No "Mercy" in the GAME OF THRONES

Article originally written for Seat42F.

Fans of GAME OF THRONES are used to bloodbaths, but rarely has a season finale on the show been as bloody as what HBO aired last night. In “Mother’s Mercy,” at least two characters who are still alive in the books meet their fate, and one of the most central figures lies bleeding to death. With a number of other cliffhangers and disturbing moments, season five ends with far less sense of closure than most past years have.

The biggest thing in “Mother’s Mercy” is Jon Snow (Kit Harington) being stabbed a la Caesar, with Olly (Brenock O’Connor) providing the “E tu Brute” moment. It makes sense for this band of unruly thugs to betray Jon, who is making wise but unpopular decisions, not realizing how vulnerable this will leave them. I’m surprised to see Alliser Thorne (Owen Teale) participate, as he seems more honorable than most, but what happens to Jon is not unexpected, the most noble in GAME OF THRONEs always paying a steep price from people who aren’t smart enough to understand.

I don’t think Jon Snow is dead. Too much has been made over the mystery of his parentage for him to go now, without any resolution. Were Jon dead, then it wouldn’t matter who his mother or father are, and so the series has wasted time bringing them up repeatedly and allowing viewers to speculate over it. It’s possible the writers were misleading in the past by doing so, but I don’t believe that to be the case.

If I’m wrong and Jon does perish, there are two possibilities that might keep him around. One, Melisandre (Carice van Houten) could bring him back. We’ve already seen one who worships the Lord of Light do so, so it would not be unprecedented, though it would surely remove the importance of Jon’s parentage because he wouldn’t fully be Jon any more. Two, Jon could awake as a White Walker, giving us a peek into that world more fully. That would be interesting, but again, negate the affect his parentage would have, and so I find both possibilities intriguing but unlikely.

Stannis (Stephen Dillane) is probably dead. As much as it sucks to see Brienne (Gwendoline Christie) kill a defenseless, wounded man, she sees it as her duty to execute him for his unforgiveable crimes, so her actions make sense. It’s a lackluster end to the stubborn, would-be king, but one that feels deserved after the events of last week. I won’t be sad to see Stannis go.

This leaves the Boltons as the unchallenged leaders of the North. Even with Sansa (Sophie Turner) and Theon (Alfie Allen) unrealistically jumping off a wall into a not-nearly-high enough snowbank and escaping, there isn’t an army to challenge the Boltons’ claim on Winterfell. Sansa has already been married to Ramsay (Iwan Rheon) and the marriage consummated, so she personally doesn’t need to be there for Ramsay to claim ruling rights. A White Walker invasion may be the best one can hope for to wipe out those nasty Boltons.

Myrcella (Nell Tiger Free) is likely dead, too, her heartbreaking death in her father’s arms finally proving the danger that Ellaria (Indira Varma) and the Sand Snakes pose. They have basically declared war on King’s Landing, defying their own leader to do so.

Not only is Jaime (Nikolaj Coster-Waldau) in no position to turn around and exact revenge, much as he might want to, but King’s Landing isn’t ready to respond either, their own leadership sorely lacking. Cersei (Lena Headey) loses any little respect the people have for her during her naked walk of shame (another Emmy-worthy performance from Headey, who just had her best season yet), and King Tommen (Dean-Charles Chapman) is helpless to even control the faithful in his own city, let alone make outside war. It is likely Myrcella’s death will go unchallenged, possibly emboldening Dorne to make a larger play, assuming Ellaria dispatches her king as readily as she does Myrcella, a distinct possibility.

“Mother’s Mercy” leaves the Seven Kingdoms riper for invaders than ever. Except, who will invade them? Daenerys (Emilia Clarke) is no position to do so, away from her people, surrounded by Dothraki. She’d have to get Mereen under control first, anyway.

Thankfully, Tyrion (Peter Dinklage) and Varys (Conleth Hill) are reunited in Mereen. If anyone can fix the issues that place is going through, it’s them, both cunning and resourceful. By the time Daenerys gets home, her army might be ready to go. Which would make sense, since there are a mere two seasons of GAME OF THRONES left, and given the geographical distances and multitude of players, it takes awhile for anything significant to happen on the show.

We’re much closer to the end than the beginning, and it feels like it. Practically everyone with power has been removed from it, and those squabbling over the scraps are not holding onto their positions very solidly. The stage has been set for someone to come through and finally reunite the land, as well as save it from the White Walkers. I can’t wait to see how that will play out. In the meantime, the journey to get to that big ending is an entertaining one, and with episodes like “Mother’s Mercy,” which surprise and impress, I’m certainly not complaining about taking time to get there.

Except for how angry I am that the show has departed from the book series so dramatically after four years of sticking pretty close to it. That’s annoying, as is that this episode likely spoils a couple of deaths from the upcoming sixth book. But taken on its own, the show remains terrific.

GAME OF THORONES is already working on season six, so it will return next year to HBO.

DARK MATTER Lightweight

Article originally published as DARK MATTER Review on Seat42F.

