’s death and considering drinking. Laurel (Katie Cassidy) tries to help her dad, but now that the news has set in, he has found anger at Laurel for keeping Sara’s death a secret. Worse, he feels betrayed by the daughter he has always shared a bond with. Their relationship needs much work, and even if most viewers saw it coming, it’s no less painful.

“The Return” is one of my favorite episodes of the season so far, and that’s saying something since ARROW is having a stellar year. The character development is strong and story is surprising. The producers have promised season three will only get crazier from here, and I can’t wait.

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

An Odd ODD COUPLE

Article first published as THE ODD COUPLE Review on Seat42F.

Matthew Perry and Thomas Lennon | THE ODD COUPLE

 

 

Many have said that CBS’s new remake of THE ODD COUPLE, premiering this week, is unnecessary. Those people are absolutely correct. THE ODD COUPLE is a classic play, a classic movie, a classic television show, and is still performed on stages across the country (I, myself, was Felix in high school), so why does it need yet another on-screen version? Well, the key here would be were the series to be updated to reflect modern sensibilities. But it hasn’t been long enough since it was written to need even that.

CBS’s THE ODD COUPLE stars Matthew Perry (Friends, Go On) as Oscar Madison, a sloppy sportscaster who isn’t dealing with the emotional heft of his divorce. When Oscar’s friend, neat freak Felix (Thomas Lennon, Reno 911!, Night at the Museum), is similarly dumped, Felix comes to stay with Oscar. They quickly get on each other’s nerves.

Now, this will sound familiar because the basic story has not been changed in any way. Some of the lines of dialogue in the pilot come straight out of the original source, and the leading characters are essentially the exact same as their earlier counterparts. There is nothing distinguishing about this version, except perhaps that Felix makes vegetarian cuisine.

Everything else about this ODD COUPLE is sanitized and dated. Oscar’s mess is purely surface-level, a clearly staged disaster that is easily cleaned. The dialogue is hokey for 2015, and the story is not edgy enough. This feels like a sitcom from another era, which it is.

The first major mistake The Odd Couple makes is condensing the entire plot of the play into twenty minutes. From the poker night spoiled, to the awkward double date, the pilot of this show rockets right on through everything fans of the play or movie remember, condensed incredibly. This is really bad because the emotional arc between Oscar and Felix is similarly compacted, meaning Felix gets on Oscar’s nerves before he really has time to, and they come to an understanding way too early. I wasn’t a viewer of the old series, which aired long before my time, so I don’t know if they made the same error, but it feels very strange here, as if they should have taken a minimum of two half-hours, or preferably more, to cover this.

Interestingly, it’s actually emotional depth that makes THE ODD COUPLE work, though. Yes, the initial arc is too quick, but I like that Felix is determined to make Oscar face his feelings and Oscar realizes he needs that help. Felix also understands he needs Oscar to help him loosen up. Now that the pilot is out of the way, I’m interested to see where they build their relationship over time, and if they can make it evolve, rather than staying stagnant.

The supporting cast may help with that. Oscar’s assistant, Dani (Yvette Nicole Brown, Community), is only in the early bit of the first episode, so we don’t know what her reaction will be to Felix’s interference, but by her disgusted looks, she should approve. Oscar’s friend, Teddy (Wendell Pierce, Treme), must have his loyalties divided, not enjoying having the poker night ruined, but certainly glad for the assistance in getting Oscar back on track. Felix’s love interest, Emily (Lindsay Sloane, Horrible Bosses), is very much like Felix, so could hinder his growth. Guest star Casey (Leslie Bibb, About a Boy) could do the same for Oscar.

But in order for this to work, a lot must be overcome. Lennon and Perry are hilarious, to be sure, but THE ODD COUPLE makes me wish they’d created original characters instead of trying to use Felix and Oscar, as I’d be curious to see what they could do together without being boxed in by history. As it is, their considerable talents seem wasted, at least for now.

THE ODD COUPLE premieres Thursday at 8:30 p.m. ET on CBS.

GRIMM Not Quite on "Fire"

Article originally written for Seat42F.

