Fall 2014 Previews and Predictions: ABC

12 Sep

ABC

(In order to meld the spirit of futile sports predictions with the high stakes world of the who-will-be-cancelled-first fall television season, I’ve set up a very simple system of predictions for how long new shows will last.  Each day, I’ll (I’m aware I switched between we and I) lay out a network’s new shows scheduled to debut in the fall (reality shows not included – I’m already going to fail miserably on scripted shows, I don’t need to tackle a whole other animal) with my prediction of which of three categories it will fall into.

These categories are:

1.  Renewal – show gets renewed

2.  13+ – the show gets thirteen or more episodes, but not renewed

3.  12- – the show is cancelled before 13)

ABC ties NBC with a high of six new shows amongst the networks. Four are comedies, a high in that category, which makes sense for a network whose comedies, namely Modern Family, have been more successful than any network’s besides CBS. We’ve got a new Shonda Rhimes show, a comedy loosely based on Pygmalion, a comedy based around a successful female latino comedian, a romantic comedy, a drama about an immortal medical examiner (I’m not making that up), and a comedy about an upper class black family living in a largely white neighborhood. Let’s take a look.

 Forever – 9/23

Forever

Henry Morgan plays a New York City medical examiner. The hook? He can’t be killed.  Everytime he dies he respawns back in the water, a secret known to only one associate. He teams up with a ultra-competent female cop, Castle-style, and they pair up to make a hell of a team. He uses not just the experience of having been around forever, but also the ability to experiement on himself, to solve murders, though he may have to reveal his secret to his partner eventually to avoid incriminating himself.

Prediction: 12- Something’s got to fail right? This seems a little too strange/random/not well-promoted enough, and it starts a welshman, Ioan Gruffudd, and we all know, absolutely no one can pronounce welsh names. Enough strikes against it for me.

Black-ish – 9/24

Black-ish

Anthony Anderson is a highly successful advertising executive, and his wife is a highly successful doctor, and they’re rearing their family in a largely white upper-middle class Los Angeles suburb. Anderson is proud of his and his family’s success, and wants to do right by his family, but is also petrified that, growing up in a sheltered lily-white town, they’ll lose the sense of identiy that it’s equality important for him that they grow up with. Oh, and the always awesome Laurence Fishburne plays Anderson’s dad.

Prediction: Renewal – Credit to ABC for bringing a black family to network primetime and giving it every chance to succeed with some solid talent, a plum time slot, and a good dose of advertising. I’m not sure how good it will be, but it seems to fit well with the general ABC comedy ethos.

How to Get Away with Murder – 9/25

How to Get Away With Murder

ABC continues it’s impressively diverse line-up of new shows with the Viola Davis-led How to Get Away with Murder. Created by Shonda Rhimes, the queen of ABC Thursday nights, Davis portrays an unorthodox law professor/defense attorney who invites her students to help with her cases. Of course, she’s unafraid to be as positively unethical as necessary to get her clients off (as a former law student, I’ll avoid comment on the fact that not only is she ruthlessly unethical, but that he’s teaching students this at an accredited legal school, and that she is totally not teaching criminal law). Also, she says the name of the show in the trailer, so big points there.

Prediction: Renewal – Whether it ends up being right or not, this is the smart choice. The show looks like it could well be a success no matter what, but on top of that, it’s being promoted well, and Shonda Rhimes is a very important part of the ABC family,, and I’d think they’d give her show a longer leash than one from somebody else with no strong ABC ties.

Selfie – 9/30

Selfie

 It’s a modern day take on My Fair Lady. Eliza is vain, vapid, and obsessed with getting famous via social media, but her world collapses when she’s caught in an extremely embarassing viral video. She hires image/marketing master Henry to fix her up, post-disaster. Initially, naturally they hate each other, but they begin to rub off on each other, and each change for the better, and maybe even fall in love, if what I know about the original My Fair Lady is any indication. Again, credit to ABC for the surprisingly rare casting of an Asian male as a romantic lead.