SyFy’s DARK MATTER, based on the graphic novel, begins this week feeling very much like a stand-alone episode of a science fiction anthology series. Six people wake up on a generic damaged spaceship with no memory of who they are and what they are doing. Working together, somewhat, they attempt to piece together their identities and mission, which may not be as good an idea as that sounds.

As we first meet the cast, self-named for the order in which they woke up, they seem pretty easy to pigeonhole. There’s One (Marc Bendavid, Hard Rock Medical), the pretty-boy peacemaker. Two (Canadian theatre star Melissa O’Neil) is a natural, fair-minded leader. Three (Anthony Lemke, Good Witch) is the angry one. Four (Alex Mallari Jr., True Justice) has some mad martial arts skills. Five (Jodelle Ferland, The Cabin in the Woods) is a weird, super-intelligent kid. Six (Roger R. Cross, Continuum, 24) is a gentle-leaning giant.

As they begin to figure out their personalities, if not their backstories, muscle memory taking over where they lack, they end up being a pretty bland group. Cross is the only very recognizable member of the ensemble, but in this case, going with unknowns does not pay off. It feels like a cast of second-stringers making a low-budget program that isn’t likely to garner a sizeable American audience.

The most impressive face on screen is that of Zoie Palmer (Lost Girl), who plays The Android that can connect directly with the ship. Aside from a few juicy bits for Ferland, Palmer is the only one who gets to show range and prove why she deserves to be a main player in this show. She brings a mix of coldness and sly humor that make her stand out in an otherwise mediocre group.

The story at the heart of the DARK MATTER pilot doesn’t help matters much. As I mentioned at the start, this feels like an anthology installment, basically a short story with not much momentum to keep it going. The ‘twist’ at the end of the episode could have been tweaked only slightly and this would have been a vaguely interesting, not very memorable, stand-alone hour. To keep this plot going for any length of time, the mystery at the heart of the piece needs to be grand and meaningful. Neither of those adjectives seem to apply here.

The best thing that DARK MATTER has going for it is that it’s on the SyFy channel. While low-quality shows don’t last long on the network (though high-quality ones don’t fare too much better), it is in the right place to find the small segment of the viewership that this will appeal to. Those attracted by the simple narrative, one familiar to the genre, may be interested in this example of it. Plus, given all the cheesy-on-purpose TV movies that will air around this, DARK MATTER may look good by comparison because at least it has a story that seems to make sense and there are no awful, gory effects.

Could DARK MATTER have been better? Absolutely. If it boasted a cast on the level of, say, Firefly, with its magnetic personalities and a deep mythology behind the story, the construct could remain the same and it would improve it a lot. What that means to me is that DARK MATTER itself is not an inherently bad idea, since I see a way it could be really good, but just comes across as poorly executed. That’s a shame, because no one involved seems to be doing a bad job; there’s just an overall blandness to most aspects of the production that cannot be overcome.

DARK MATTER premieres Friday, June 12^th at 10 p.m. ET.

"Dragons" "Dance" in the GAME OF THRONES

Article originally written for Seat42F.

Given that HBO’s GAME OF THRONES has a penchant for making the penultimate episode of every season big (think: Ned Stark’s execution, The Red Wedding, The Battle of Blackwater), and given that last night’s episode is titled “The Dance of Dragons,” many assumed both splash and dragons would be served. Those people are likely not disappointed, then, with what GAME OF THRONES delivered.

The biggest thing by far in “The Dance of Dragons” is the sequence at the re-opened Mereen fighting pits. It starts off simple enough, with some charged interplay between Daenerys’ (Emilia Clarke) men, Daario (Michiel Huisman), Hizdahr zo Loraq (Joel Fry), and Tyrion (Peter Dinklage). Daario and Hizdahr both want Daenerys’ heart, and Hizdahr and Tyrion both seek to advise her. Well, what Hizdahr really wants is likely to depose the queen and rule himself, but until that happens, things still don’t look like smooth sailing for this all-male council.

All of this goes on as the fighting happens in front of the dais, which is interesting. Brutality is happening right in front of them, but it’s at least partially ignored because it doesn’t directly concern this group. They can talk about it on an intellectual level, but not being in the pits themselves, they don’t have that person stake. This highlights the detachment of leadership, and probably why Daenerys is having trouble controlling her people.

Jorah (Iain Glen) reappears in the pit, and that does make things more personal, at least for Daenerys. I’m not sure why The Bear returns again, having twice been cast out. Does he think he will get a different reaction from Daenerys this time? I can’t see any reason why he would think so, nor does he at the start.

But then the Sons of the Harpy attack, and nothing is certain any more. Now the danger really does threaten our small contingent. Hizdahr, the one of the attacker’s own who sits with the despised ruler, dies first. Jorah re-earns a place by Daenerys’ side by defending her, which she accepts when she takes his hand. It’s a smartly staged attack, with only a few Unsullied around and our heroes trapped in a confined space. This coup is bloody and intense and viewers will not soon forget neither the unexpected way in which it happens, nor the desperation as Jorah, Tyrion, Daario, Missandei (Nathalie Emmanuel) and Daenerys cower in the center of the pit, becoming part of the fighting action themselves, no longer separate and above it. It’s a powerful image.