This week’s installment on NBC’s GRIMM is called “Trial by Fire.” A Wesen that can turn himself into a living flame burns down a family business, inadvertently killing two employees in the process. Nick (David Giuntoli) and Hank (Russell Hornsby) investigate, turned to an old foe to help them, which causes trouble for one of their closest friends.

What I was expecting from this week’s GRIMM was the showdown between Juliette (Bitsie Tulloch) and Adalind (Claire Coffee). It was highly publicized and long anticipated. And technically, “Trial by Fire” does deliver that – briefly, at the very end. This exemplifies the problem with GRIMM right now, which is that it minimizes the big stories that effect our characters in the favor of case-of-the-weeks.

It’s hard to complain too much about the case in “Trial by Fire.” It not only brings back Orson (Daniel Roebuck), one of the first villains Nick puts away back in the sixth episode of the series, but also deals with some real depth here. Nick realizes that Orson isn’t the only one to blame in the conflict in which two of his brothers were killed by Monroe’s then-girlfriend, now deceased. It’s a re-examination of something the show glossed over awhile ago, which is always a good thing for a program to do down the line.

Even better is how this affects Monroe (Silas Weir Mitchell), whose people have an ancient feud with Orson’s. When Monroe sees Nick and Hank working with Orson, he is furious and storms out, which makes sense, given his history. Monroe doesn’t buy into stereotypes in general, but because this one is backed up by his own experiences, he embraces it. It takes Rosalee (Bree Turner) to make Monroe realize he’s really no better than the hate group that kidnapped him if he can’t get over his prejudice, and with great strength of will, Monroe decides to help out.

How the case ends is really of no importance to GRIMM. Sure, they catch the bad guy who hired the evil Wesen and kill the Wesen himself. But in terms of the mythology of the show, it’s far more important that Monroe sees something about himself that he can use to help grow, Rosalee puts her husband in his place, and Nick helps the viewer look a little further into complexity of the world.

Were a case-of-the-week-centered episode rare, this is the type I’d like to see, the depth making up for how repetitive the story structure is. Because GRIMM has been delivering a lot of these cases, the fact that this is by far the best one in recent memory doesn’t take away the sting of a series squandering its potential. This needs to be the exception, not the rule, for GRIMM.

Back to Juliette and Adalind, “Trial by Fire” finds Viktor (Alexis Denisof) and Adalind still trying to track Adalind’s baby. They get a little info from Renard (Sasha Roiz), whom I guess decides to cooperate the minimum amount to avoid trouble, and then Adalind goes after Juliette to find out more. Not knowing Juliette is now Hexenbiest, Adalind doesn’t know what she’s in for.

I love that Adalind ends up being scared of Juliette. Apparently, Juliette isn’t just a Hexenbiest, but the Hexenbiest, the top dog of her breed. This has many implications that I can’t wait to see explored (though GRIMM will probably only give us small bits of this at a time), and how Adalind will deal with this should be among the most interesting.

The hour ends with Nick finding out Juliette’s secret. I still say it’s completely dumb he doesn’t figure things out himself; he’s supposed to be a great detective, and all the signs are there. But the episode ends before we get his reaction. NBC’s promo is awful, making it seem like Juliette is scared of Nick for some reason, which makes no sense, but still, the promise of the couple coming to terms with this development together is nice.

“Trial by Fire” is a great GRIMM episode that, unfortunately, is part of a larger, disappointing trend. On its own, I have very few complaints. Taken with the rest of the surrounding installments, it doesn’t do anything to fix the mistakes GRIMM is making.

GRIMM airs Fridays at 9 p.m. ET on NBC.

THE WALKING DEAD Are "Them"

Article first published as THE WALKING DEAD Review Season 5 Episode 10 Them on Seat42F.

THE WALKING DEAD on AMC is about a group of survivors who have done everything they needed to in order to survive. This week’s installment, “Them,” brings them to the end of their ropes in this regard. Starving, dehydrated, walking slowly after their vehicles run out of gas, our heroes are still sixty miles from D.C. but they might as well be six hundred. If something doesn’t break soon, they aren’t going to make it.