Prediction: 13+ This is by far getting more promotion than Manhattan Love Story and Cristela, and features the very capable John Cho and Karen Gillam. Still, the premise seems rather thin and the trailer is not particularly convincing, and comedies don’t succeed like they used to. Also points docked for not featuring #Selfie in the trailer.

Manhattan Love Story – 9/30

Manhattan Love Story

Two people with possibly not a lot in common get set up on a blind date in New York. The man is a veteran New Yorker, the woman has only been around for a few days. The man seems like a total douchebag, the woman seems, well, like a person. The date goes awful, but events conspite to get them dating again, and we viewers are luckily to be along for the allegedly hilarious ride. The gimmick seems to be that we hear both of their inner monologues, as sort of a stream of consciousness. This approach worked wonders for the brilliant Peep Show, but if the trailer is any indication, this is no Peep Show.

Prediction: 12- It doesn’t look particularly promising, and it feels, in the way it’s important to have arbitrary feellings when making predictions, many of which, will inevitably wrong, that this, and the show below, is far behind Selfie and Black-ish is comedies ABC is banking on. Without being good, there’s just about no other reason to see success here.

Cristela – 10/10

Cristela

Stand-up comedian Cristela Alonszo stars in this eponymous sitcom. Again, credit to ABC for the diversity of its fall lineup; hispanics are dispiritingly hard to find on network television. Unfortunately, though, this sitcom looks pretty stale and terrible. Cristela appears to be slowly working towards going to and graduating law school, but it’s taking longer than expected, to the frustration of her and her family, with whom she’s staying in the meantime. She’s suitably sassy, at home, and at work, especially to a woman who assume she’s a cleaner at work, and she gives one of those most predictable laugh lines you’ll see in a trailer (you have to watch to find out, but trust me it’s not worth it). Also, there’s a laugh track.

Prediction: 12- – It’s stuck on a Friday, which is never where you want to be as a new show, even though the expectations are low, It has a laugh track, and doesn’t really seem to fit into the current ABC ethos, except maybe with Last Man Standing, on before it, which I can’t belieev is still on. How is that still on?

Fall 2014 Previews and Predictions: CBS

10 Sep

CBS

(In order to meld the spirit of futile sports predictions with the high stakes world of the who-will-be-cancelled-first fall television season, I’ve set up a very simple system of predictions for how long new shows will last.  Each day, I’ll (I’m aware I switched between we and I) lay out a network’s new shows scheduled to debut in the fall (reality shows not included – I’m already going to fail miserably on scripted shows, I don’t need to tackle a whole other animal) with my prediction of which of three categories it will fall into.

These categories are:

1.  Renewal – show gets renewed

2.  13+ – the show gets thirteen or more episodes, but not renewed

3.  12- – the show is cancelled before 13)

CBS next. Four shows, all dramas, as all comedies not titled after universe-starting events on CBS and really all of network TV are struggling relative to hour long series. One spin-off of a long-running and fabulously successful procedural, one Criminal Minds-type brutal murder procedural, one procedural about a group of genius misfits, and one Good Wife-like adult political drama. Let’s get to work.

Madame Secretary – 9/21

Madam Secretary

Tea Leoni plays a former CIA higher up, out of the game and working a low stress job teaching a university, recruited to be Secretary of State by the president, her former boss at the agency, when the previous Secretary dies in a plane crash. She’s an original thinker. Actually more than that, as the trailer makes clear in one of my favorite trailer lines in recent history – she doesn’t merely think outside of the box, she doesn’t even know there is a box! She struggles to make her mark in the administration as the new face, battling a hostile staff, a hostile chief of staff, and a conspiracy which may have resulted in the death of the prior secretary and may go all the way at least near the top. It’s all very adult; think The Good Wife mixed with an ounce of Scandal.