Then, Drogon appears. The best dragon of Daenerys’ trio, he comes when his mistress needs him, barbequing her would-be assassins. He’s not yet completely full grown, and spears do threaten him, but he startles the bad guys enough to rescue Daenerys and fly away. It’s slightly deus ex machina, but it’s also a pay-off for a long-simmering story, and a good way to reawaken the dormant ‘mother of dragons’ plot thread.

Does Daenerys not care about her fellows? Perhaps in the moment she can be forgiven for being so focused on her pet, a truly mesmerizing sight. But when she flies off, she leaves the others in the pit. I think, given the confusion and chaos the dragon causes, they can escape, but how does she know that? Would she really be so heartless as to leave the others who have protected her so bravely to fend for themselves? This is the one thing that seems out of step in this portion of “The Dance of Dragons.”

While Mereen is the setting of a large portion of the hour, it is not the only place where things are happening, of course. The second most affecting bit comes when Stannis (Stephen Dillance) gives in to Melisandre’s (Carice van Houten) request to sacrifice his daughter, Shireen (Kerry Ingram), burning her alive, which thankfully is not shown in graphic detail. Now, according to Melisandre, this will guarantee Stannis’ progress in taking control of the Seven Kingdoms.

I don’t think Stannis’ actions can just be chalked up to desperation. True, his army is decimated, the stores burned, and he’s out of options, which does lead him to consider the one he wouldn’t before, killing his beloved daughter. But I don’t see malice or regret in his eyes when he talks to Shireen beforehand, and he actually does a kindness when he gets Davos (Liam Cunningham) out of the way, as Davos would have died defending the girl. Instead, Stannis really believes he deserves the Iron Throne and must do whatever he can to get it. There’s no anger or grief or selfishness in his face; this just is, and he accepts it as the heavy price he must pay. This will likely make most viewers, myself included, turn against his ‘just’ cause, as he’s stubborn to a tragic fault.

In Bravos, Arya (Maisie Williams) also does what she thinks she must, abandoning the mission Jaqen (Tom Wlaschiha) gives her when she spots Meryn Trant (Ian Beattie), one of those she’s sworn vengeance against for what happened to her family. She follows him around instead of killing the heartless businessman, who has earned his own death.

There’s no denying Trant deserves death, especially when his whorehouse proclivities are exposed, but I don’t think Arya is ready to go after this man head-on. She’s still very early in her training, and clearly her motives are purely personal, making her emotional. Plus, if she goes against Jaqen’s orders now, and I suspect Jaqen already knows what Arya is considering and is waiting to see what will happen, she’s likely to be kicked out the program. Then what will she do? Is being a Faceless Man just something she tests out, or is it her calling? Would she be allowed to leave the church without penalty?

Other great moments include Jaime’s enlightening discussion with Doran Martell (Alexander Siddig), which shows us Doran’s character, Bronn’s (Jerome Flynn) penalty being paid for striking a prince, and the tense few moments until Alliser (Owen Teale) opens the gate to Jon Snow (Kit Harington) and the Wildlings. “The Dance of Dragons” may be a big episode, but there are plenty left in these other sections for next week’s season finale, and many rich characters to keep playing with. If I had to hazard a guess, I’d say Jon will be the one to watch next week, and maybe Cersei, who sits this episode out.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

SENSE8 Insane

Article originally published as SENSE8 Review on Seat42F.

Netflix has a new drama by The Wachowskis (The Matrix) premiering this week. Entitled SENSE8, the story is truly global, following eight individuals in seven countries who are connected to one another somehow, being able to feel what the others feel and experience what they experience. There is a violent act that seems to somehow figure into forging their connection, and presumably there is a villain out there who will endanger them.

If that sounds murky, that is appropriate because SENSE8 is not clear in its intentions right out of the gate. Throughout the first hour, a LOT of characters are introduced, and each have their own plot lines threading the pilot, so there’s much to keep track of. This is not the type of show one can casually watch while cooking dinner; it takes total concentration and engagement to even begin to sort out who everyone is and what the settings are.

The central eight are: Will Gorski (Brian J. Smith, SGU Stargate Universe), a police officer in Chicago; Jamie Clayton (Nomi Marks, Transform Me), a transgender political blogger living in San Francisco with her girlfriend, Amanita (Freema Agyeman, Doctor Who); Riley (Tuppence Middleton, Spies of Warsaw), an Icelandic, drug-enjoying DJ who has immigrated to London; Wolfgang (Max Riemelt, In Face of the Crime), a locksmith-turned-safecracker in Berlin; Lito (Miguel Angel Silvestre, Velvet), a closeted gay actor in Mexico City; Sun (Bae Doona, Cloud Atlas), a businesswoman who has gotten herself into professional trouble in Seoul; Kala (Tina Desai, The Best Exotic Marigold Hotel), a woman considering marrying a man she doesn’t love in Mumbai; and Capheus (Aml Ameen, Harry’s Law), a failing bus driver in Nairobi.