Things are especially hard for the survivors closest to those who recently departed. Sasha (Sonequa Martin-Green) is angry at her brother’s demise, which happens because of a careless accident, and she doesn’t know how to come to terms with that. Her erratic behavior endangers everyone when she abandons an easy Walker slaughter plan in favor of working out her anger with a knife. If Sasha doesn’t find a way to begin to move on, she may lose her own life or that of yet another person she cares about. Though, she tells Abraham (Michael Cudlitz) that they are not friends, so maybe she doesn’t care about anyone left.

Maggie (Lauren Cohan) has also lost a sibling, and also becomes self-destructive, though not at the expense of the others. Granted, Maggie has been a part of the group longer so maybe she cares more. She isn’t shut down and cold; her compassion won’t let her walk away from a Walker in a trunk, which Glenn (Steven Yeun) helps her dispatch. But reluctant to even sip water, Maggie isn’t doing well.

And then there’s Daryl (Norman Reedus). His instinct is to hide away, hard to do when the group is traveling together. So he keeps making excuses that he’s looking for elusive water. Carol (Melissa McBride) tries to help, telling him he needs to grieve, but like Abraham’s failure with Sasha and Father Gabriel’s (Seth Gilliam) inability to get to Maggie, Daryl rebukes her attempts. That is, until he purposely burns himself with a cigarette, and then the tears come in a very moving scene, which may just give him an advantage over the other two because he’s at least he’s facing his emotions.

These three are the worst, those personally highlighted in “Them,” but they are far from alone. Every character on this show has been similarly featured at one point or another because this life is not one they can stand much longer. Michonne (Danai Gurira) argues last week that they have to settle down to recapture their humanity. She’s right, as our group stumbling along looks almost no different from the Walkers trailing them. This leads Rick (Andrew Lincoln) to give voice to what fans have been saying for years: they, not the zombies, are The Walking Dead.

All of this builds into a fantastical storm, a metaphor for the pent-up feelings they all battle, and the group takes shelter in a barn. When Walkers push against the doors to get in, it’s Maggie, Daryl, and Sasha that first rush to hold off their attackers. Those left at this point want to live, and even when things look grim, the most desperate among them find a way to rally. Like the Walker Maggie finds in the barn who couldn’t turn her gun on herself, they will never give up.

At the end of “Them,” a new face enters their midst: Aaron (Ross Marquand, Down and Dangerous). Aaron has anonymously gifted them water, which they ignore for fear of poison, and now he wants to speak with their leader, whom he asks for by name. Maggie and Sasha, whom he first approaches, are naturally suspicious, and with good reason. This group has faced many a hostile person who disguises themselves as good. With Aaron skulking around and spying on them, how can they trust him?

Yet, that’s exactly what Rick and crew tried to do at Terminus, observe from afar before deciding to approach. It’s smart tactics, and doesn’t necessarily condemn Aaron as evil. If the series follows the books (SPOILER – though the series often makes different choices, so this may not really be a spoiler), Aaron is the catalyst that finally lets them flip from pure survival to rebuilding civilization, as well as basically doubles the cast size. He’s the start of the second half of the story as told so far; he’s a desperately needed savior. Will the Aaron of screen be the same, and how can they learn to trust him?

“Them” is a fascinating portrait of people on the edge, highlighting some of the themes often seen in the show in a more extreme, while still quiet, fashion. Having the weather match the mood is pleasantly artistic, and there are excellent performances from a number of cast members, including Gilliam, whose priest burns his collar. I find no flaw in the hour, and am stoked for the next chapter of the story.

The Walking Dead airs Sundays at 9 p.m. ET on AMC.

GLEE "Transitioning" Towards Finale

Article first published as TV Review: 'Glee' - 'Transitioning' on Blogcritics.

FOX’s Glee begins “Transitioning” to the endgame  as it reaches the halfway point of its final season this week. Coach Bieste (Dot-Marie Jones) returns to McKinley as a man, where he is protected by Principal Sylvester (Jane Lynch) and his players. But Will’s (Matthew Morrison) new glee club doesn’t share the same spirit of tolerance and compassion, going after Bieste to psych out the New Directions. This, while Rachel (Lea Michelle) is mourning the loss of her childhood home and Blaine (Darren Criss) is wondering if his future should bring him back to Kurt (Chris Colfer).