Prediction: Renewal – This seems like a smart bet for CBS in the adult vein of The Good Wife, which has succeeded on the back of critical successs and just enough commercial success, and aired on the same day. I’m not sure it will be good, but I doubt it will be awful, and I think it’s a safe play, targeted at higher income viewers on a snug Sunday night spot.

Scorpion – 9/22

Scorpion

A group of super genius nerds who are crazy brillaint but struggle to relate to normal humans on a social and emtional level are recruited by the government to help solve different problems and diffuse difficult situations. Useless by themselves, they’re rediscovered by an old aquaintance of our main character, who puts them to work. They’re also joined by a normie, a waitress, whose young son is a future genius, to help them deal with regular people in social situations. It makes sense on CBS  as a variety of the superteam type shows where everyone has a specialty, except in this case, all the specialties are nerrdy, but with cool uses – think A-team or the more recent Leverage meets The Big Bang Theory.

Prediction: 13+ I’m not sold by any means on its success, but it hardly seems like an obvious bomb, and I think with only four shows and a largely settled line up CBS will be willing to give its new shows a decent amount of leeway. There’s nothing about Scorpion that screams disaster, and I could honestly see it going any way, so I’ll take the middle path.

NCIS: New Orleans – 9/23

NCIS: New Orleans

Same story, new city. Legendary TV actor Scott Bakula is at the helm, manning the Mark Harmon role. CCH Pounder and Lucas Black co-star. There will be no surprises here; you know exactly what you’re going to be getting. One case a week, covering the remarkable number of navy-related murders in the Crescent City, which seems an obvious place to set a procedural, as it makes up for its lack of size compared to some of the bigger US cities with an abundance of ambience and terrible accents.

Prediction: Renewal – Could it fail? Absolutely. Might America be sick of the NCIS franchise? Perhaps. Still, it would be folly to bet against the current king of the CBS procedural franchise family. The original remains shockingly strong after so many years and NCIS: LA is successful as well.

Stalker – 10/1

Stalker

 

Stalker is advertised next to Criminal Minds and for good raeson; the show seems to feast on the same kind of psychotic, sociopathic, insane murders which Criminal Minds does. The difference is simply that while they’re wanted serial killers in Criminal Minds, they’re, well, stalkers, in Stalker. Maggie Q heads a division in Los Angeles which tracks and aprehends stalkers and she pairs with doesn’t-get-along-with-others cop Dylan McDermott, fresh from New York, and looking to cleanse himself of some personal and professional demonds while still being a little bit of a pain in the ass. These stalkers are not the well-motivated villains of the CSI and NCIS franchises but rather true crazy persons who are to be extra feared and require a special division to stop. Oh, and Maggie Q knows this better than anyway, because it seems like from the trailer she was once stalked herself.

Prediction: 13+ I have the least faith in this show of the CBS debuts; if push was to come to shove, I would take Scorpion above it. Still, I’m betting that McDermott’s TV power and the fact that, as mentioned in my Scorpion prediction, CBS has just four shows, on it making it at least past midseason. That said, McDermott’s Hostages last year on CBS was a failure, so I may be giving him too much credit.

Fall 2014 Previews and Predictions: Fox

8 Sep

Fox

(In order to meld the spirit of futile sports predictions with the high stakes world of the who-will-be-cancelled-first fall television season, I’ve set up a very simple system of predictions for how long new shows will last.  Each day, I’ll (I’m aware I switched between we and I) lay out a network’s new shows scheduled to debut in the fall (reality shows not included – I’m already going to fail miserably on scripted shows, I don’t need to tackle a whole other animal) with my prediction of which of three categories it will fall into.