As you can see, it is quite an international cast, much more so than most “international” ensembles that are at least half American. Each of these individuals very much inhabits a different part of the world and exists within a different culture, which should make their connection even more jarring than it already is. Though, for some reason, the show chooses to use English instead of subtitling, which might make it slightly more accessible, but feels a little weird.

SENSE8 doesn’t try to bring the group together geographically. In fact, the pilot barely brings them together in the story at all, with a few flashes of what will become their new state, but mostly focusing on their lives as they are now. What this means is, SENSE8 is telling many different stories at once, and how they will eventually all be brought into the same orbit remains quite a mystery.

The catalyst for the series involves a woman named Angel (Daryl Hannah, Kill Bill, Steel Magnolias), trapped between her love, Jonas (Naveen Andrews, Lost), and the villainous Mr. Whispers (Terrence Mann, The Dresden Files), but this thread seems just as unconnected as the others at the start, so it’s hard to tell exactly how Angel will play a part in the other eight’s lives, with the end of hour one finally giving us a little info in that regard, but not much.

I can’t say that I enjoyed the first episode of SENSE8 all that much. It took me a good forty-five minutes of confusion and stress to even start to get a handle on what is happening. Generally, that’s not how I like to begin a series. I see that what is going on here is very complicated and I’m not sure there’s an easier way to introduce so much, but at the same time, so few of the characters start out with a compelling narrative that the barrier to entry is great. There are scenes later in the episode, especially for Jamie and Wolfgang, that get one interested and invested. But SENSE8 would work better if it began in that manner and then showed us more of their average lives, providing a more immediate way in.

Because of this, I’m not sure if I’m going to keep watching or not. The production is obviously very high-value, with a variety of interesting places (those with 4K televisions should appreciate this even more), and the acting seems sincere and solid. I certainly would not not recommend it. The question is, will the investment required, much more than your average TV show, be worth the payoff? That, I cannot tell you at this time.

SENSE8’s twelve-episode first season will be available on Netflix this Friday.

A STITCHERS In Time

Article originally published as STITCHERS Review on Seat42F.

STITCHERS - KYLE HARRIS, EMMA ISHTA (ABC Family/Adam Taylor)

ABC Family’s newest show, STITCHERS, is a bit of a departure for them. A young woman with no awareness of time is recruited by a shady organization to be “stitched” into the memories of dead people to try to solve their murders or learn secrets that died with them. Surrounded by a group of intelligent geeks, the team is government-sanctioned, but deeply buried. Doesn’t sound like the typical, soapy fare for this channel, does it?

Yet, there is something so inherently familiar about Stitchers that I found myself googling the name to see if it was a remake of a program that aired a decade or two ago. I didn’t find anything, but perhaps these feelings come because the title is similar enough to Sliders, the basic structure of the cast is one oft-repeated in (not just sci-fi) procedurals, and the behavior and look of the lead character begs comparison to SyFy’s Continuum.

Despite the feeling that Stitchers may not be entirely original, I am enjoying it immensely, and not just because it exceeds my expectations of what this network can put out, being the best program they’ve aired since Kyle XY was canceled. The pacing is quick, the dialogue is fun, and while not going too deep, the performances are serviceable for the product. I can easily see myself watching this for at least a season.

STITCHERS stars former model Emma Ishta as Kirsten. Kirsten has trouble feeling emotions because she can’t tell when time is passing, giving no context to her life. This means she doesn’t know if she’s been in a room one minute, one hour, or one day, so she can’t make sense of how long she’s known a person. She is highly intelligent, so she uses math, logic, and clues to build herself frameworks of reference, but one is left wondering how she functions in society at all. Someone with any fewer brains could not.

Ishta is fantastic as Kirsten, though I don’t yet know if that’s because she’s a great actress or this role is just perfectly suited for her. She’s cold and hot at the same time, being stand-offish, but not unsympathetic, and stuffed into a skintight cat suit. To STITCHER’s credit, Kirsten doesn’t appreciate the get up and acknowledges this fact, even if her new team insist there’s a scientific reason behind it, poking fun at an old trope. Sexuality is present in this show, as it is in so many others, but it’s also part of the story, not just set dressing, which feels like a slight step up.

In the job, the boss is Maggie Baptiste (Salli Richardson-Whitfield, Eureka), who is a very familiar type, being no-nonsense towards her team as she runs interference with the higher ups, straddling both worlds. Second in command seems to be Cameron Goodkin (Kyle Harris. The Carrie Diaries), who takes Kirsten under his wing. The head geek of those circling, mostly in the background, is Linus (Ritesh Rajan, The Last Airbender), who is a bit creepy in a lecherous sort of manner at the onset.