I stated in a recent review that it makes no sense, given the past history of the character, that Bieste would have gender reassignment surgery. That still holds true. However, the emotional execution of the story in “Transitioning” and the powerful performance by Jones almost make one forget that, feeling the character’s pain, and seeing Glee highlight yet another group of people are misunderstood and deserve acceptance.

When Glee starts down this route with Bieste, my immediate thought is, “Why isn’t Unique (Alex Newell) the one going through this?” It’s never stated on the show, but my guess is that a high schooler getting the surgery likely crosses some ethical lines and Unique isn’t yet a candidate for such a transition. Thankfully, Unique does return this week to offer emotional support, her first appearance this season, and organizes a three-hundred member transgender choir to make Bieste feel like he belongs. It’s touching, and despite a weird locker room scene between Bieste and Unique, by and large works.

An ongoing story this season is Will’s uneasy adjustment to Vocal Adrenaline. The group is led by Clint (singer Max George), a jerk of a student who doesn’t like or respect his coach. Will gets fed up and decides to quit when trying to reach the kids doesn’t work. It’s a tough decision that he makes with his supportive wife, Emma (Jayma Mays, finally back!), realizing he will never fit in to the culture of the school that pays him so well. But it’s satisfying when Will agrees to return to McKinley as an unpaid mentor who will surely get back his old, beloved job when Rachel inevitably returns to New York at year’s end.

Glee‘s handling of Vocal Adrenaline has been uneven, much like the rest of the show. They are introduced as villains originally, but evolve into something much better over time. While they do eventually run Unique off, there is a period where Unique is their lead. It’s regrettable to see this backslide, and it sucks that a teacher as dedicated as Will would give up on the kids. But without administrative support or the control needed to make real changes, it’s understandable that Will leaves and this group is firmly a two-dimensional bad guy at the end.

Rachel’s “Transitioning” involves giving up her childhood home, which affects her because it’s where she retreats after her early career failures. It’s a safe refuge, so while it may be a bit immature of Rachel to cling to it, I can also see why she does. Letting go of the place is part of the show’s final theme, moving on to the next stage of life. Sam (Chord Overstreet), Mercedes (Amber Riley), Kurt, Blaine, and the kids help Rachel get through this in a journey the audience is invested in as well.

It is weird that the alumni party with the students, though since none are actual faculty, merely outsiders serving as mentors, and Glee has always promoted student-teacher friendships, it kind of works. I’m glad the bar is closed in Rachel’s basement, despite how the New Directions used to drink down, there because that would have been highly inappropriate for Rachel to give kids booze. It’s also weird that Rachel and Sam are becoming a couple and that Kitty (Becca Tobin) is grouped with the alumni in helping Rachel. However, these inconsistencies, the worst parts of this hour, are overshadowed by all of the moving stories unfolding, so it doesn’t ruin “Transitioning.”

The one thing that really bothers me is that Rachel almost does an Ohio singers-themed lesson, which is abandoned. Despite being set in the Buckeye state, Glee gets almost nothing about Ohio right, and it would have been gratifying if the writers finally did some research and paid tribute to the setting. Sadly, this will not happen, though I did somewhat enjoy Glee poking fun at some of its own weaknesses around this part of the episode, a tongue in cheek acknowledgment it hasn’t done Ohio justice.

In the final subplot, Blaine kisses Kurt. But after Blaine and Karofsky (Max Adler) break up in a terrifically done scene, Blaine finds out Kurt is still dating Walter (Harry Hamlin), and so unavailable.

This is only temporary, of course; Kurt and Blaine will end up together. Once Cory Monteith, and, by extension, his character, Finn, passes away, Kurt and Blaine replace Rachel and Finn as the show’s favorite twosome. Santana and Brittany are awesome and I’ll always love them, but Klaine is who most viewers are particularly invested in. Walter is merely the last obstacle to be overcome, and hopefully he will be at least half as understanding as Karofsky of the situation.