These categories are:

1.  Renewal – show gets renewed

2.  13+ – the show gets thirteen or more episodes, but not renewed

3.  12- – the show is cancelled before 13)

We’ll kick off this season’s previews and predictions with Fox, one of two networks airing their first premiere of the season on Wednesday, September 17. Fox, which still doesn’t air programming in the 10 o’clock hour, has fewer hours of programming than any network this side of the CW (which is kind of a half network, as is), and thus has fewer new programs, with four. There’s not a ton in common amongst the group. There’s a comedy by a prominent young stand-up, a make-you-have-feelings drama,  a small town murder mystery, and a DC spin off. Let’s dive in, shall we.

Red Band Society – 9/17

Red Band Society

Academy Award winner Octavia Spencer is nurse on a pediatric ward where a lot of sick teenagers live long term. They live, they lean, they love, always on the precipice of death, facing the challegnes of puberty along with far more serious challenges than most teens fade.They laugh, they cry, they inspire you, themselves, and each other while Olivia Spencer presumably keeps them in line.

Prediction: 13+ I’ve seen more ads for this than any of the other Fox shows, but I’m just not feeling it. I don’t have a better reason than that, but that’s kind of how predictions work.

Gotham – 9/22

Gotham

Batman origin story. Commissioner Gordon is a young rookie cop, just exposed to the cesspool which is Gotham, rife with crime, organized and isolated, premeditated and psychopathic. We get to meet all your favorite characters that we know and love from the Batman comics/tv shows/movies before they are those characters, including Penguin, Catwoman, and Riddler, and not least among them Batman, who is merely a kiddie Bruce Wayne, learning from Gordon after the shocking murder of his parents. Yes, the thought of making a show about Gotham without Bruce Wayne was probably always impossible.

Prediction: Renewal. I don’t think it looks great, but hell, the Batman name can do no wrong right now – this might be the first chink in its armor, but I’m not about to call it.

Gracepoint – 10/2

Gracepoint

An American adaptation of British show Broadchurch, Gracepoint is the story of a small, peaceful beachfront tourist town that is torn asunder by the murder of an innocent child. Everyone, as you might imagine, is a suspect, and it turns out, also unsurprisingly, that everyone’s got a secret. For as potentially clichéd as that sounds, the British version was actually a pretty darn good little murder mystery, and it was greatly benefited by having just one short season, something it looks like Fox has learned from, giving Gracepoint an unusually short 10 episode order. Hopefully they’ll be bold enough to avoid a Killing and end the mystery in one season.

Prediction: Renewal. The 10 episode order screws up my normal system, but since I’m going Renewal it doesn’t really matter. This looks fairly faithful to a pretty solid show, and while that’s no guarantee of a good translation I’m hopeful.

Mulaney – 10/5

Mulaney

John Mulaney is an indisputably talented stand up and a former Saturday Night Live writer, a position which is obviously impressive in spite of the often mediocre SNL output. All this personal promise makes it all the more disappointing that his namesake sitcom looks simply awful. Mulaney portrays a comedy writer for a legendary game show host played by Martin Short, who has always been a bit much for my taste. Elliott Gould and fellow SNLer Nasim Petrad also co-star. There’s a laugh track which is never a good sign and absolutely none of the jokes hit in the trailer. The show looks like a sitcom dug up from an earlier era, and I mean that in a bad way; it looks dated in every sense from the look to the humor. Maybe the trailer is inaccurate, but I’m not expecting much.

Prediction: 12- This looks bad, and while Fox has been willing to give a decently long leash to comedies it has faith in, I’m betting that is if the show is as bad as the trailer, the audience will dwindle quickly.  Mulaney is a very promising comic and should have another chance one day.

Summer 2014 Review: BoJack Horseman

29 Aug

Bojack Hornseman

 

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show with the plan of getting back on track this autumn)

Here’s my latest TV analogy, and I’m proud of this one. Drama is to cooking as comedy is to baking. Drama, even if a bit overcooked or undercooked, a bit over-salted or underseasoned is still going to be pretty good; it’ll retain most of the original flavor, with some minor imperfections. Small mistakes don’t fatally flaw an otherwise solid drama. Comedy, however, is an exact science.  A couple of different word choices, a couple of seconds off, a slight change in intonation or facial expression and a hilarious joke ends instead with an awkward thud or the proverbial sounds of chirping crickets. There simply isn’t necessarily much distance between a hilarious comedy and a mediocre knockoff; attempting to reproduce the sense of humor and style can get you close but at the same time so far off.