One could argue this ensemble echoes broadcast network procedurals, and there’s some truth to that. Comparing STITCHERS to say, Castle, Maggie is very much like Captain Gates, Cameron is a Beckett-type, and Linus is a combo of Ryan and Esposito, mostly Ryan, with Kirsten being the “out-there” type, even if she’s not much like Richard Castle on the surface.

What this means is, on paper, I shouldn’t like STITCHERS, as if you follow my reviews, I frequently complain about such repetitive formulas. Somehow, though, there’s a charm to this one, leaning heavily enough into its sci-fi genre to give it a pass, at least in the short-term. Should it be a total case-of-the-week, my love won’t last, but the story teed up for the second outing gives me hope that won’t be the case.

Also lending to its geek credit, STITCHERS has cast Allison Scagliotti as Kirsten’s roommate and classmate, Camille. It isn’t immediately apparent what role the Warehouse 13 star will serve in the show, but even if it’s just as someone to give Kirsten conflict at home, she works. My wish is that it will be more than that, Camille eventually stitched into the larger fabric. Yes, I know what I did there and I don’t apologize for it.

As you can probably tell, I like STITCHERS, and I recommend you give it a shot when it premieres this Tuesday at 9 p.m. ET on ABC Family. (The pilot is also already available to the public at: abcfamily.go.com/shows/stitchers)

Don't Listen to THE WHISPERS

Article first published as THE WHISPERS Review on Seat42F.

A broadcast television series is either a procedural, where the story follows a repetitive, mostly self-contained structure every week (think NCIS, CSI, Law & Order, etc.), or a serial, an ongoing narrative where things change. Procedurals tends to get more viewers in the short-term, but serials have longer shelf lives and more passionate followers. A program can’t be both, right? Well, ABC’s new drama THE WHISPERS tries to be.

THE WHISPERS begins with a little girl, Harper (Abby Ryder Fortson, Transparent), and her mother, Amanda (Autumn Reeser, No Ordinary Family). Harper has a new imaginary friend, which Amanda thinks is cute. But viewers quickly learn that this unseen being may not quite be as imaginary as Amanda believes, and the game the ‘whisperer,’ Drill, is playing is a dark one. It’s a suspenseful, interesting opening with some ripe possibilities.

From there we meet the real stars of THE WHISPERS, Claire Bennigan (Lily Rabe, American Horror Story) and Jessup Rollins (Derek Webster, Harry’s Law), federal agents tasked with investigating strange cases involving kids by their boss (Alan Ruck, Spin City, Ferris Bueller’s Day Off). This is the component that feels much more procedural. Some of what Claire and Jessup look into is very case-of-the-week type stuff, and while there is definitely a larger mystery at play, it feels like much of the screen time will be taken up by crime solving.

This is a disappointment because there many, many crime shows on television. I don’t know if it’s just easier to justify any plot that involves putting together pieces of a puzzle when there are law enforcement agencies on the scene, but television cannot seem to get enough of cops, the CIA, and the FBI. It’s frustrating because THE WHISPERS seems likely a very compelling program if it would fully commit to its conceit, but holds itself back by giving into these too-familiar scenarios.

Which is not to say that the whole first hour is disappointing. There’s definitely something going on with Claire’s family, which includes her deaf son Henry (Kyle Harrison Breitkopf, Being Human), as well as Lena Lawrence (Kristen Connolly, House of Cards), her husband, Wes (Barry Sloane, Revenge), who is on a mission across the world, and their daughter, Minx (Kylie Rogers, Shooter). These people will contribute to the more interesting part of THE WHISPERS. The question is how much screen time will be sent with them, versus Claire and Jessup working cases. Hopefully, a lot.

There’s one more main character whom I haven’t mentioned and that’s because his name is not revealed for much of the pilot (though it is on the show’s website, which I would not recommend checking because it spoils a twist I probably should have seen coming but didn’t). Played by Milo Ventimiglia (Heroes, Gilmore Girls), he is likely the key that will clue the other leads in on what is actually happening, and I’m curious to see where the show is going with him.

The tone of the show isn’t one of super high quality. It definitely feels like a broadcast show, albeit one that would normally air during the regular season, not the summer months. The creepy tension underlying the initial hour is a bit forced and a bit tame, with death even being downplayed a bit to make it more suitable for general audiences. I wouldn’t let me young children stay up and watch it, but this doesn’t come anywhere close to as scary as what cable can do. That, like the procedural part, neuters it a bit.

Still, as far as broadcast network summer fare, THE WHISPERS is the best we’re likely to get this year. It’s not a bad show, but that’s still a little regrettable when there are so many better offerings off of the Big Four, highlighting how far the old guard has fallen in the modern era. The likes of Rabe and Connolly can and should be doing better.

Oh, and Reeser is regrettably wasted here, a travesty that bothers me for the first few acts.

THE WHISPERS premieres Monday at 10 p.m. ET on ABC.

"Emotional Consequences" of Watching COMMUNITY

Article originally published as TV Review: 'Community' Series Finale - "Emotional Consequences of Broadcast Television" on Blogcritics.