By and large, the music in “Transitioning” is good, too. Blaine and Kurt’s “Somebody Loves You” isn’t their best work, but it’s serviceable. Mercedes and Roderick (Noah Guthrie) are a perfect pairing in “All About That Bass.” Sam and Rachel make me forget how weird their coupling is when they sing “Time After Time.” Vocal Adrenaline, assholes that they are, rock “You Give Love a Bad Name.” And, of course, Will and Unique’s “Same Love” and the trangender choir’s “I Know Where I’ve Been” are incredibly sweet, powerful stuff.

There have been many times in the past few year’s where I have regretted taking on Glee as a weekly column (you can find a review of every single episode of Glee ever by clicking the “Gleekonomics” link at the top of this page). That regret is melting away as Glee begins to nail its final season. The story isn’t air-tight, nor has it ever been, but the ensemble usually excels at emotional stuff, and there is plenty of that in “Transitioning” and season six. A couple of missteps early in the year worry me, but if the last six installments are anything like this one, Glee will end strong.

Glee airs Fridays at 9 p.m. ET on FOX.

Who's the BOSCH

Article first published as BOSCH Review on Seat42F.

Amazon’s new drama pilot, their first ordered to series, BOSCH, begs the question: do we need another police procedural? True, BOSCH is also a character study of a tormented man who is on trial for killing an unarmed suspect, so he’s not solely focused on whatever new cases he gets into (against orders, of course), but none of this is very original or groundbreaking. Perhaps the title character in this show takes a things a step further than his broadcast network peers, the writers digging a little deeper, but the first hour feels like yet another retread on very familiar ground.

The thing is, I just can’t jump on the Bosch band wagon. When Luther, Elementary, House, and so many other shows have given us a very similar leading man, there just isn’t enough here that feels fresh or new. Sure, there are cosmetic differences, of course, the quality of this program is at least as high, if not higher, than those others I’ve named. But at the central core, Bosch is lacking originality. And, like nearly half of the shows on television today, it takes place in L.A., a totally uninspired setting.

It’s possible to stay in the crime genre and make something fresh. HBO’s True Detective last year proves that. But BOSH isn’t True Detective, so it fails on an essential level.

The best thing I can say about BOSCH is that it casts Titus Welliver (Lost, Argo, Sons on Anarchy) in the main part. Welliver definitely deserves leading man status, and he easily handles the material, being allowed to show his depth and range in a way he hasn’t yet. From his buried pain over what he did, to the face he has to put forward both for the sake of his profession and so that he can try to live with himself, he’s not a shallow man. Bosch is no House; he is quite likeable. Circumstances have brought him to where he is, not mistakes he made with foreknowledge.

He is joined by an excellent ensemble. The other major characters include Scott Wilson (The Walking Dead), Annie Wesching (24), Lance Reddrick (Fringe), Amy Aquino (Being Human), Abraham Benrubi (ER), Amy Price-Francis (King), Alan Rosenberg (Cybill, Luck), Valerie Cruz (Off the Map), and Jamie Hector (The Wire). So many familiar names, and all of them memorable. One cannot complain about the casting.

What will set BOSCH apart a bit, for those who love the genre so much that they haven’t yet grown tired of it yet, is the dual narratives. Because Bosch is facing his own challenges while working at his job, and his personal story probably won’t only pop up a couple of times per season, as it would on CBS, there’s something interesting in every episode. It’s not enough for me, but it will likely be enough for many viewers.

So, at the end of the day, I don’t think it matters if BOSCH has smart writing, convincing acting, and well-developed characters. All of those things are true, and the series definitely is near the top of its field, but the market is too saturated. With Amazon just trying to break into scripted drama, it may have been a safe path to choose something tried and true, but it’s also a boring one. We didn’t need another show like BOSCH, and while it may make Amazon seem like a legitimate contender in the original content market, it also signals they may not forge their own identity, which is sorely needed to set them apart.

Bosch’s first season is available now on Amazon.com.

THE SLAP Stings

Article first published as THE SLAP Review on Seat42F.

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

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

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

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

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

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

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

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

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

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

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