BoJack Horseman is sadly a victim of this phenomenon. The show is directed exactly towards me and my ilk, people who were fans of The Simpsons in the ’90s and Family Guy in the ’00s, as well as shows like Arrested Development. The show features quick edits, moving at what it hopes is a joke-a-minute pace. The premise is not a bad one at all; a horse who starred in a 1980s sitcom “Horsin’ Around” is now trying to get his life back on track after spending two decades after the show’s end as a has-been. The voice cast is a dream; Will Arnett in the title role and Aaron Paul, Amy Sedaris, Paul F. Tompkins, and Alison Brie supporting. It’s just a bit off though. So many times, I see what they’re going for; I know that joke, I get the idea. The jokes just don’t quite work. The timing is a not quite right; a couple of words should be cut or added. Sometimes these kind of errors can’t even be spotted on the page, but when you watch the show, they jump out at you immediately. I actually think the animation hurt BoJack in the episode; several jokes that could have been sold just a little bit more with an expression or facial twitch didn’t get any benefit from the animation.

Will I watch it again? No. BoJack Horseman wasn’t entirely without merit. There’s a kernel there; it’s aimed at people like me, and does seem to have an idea what people like me like; it just is having a lot of trouble articulating it. It’s a busy summer though and there’s not enough to justify immediately watching more.

Summer 2014 Review: Partners

27 Aug

Partners

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

We take the good with the bad, right. FX recently invented the 10-90 sitcom model with Anger Management in which a cheap sitcom gets 10 episodes aired daily over two weeks; if they’re enough of a ratings success, the network picks up 90 more episodes.  This insane model is designed towards syndication success and is easily worthy of a longer post on another occasion. Saint George starring George Lopez and Partners are FX’s two attempts with the model this year.

The most important takeaway for now, about the model, is that’s it’s pretty much designed to produce, at best, mediocre sitcoms. I honestly have no idea who watches these shows. The first example, as mentioned above, was Charlie Sheen’s Anger Management, and I’ve never met anyone who watches it, but that’s not particularly surprising considering my social circle. I speak not just because of how cheaply these sitcoms are made, or because of the little attention lavished on their quality; they’re generally worked around a fickle premise and a down-on-his-luck star, two in Partners’ case, with Martin Lawrence and Kelsey Grammer. While those factors are certainly prohibitive, most importantly, even the best comedy writers in the world couldn’t craft 100 great episodes of anything in a short period of time.

Partners isn’t good. If you’ve by any chance heard of Partners, you know that, and if you hadn’t, you know that by the time you’ve gotten to this paragraph. Pushed, I’d say it’s better than Saint George, but that’s more about a battle of one downsmanship than anything else. Kelsey Grammer plays the Kelsey Grammer character. He’s an arrogant attorney who has recently been fired from his father’s firm for one too many ethical lapses. Martin Lawrence plays a do-gooder attorney who everyone loves, but who doesn’t have the gumption or attitude to stand up for himself, particularly in his divorce settlement. Them being opposites, they naturally need each other; Lawrence can use Grammer’s borderline-unethical take-what’s-mine mentality, while Grammer needs a place to practice, and maybe some exposure to someone people actually like. Supporting characters include Lawrence’s sassy mother, his teenage daughter, his gay assistant, and Grammer’s truant high school aged step daughter.

You can see every joke a mile away; the characters are crude and broadly-drawn; none of the 22 minutes is spent trying to imply there’s anything more to any of the characters than you can see in your first five second interactions. Grammer guesses that the gay assistant’s favorite legal film is Legally Blonde, and the assistant, rather than be offended, naturally cedes that Grammer’s correct. It’s less offensive than it could be, which is about the highest compliment I can possibly give this show and more than I thought I would, but it’s just as bad and pointless as you and everyone thinks.