Community wraps up its sixth (and probably final) season today with “Emotional Consequences of Broadcast Television” on Yahoo! Screen, posted now. The school year has ended and Elroy (Keith David) reveals he has a job elsewhere, leaving Greendale behind, maybe for good. His departure, combined with other early reveals, sparks other members of the Save Greendale Committee, especially Jeff (Joel McHale), to wonder if their time together is over or close to it.

I absolutely adore Community, but I’m not sad if this is their final season. I will miss it ferociously, but it’s had a very good, almost entirely solid (*cough* season four *cough*) run, and it has fulfilled the ‘six seasons’ part of its popular hashtag, #sixseasonsandamovie. To me, that feels like a very natural end, especially in the way this episode is presented.

Jeff is the one who is most against the group forming in the beginning, but he’s also the one who needs it the most. While others have lives outside of their troupe, evidenced by how, one by one, they’ve all just faded away, Jeff does not. He is in a terrible place when he comes to Greendale, a broken, directionless man. As he says in “Emotional Consequences of Broadcast Television,” these people literally saved his life.

It’s not natural for most people to remain stagnant, though, which has been a major theme of season six. As much as Jeff might want to hold the status quo in stasis, no one else spends their life at a community college in this manner, nor do they want to. They came to Greendale to improve themselves and move on. That’s the fate of all of them, and by the end of this episode, Annie (Alison Brie) is heading to an internship in New York and Abed (Danny Pudi) has a job in L.A., removing two more of the original crew.

Much of this half hour is given over to each individual, Annie, Abed, Jeff, Britta (Gillian Jacobs), Chang (Ken Jeong), Frankie (Paget Brewster), and The Dean (Jim Rash), relating their pitch for a seventh “season,” using Abed’s frame of reference. This results in some fun cut-scenes that highlight the personalities of each member, as well as gives us another glimpse of Shirley (Yvette Nicole Brown), who departed at the start of the season. Jeff is the only one, though, that seems truly bothered that this is merely a thought exercise and not what is going to happen.

Eventually, Jeff does have to be happy for his friends and accept that they are leaving. Even Annie, whom he briefly wonders if he should marry and start a family with, even though they couldn’t make their relationship work in the past, isn’t destined to stay by Jeff’s side, though they have a wonderful goodbye kiss. That should satisfy most fans, even the shippers.

As “Emotional Consequences of Broadcast Television” closes, the remaining five share a toast. It will never be the same, and those left behind are the ones that haven’t grown enough to leave yet. But eventually they might, following in their friends’ footsteps. It’s this hopeful note, combined with the knowledge that Greendale is not inescapable, that gives peace of mind to the viewer.

Oh, and did I mention the episode was funny and meta, too, serving Community well? From finally finding out who the ass crack bandit is, to Chang farting through the fourth ‘cool,’ to Jeff’s glimpse of being at the study table with a bunch of the second-string recurring cast members, and a black screen that said #AndAMovie, there were answers and references left and right. We may not have figured out Frankie’s sexuality, but you gotta leave something for the film, which she deserves to be a part of as much as the original cast, more so than most of those that have come and gone from the table because of the way she so effortlessly slides in and feels like she’s always been there.

Too bad Community screws up the landing slightly with the board game tag. I’m not saying the story should have forced a joke at the end, and barring Troy and Abed being reunited or a movie tease, I don’t know what else could possibly go there. But as has happened repeatedly this season, the tag takes us out of the show. The sort-of-rant (from? about?) Dan Harmon almost saves it, but not quite. I’d rather the series went out without a tag than to use this one.

Still, there’s no denying the impact Community has had on me, nor the almost-perfect sense of closure “Emotional Consequences of Broadcast Television” leaves me with. I’ll be ever grateful for Dan Harmon’s brilliant mind and the fantastic way he ends his genius work.

Now, let’s get started on that movie, whether it’s studio-financed or Kickstarter-ed! (I really, really hope everyone has to band together to save Troy and LeVar Burton from the pirates!)

OUTLANDER Fights for a "Man's Soul"

Article originally published as OUTLANDER Review Season 1 Episode 16 To Ransom a Man's Soul on Seat42F.

OUTLANDER wonders how much it costs “To Ransom a Man’s Soul” in its first season finale, airing tonight at 9 p.m. ET on Starz and already available on StarzPlay and On Demand. (If you have not watched the finale yet, go watch it before continuing on in this article).

“To Ransom a Man’s Soul” begins with Murtagh (Duncan Lacroix), Rupert (Grant O’Rourke), and Angus (Stephen Walters) rescuing Jamie (Sam Heughan) from prison. They are in time to save his body from execution, but not in time to save his psyche, as the man they find lying naked in the dungeon is broken in mind as well as body. With Claire (Caitriona Balfe), they rush him to a monk’s retreat, where the true depth of his shame slowly reveals itself.

This week’s hour is easier to watch than last week’s. While what Black Jack (Tobias Menzies) is seen doing to Jamie in the finale is rough and scenes of rape are never fun, at least there isn’t the blood and gore of last week’s outing. Instead, most of the torture this time around is psychological, with Black Jack determined to break Jamie and “make love” to him. Black Jack sadly succeeds at his wicked mission.