Will I watch it again? No. There’s nothing more to be said. I rarely feel like I give too much credit to shows simply by writing about them, but I almost do here. My logic in reviewing every show has been that every show, no matter how bad, deserves to be mentioned, for all the steps that go on just to get any show to air. These 10-90 shows that absolutely nobody cares about at all really test that theory.

Summer 2014 Review: Jennifer Falls

25 Aug

Jennifer Falls

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

TV Land does something that almost no one else on TV really does anymore. TV Land, a network, which didn’t produce original scripted programming until debuting Hot in Cleveland four years ago, makes old-school traditional 90s-and-earlier style sitcoms (ABC Family does it here and there). Now, CBS sitcoms still have a lot in common with the past, but they tend to be coarser, more offensive,sometimes gross-out, sometimes misogynist; they’re certainly linked to the sitcoms of old, but they feel less wholesome. TV Land’s Jennifer Falls certainly has a couple of modern adjustments – main character Jennifer was a high-powered female businesswoman, raking in tons of cash, when she got fired for being impossible to work with, and the topic of women being considered bossy is touched on, although not spend a lot of time with.

While it makes these couple of winks at modernity, Jennifer Falls is a traditional sitcom at heart. After moving out of her expensive apartment in the big city, she’s got to go home and bond with her mother, her daughter, and her old best friend, who is bitter with her because she abandoned their friendship to chase big money years ago. The show deals with classic television redemption, as she realizes somewhat that her life was hollow filled with just work, and without friends (to its credit, the show makes this point without ever seeming to imply anything negative about women at high-paying jobs; the show, without pushing it, is modern enough on that matter). Jennifer, who can’t find a job anywhere after her ignominious firing, reluctantly takes a pity job offer at the bar owned by her brother and sister-in-law, who gives Jennifer constant patronizing life lessons while her brother is afraid to speak up.

The jokes are canned, the laugh track is present, and you’ve met all of these characters before. It’s not, for what it’s worth, mean-spirited though, the characters seem to actually, mostly like each other, and there’s as much underlying warmth as an incredibly mediocre sitcom first episode can have. So it has that going for it. You’re not going to watch it, and you shouldn’t, but there’s something to be said for TV Land’s ability to adopt the old-fashioned sitcom for the modern age, as least from a technical perspective. But that’s about it.

Will I watch it again? No, it’s not worth watching and it’s not funny. That said, it’s pleasantly inoffensive, and carries on the legacy of old-time sitcoms into a new era, if that does anything for you.

 

Summer 2014 Review: The Divide

22 Aug

The Divide

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

The Divide airs on the We network, and I didn’t even know that We aired original scripted programming, which it didn’t before it debuted The Divide. And lo and behold, The Divide is a pretty solid first effort. It’s nothing brilliant or revolutionary, but it’s a surprisingly entertaining and briskly-paced program. Think: John Grisham legal potboiler, a page-turner of TV. Yes, you’ve seen these types of legal maneuverings time and again, and you know the plot will turn in a bunch of somewhat unlikely directions, but you still don’t know if it will turn left or turn right.

The Divide centers around a hot button murder case in Philadelphia. Two white men, one middle-aged, one a teenager, were convicted of murdering a black family in their home, and the man, given the death sentence, is set to be executed shortly, representing the first execution in Pennsylvania in decades. Lawyer in training Christine works for a non-profit organization whose mission is exonerating convicted criminals through science, and she has a special interest in this case because her father is on death row for a crime she knows he didn’t commit. Christine and her boss Clark try to get new DNA samples at the last minute, but they’re fought at every turn by Adam, the young hotshot district attorney of Philadelphia who made his bones prosecuting this murder case when he was younger. Basically, we soon discover that there’s more to this case than it seems, and the characters at the non-profit as well as district attorney Adam and his family are going to have to bring back up a whole lot of dirty laundry that everybody thought they were done with years ago.

I often complain about the rampant proliferation of lawyer, cop, and medical dramas on TV, and I do believe there are way too many if only because they prevent more imaginative shows from appearing in their wake. Still, there’s absolutely a place for lawyer shows on TV, and shows where you can turn your brain down and enjoy taut plot twists and turns without any greater consequence. Those shows may never be the best, but that doesn’t mean they aren’t entertaining.

Will I watch it again? I’ve changed from no to yes as I’m writing this, though with so many shows to watch I’m not that confident I’ll actually get to any more. It wasn’t brilliant or must-watch but it was a surprisingly attention-captivating legal thriller, which would probably make some good low-thought watching early in the day or late at night.

Summer 2014 Review: Finding Carter

20 Aug

Finding Carter

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

Holy smokes! Finding Carter, an MTV show, is pretty freaking good! I used my brief entry on Faking It, the other new MTV entry (which really wasn’t bad itself) to talk about the MTV model, and Finding Carter certainly fits it to  a t. It’s about a fast talking teen who discovers after getting arrested for some minor mischief that her mother is not actually her mother, and is instead her kidnapper, snatching her from her real family when she was a mere three year old and raising her as her own. This is a life-changing revelation, as she adores who she thinks of as her mother, and wants nothing less than to have to move in with a totally unfamiliar family while her mother is subject to arrest. Her original family had been shattered by her kidnapping; the mother was never the same as her pre-kidnapping self, traumatized, and the father made his career on a book written about the family’s experiences.

Here’s the really stand out aspect of Finding Carter, though. One of the hardest things to create in TV is situations in which among a whole bunch of characters, everybody is really both a good guy and a bad guy, someone you root for at times, and someone you root against at other times. Every character has motivations that individually make sense, but cause conflict when played up against the other characters. You can see where each character is coming from, even when you don’t necessarily agree with his or her actions. This may seem like the most basic building block for good characters, but it’s strikingly hard to achieve; often either conflict feels forced, or one of the characters is simply more of an asshole than the others.

Take the family at the center of Finding Carter. Carter acts out because she still considers her real mom to be the one who raised her and told her that she loved her every day, rather than these strange people, one of whom wants nothing more than to put in jail the person she considers her mother. Mother Elizabeth is frustrated with Carter, because she wants nothing more than to arrest and punish the person who took her baby away, and broke her emotionally. Sister Taylor is jealous of Carter, who gets to drink, and smoke, while everyone goes out of their way to be there for her; she’s been the good girl her whole life, and all she gets its to be ignored. Brother Grant simply feels ignored; he feels like the make up child who was merely a placeholder for the lost Carter.

As you watch, you alternately feel for each of the characters, and then want to yell at them, and think the other characters need to put themselves in their shoes. Friday Night Lights is the gold standard for character-driven warm, family drama, and Finding Carter feels like it hits all the right notes in the first episode to be on that path.

Will I watch it again? Yes, I think I’m going to. I’m as surprised as you are. Shows like Finding Carter, even if it’s terrible from here on out, but just the excitement at finding a promising television show where you never expected, are the times I’m glad I underwent this exercise to watch every show.

Spring 2014 Review: The Assets

18 Aug

The Assets

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

Oops. The Assets had the poor fortune, well, to not be very good, but more than that to basically mirror the subject matter of one of the best new shows on TV in the past two years. The Assets is about a cat-and-mouse game between the CIA and a mole inside the organization working for the Soviets. Based on real life, the show stars a female agent doggedly pursuing the mole, who we know will turn out to be Aldrich Ames, a seemingly mild mannered fellow agent, who sold out to the Soviets for lots of money. The female agent notices her missions have been falling apart in ways that could only happen with the presence of a mole working against her, and she works relentlessly towards to find the culprit.