None blame Jamie for what happens to him save Jamie himself. Everyone else understands that Jamie was in a very bad position, worried about Claire, delusional and beaten. No one tries to make him feel bad or want anything more than to protect him, not one of the men questioning his manhood. This is a rare glimpse of the depth of affection these clansmen have, both MacKenzies and Frasers, and how understanding they can be in the right circumstances, as caring as they are stubborn.

Claire, the one Jamie is most afraid of disappointing, is the most compassionate. When Jamie refuses to open up and asks Willie (Finn Den Hertog) for a knife so that Jamie might kill himself, Claire goes to him and forces him to relive sensation until he spills the full story. And when he does, Claire remains unwaveringly there for him. A weaker woman would shy away in horror, or let her jealousy override the sweetness this man needs to get through what he’s been though. Claire succumbs to neither, being his rock.

That’s why their marriage must last. Claire still carries guilt about having two husbands, as we see when she spills her entire tale to Father Anselm (Ian Hanmore, Game of Thrones, The Fades). But her love for Jamie is true, as evidenced by the way she stands by her man, even fleeing the country with him for France at the close of “To Ransom a Man’s Soul” when it’s clear that no place in Scotland will be safe. Plus, they now have a wee one on the way, raising the stakes for them both.

Will Black Jack pursue the couple? He has a twisted devotion to Jamie, but “To Ransom a Man’s Soul” doesn’t give us much of him after the sex, so we don’t know if his urges have been satisfied or if he’ll always be obsessed with trying to get Jamie away from Claire. He remains one of the most demented characters on television screens, and I can’t help but admire how believable Menzies plays him, even as I’m focusing more on the pain Heughan makes us feel for Jamie.

OUTLANDER also brings up a very interesting idea in the mythology in the season finale. Claire and Jamie decide to try to change history and save the Highlanders from being wiped out. In any time travel story, leaving the timeline alone tends to be a primary concern. OUTLANDER takes the opposite tack, and it’s hard to blame Claire for her decision, given how fond she’s become of the Scots and how deserving they are of her protection. It’s unknown if she can alter the course of events, or if that might split off an alternate timeline. But for a show so far not heavy in studying the mystery at its heart, I’m deeply intrigued that these characters are going to make such a bold move.

OUTLANDER has, at times, made its viewers very uncomfortable, but it’s a good story with as high a degree of authenticity one can expect from a time traveling adventure. The music, the production, the performances, and the writing are all of top-notch quality, and I’m glad this final hour of the freshman run balances horror with a happy ending and hope. The show knows how to make us squirm and how to go dark, but it also doesn’t make the fans suffer needlessly. Let’s hope these trends continue in season two.

OUTLANDER has been renewed and will return to Starz later this year.

GAME OF THRONES Finds a "Hardhome"

Article originally written for Seat42F.

This week’s installment of HBO’s GAME OF THRONES is called “Hardhome.” That is the name of a Wildling seaport where many of those who live north of the wall have gathered, and it is the place where Jon Snow (Kit Harington), along with Tormund Giantsbane (Kristofer Hivju), leads a band of men to save these savage people. It is also the set point of the biggest battle scene in years on the series, which results in the bad guys increasing their army significantly.

The war at “Hardhome” is quite impressive. Waves of dead soldiers attacking the Wildlings should motivate the latter to join with Jon Snow in a way all of his words will not. Jon can argue until he’s blue in the face, and even with the support of some of their number, including Tormund and Karsi (Birgitte Hjort Sorensen, Borgen), he’s not going to sway a majority of minds. These people are too ingrained with hatred for the Night’s Watch, and until the imminent danger is upon them, they cannot change their minds.

Jon is wise to realize that most of them will never be his friend, but he is banking on the fact that they might want to survive, as he does. He’s not asking them to swear fealty to any throne, which would always been a requirement to move south before, instead defying kings himself to save the kingdom and recruit more fighters. He’s a very intelligent and canny leader. If only he were a tad more persuasive, his plan might just work.

Still, the war sequence is a cool piece of filmmaking, with neat effects and a relevance to the characters. It’s not just for show, the scene meaning something very important to the story, and it lends an urgency and intensity that GAME OF THRONES has been lacking. I love this program most for the character development, but it needs some war bits every now and again to keep it interesting.

The rest of “Hardhome” is much quieter, with a few pivotal scenes for important people. Samwell (John Bradley) gives Olly (Brenock O’Connor) some advice that the lad is sure to misinterpret and will cause problems with. Cersei (Lena Headey) is as low as we’ve ever seen her, the actress doing a fantastic job of showing the queen mother’s despair and hopelessness. Sansa (Sophie Tuner) learns a vital secret from Reek / Theon (Alfie Allen) in a wonderfully charged moment. Arya (Maisie Williams) is given her first kill assignment. These are all excellent bits, and while they don’t need paragraphs to discuss them, taken together, they make for a heck of a great episode.