In case you haven’t figure it out, The Assets basically tramples right on the same ground as The Americans, a vastly, vastly superior show, both because The Americans is excellent and The Assets is, while not truly awful, simply not very good. All of the interesting layers driving The Americans seem to be flattened out here; instead, this is a story we’ve seen time and again; a cop/federal agent so driven to catch a criminal, so desperately chasing him that it threatens to ruin the rest of the her life which she’s so carefully planned out. Actually, in the first episode The Assets has even flattened out the anti-hero aspect that drives many of these shows; while she worries she’s working too much her husband is the picture of calm and acceptance, reassuring her that she’s great at her work and doing it for the right reasons and telling her not to worry about her absences at home. There’s nothing so bad here, it’s just more that there’s nothing at all.

The one smart decision The Assets makes is to show the mole initially, rather than drawing it out; meaning we know who the mole is while the characters don’t. That decision makes sense in light of the fact that tge mole is a real person; it would have seemed a little foolish to hang the huge spoiler of the villain on something that people paying attention during the ’80s could have known even before starting the pilot. Still, that’s a small credit in a world of mediocrity.

Will I watch it again? No. To say The Assets is a poor man’s The Americans is to give too much credit to The Assets and the two shows’ similarities. It’s by no means an unwatchable show, it’s just standard mediocre fare with the particular bad luck to have a vastly superior show on virtually the same topic and in the same era airing at the same time.

Summer 2014 Review: Dominion

15 Aug

Dominion

(I’ve fallen way behind on both my TV viewing and writing, but not to worry – dear reader – I don’t give up that easy – I’ve rapidly been viewing the first episode of every new television show of 2014, with the intent of seeing them all by the end of August. To facilitate a respective blog catchup, I’ll be posting lots of much shorter entries on each show)

Sci-fi, pardon, Syfy, has put up a series of shows that have been decently successful enough within the Syfy network bubble like Eureka, and Warehouse 13, but they’ve been having trouble drawing audience and buzz among the general pop culture internet outside of their core. Dominion is exactly the type of sci-fi genre show that both makes sense completely as what could be a reasonably successful genre show on the Syfy network while also drawing scant attention outside of that small fan base.

Dominion, and these are words I never thought would be uttered, is a loosely-based television spin off to the 2010 film Legion, starring Paul Bettany, Lucas Black, and Adrianne Palicki. The film, which I’ve only seen trailers for, features a battle in a war between angels situated at a US diner, in which angel Michael chooses to side with the humans, while the remaining angels led by Gabriel attempt to destroy humanity. There’s a chosen baby who makes it out alive while most of the characters die.

Dominion picks up that general story some years later. Human beings now survive in militarized dictatorial walled off fortresses where authoritarian discipline and new angel-detecting and repelling technology keeps them safe from angels who fly around, hunting humans and possessing other humans to turn them,  now super-powered, against their own kind. Outside from actually technically being about religion, rather than, say, aliens, or robots, Dominion hits sci-fi genre conventions to a T. There’s a vaguely dystopian society, ruled by an beneficent authoritarian, and the show features some serious politicking between rival factions and many big-ego politicians vying for power. There are rules regarding different classes of people, there’s technology that detects angels and protects the city from them, and there are rival fortress cities with which to battle and make alliances.

There is some merit here, and the particulars of the sci-fi world are fun, but the writing and characters don’t pull you in beyond the details of the premise and plot. The show gets bogged down into details that non-Syfy fans are unlikely to care about. There show seems consciously designed to please a certain fan base and there’s nothing wrong with that, but what could make it a drew to some are also its limitations. This world-building minute tend to conversely limit the general appeal.

Will I watch it again? No. I like sci-fi but wouldn’t consider myself a genre superfan. Thus, to my sensibilities, some aspects of the show were intriguing (my head is full of questions about fictional future worlds) but overall the show was a little clunky. The plot was the most intriguing part of the show, but not enough to watch it again.