The other major story in “Hardhome” I do want to talk about, though, is the meeting of Daenerys (Emilia Clarke) and Tyrion (Peter Dinklage). Obviously, Daenerys’ first instinct when faced with a member of her rival house is to kill him (after bringing him home, apparently), and you can see that in the rage that emanates from her body. Thankfully, she holds back, as fans know that Tyrion is a smart and fair individual, not one to let clan disagreements drive his behavior. He really has come to help her, having no place else to go himself.

It isn’t easy for Tyrion to convince Daenerys to keep him on as an advisor, and a man less skilled at the art of conversation would fail. Tyrion decides to just be honest with the queen, telling her about Varys sending him, and giving a balanced opinion on Jorah (Iain Glen), whom Daenerys ends up sparing but banishing again. Tyrion knows he can’t talk Daenerys into anything, but if he’s open with her and she’s the type of queen he’d respect enough to serve, she’ll listen. Thank goodness this pays off.

Yet, Tyrion can’t help but recommend Daenerys gives up her dream of the Iron Throne. He has valid points on that, but being newly hired and precarious in his position, now might not be the best time to bring them up. It speaks to his honor that he does so, but that’s a Ned Stark-type mistake, being honorable to the point of foolishness. Let’s hope that Tyrion doesn’t share Ned’s fate.

GAME OF THRONES’s fifth season has been an exciting one, and if history is any indication, the penultimate hour of the season next week should be a doozy. But then again, the writers do like to do the unexpected (such as abandon the source material from the book series five years in), so you never know.

GAME OF THRONES airs Sundays at 9 p.m. ET on HBO.

Aged AQUARIUS

Article originally published as AQUARIUS Review on Seat42F.

NBC’s new drama, AQUARIUS, premieres tonight. Set in the 1960s, it is inspired by the real-life story of cult leader Charles Manson, who manipulated women into sex and murder in Los Angeles. Because this is modern American broadcast network television, the show also stars the officers of the law who are tasked with taking Manson down. As if we need another cop show, even one that is, admittedly, a little different than most.

The first thing that strikes me about AQUARIUS is that, in structure, it is virtually identical to FOX’s The Following. Both series feature a cop with a younger sidekick who share the screen with a dangerous man who is seducing and influencing weak-willed followers into doing his dirty work for him. There are differences between the two programs, but they are almost all superficial, boiling down to the same base.

The problem with drawing this comparison is, AQUARIUS is inferior in virtually every way.

Mistake number one is the setting. It is extremely easy to fall into cliché when depicting the 1960s, and AQUARIUS does this a lot. The costumes and dialogue reflect cheesiness, much more so than is believable. When our leading man, Sam Hodiak (David Duchovny, Californication, The X-Files), is schooled by his partner, Brian Shafe (Grey Damon, Friday Night Lights), on the new Miranda rights, it feels like a heavy-handed attempt to remind us of where we are, and all the hippie clothing and pot smoke is nothing better than cartoonish.

But AQUARIUS doesn’t even commit to a full-fledged 60s stereotype, instead overlaying it with a very dark noir, the messed up detectives getting seedy in order to catch the crooks. This is especially evident with officer Tully (Claire Holt, The Vampire Diaries), her role being the epitome of a put-upon woman, and her actions reflecting that she sees herself as the second-class citizen that the men do.

I’m not complaining that AQUARIUS takes place in the 1960s; that would be foolish given that it is based on true events, and it would be worse to rewrite the tale with a modern take. What I’m complaining about is the design and approach the production takes towards this era. The setting is more than a time and a place, and the way this show tackles it is bad.

Overall, the cast is solid. Duchovny, in particular, is immensely watchable, no matter how poorly constructed his part is. Damon, Holt, Emma Dumont (Bunheads) as the main girl, Emma, that we see fall into Manson’s trap, and Brian F. O’Byrne (Flashforward) as her father, are all serviceable. A step below them is Michaela McManus (Law & Order: SVU) as Emma’s mother and Beau Mirchoff (Awkward.) as Emma’s boyfriend at the start, but they still do a decent job, too. I’ve seen them all in other projects, though, and they’re usually much more compelling than they are here, which I’m assuming is because of the material.

Manson himself is played by Game of Thrones’ Gethin Anthony, and again, while I like the actor, I’m not sold on the part. I can see how this Manson lures the girls in, but am less convinced of the threat he poses. Anthony doesn’t play Manson as scary, and I feel like AQUARIUS needs that element of horror in order to drive story tension. Without it, the plot sort of plods along with little urgency or direction.

I think NBC knows this one isn’t destined to be a hit. They’re dumping the entire thirteen-episode run on their website after tonight’s premiere, available for all to binge watch at their leisure (or at least for the next four weeks). That may be a gamble to drive word of mouth, but more likely, they don’t expect anything out of AQUARIUS and it’s an easy way to get rid of the product in short order, whether they end up airing the whole thing or not.

AQUARIUS airs Thursdays at 9 p.m. ET on NBC, and is available at NBC.com.