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Winter TV Roundup: The Good, the Bad, and the Unbearable

Each season brings us a fresh new crop of TV series. For those of us who obsessively watch television, this means a nicely plump workload of shows to sift through. For those who don’t, this means absolutely nothing at all. But if you fall into the latter category, then you may be missing out on some of this season’s best shows. So here’s my breakdown of new winter series and which ones you should be watching (and which ones you should avoid at all costs).

MV5BMjgzMjA2MDk0Nl5BMl5BanBnXkFtZTcwMzc3ODM4OA@@._V1_SX214_The Carrie Diaries is The CW’s attempt to replace the now deceased Gossip Girl (RIP!). It’s a high school drama that showcases fashion and New York City (and also witty in-jokes that New Yorkers would get—and love). The twist is that this is a Sex and the City prequel series set in the 1980s. Based on Candace Bushnell’s YA novels (which are more enjoyable than some of her adult fodder), Carrie Bradshaw (AnnaSophia Robb) uses her familiar narration style to tell the story of her adolescence as she discovers her ambitions to live in NYC and write.

This is a fun, teen drama and should be experienced as such. The cast is well-equipped to bring exuberance to their compelling characters, and the story seems to be moving at a swift enough pace to keep things moving right along (Carrie already has two different boyfriends within 7 episodes).

Bottom Line: Best new teen show on TV and one of The CW’s strongest shows. Definitely worth watching, unless you despise the ‘80s.

(Airs Mondays at 8pm on The CW.)

The-following-posterKevin Williamson (Scream, The Vampire Diaries) has taken what he knows about vampires and transferred that knowledge into the serial killer series The Following. (It also incorporates the conspiratorial urgency of 24 with completely addicting nuance.) Years after capturing the Poe-obsessed serial killer Joe Carroll (James Purefoy), Ryan Hardy (Kevin Bacon) is drawn back into the fray as a cult following that takes orders from Carroll begins a killing spree. More than just straight thriller, The Following humanizes these killers, giving the show an extra dimension that is usually lacking in other cop shows.

While the explicit use of violence has everyone’s panties in a bunch, those torturous murder scenes are too disturbing to be considered glorifying. What’s more disturbing is how invested you become with these cult followers (especially as concerns the delicious bisexual love triangle between Emma, Jacob, and Paul). Just as we have learned to care about bloodthirsty vampires, Williamson strives to make us care about bloodthirsty killers (and that’s the scariest part of all).

Bottom Line: Mixing character-building flashbacks with accelerated storytelling, The Following keeps up a thrilling pace that quickly sucks you into the show. This is definitely the best new show of the season (and it’s already been renewed for a second season!)

(Airs Mondays at 9pm on Fox.)

tnt-monday-morningsIf you’re not up for getting invested in a cult of serial killers, perhaps you’d like to invest some feelings in the heartfelt show Monday Mornings. Based on Sanjay Gupta’s book, David E. Kelley focuses this medical drama on the M&M (morbidity & mortality) meetings that holds doctors accountable for the deaths of their patients. Put in the hot seat, doctors must defend their actions and learn from their devastating failures.

Unlike soapy medical shows (read: Grey’s Anatomy), Monday Mornings is a compelling emotional drama that makes both the doctors and their patients feel real. Due to the dire nature of many of the cases, patients tend to transcend the patient-of-the-week story and become recurring characters (especially the more litigious patients). While too many moments descend into overwrought emotionality, they are handled with enough skill by the stellar cast (Alfred Molina, Jamie Bamber, Jennifer Finnigan, and Ving Rhames) to come off as genuine and touching.

Bottom Line: If you’ve been looking for a medical drama or are just in need of some emotional release, then Monday Mornings should be on your radar.

(Airs Mondays at 10pm on TNT.)

The-Americans-FX-Poster-300x450If you love the ‘80s but can’t stand the exuberance of The Carrie Diaries, then the Cold War drama The Americans may be up your alley. Philip and Elizabeth Jennings (Matthew Rhys and Keri Russell) are Russian spies living in America. Balancing their idyllic American family lifestyle with their ingrained Russian patriotism, the couple must navigate the treacherous worlds of love and espionage.

Rhys and Russell do admirable jobs of drawing us into their drama, but to get fully hooked you must wade through the first two episodes before reaching true emotional engagement. The bland production design leaves the show bereft of visual stimuli (other than Rhys’ various Alias-esque disguises). While no true overarching stories have come to fruition, the foundation has been laid and the characters’ emotional dilemmas are entertaining enough (for now).

Bottom Line: Espionage intrigue should draw you into the show, but the anti-hero leads provide engaging performances to make you stay—it, too, has been renewed for a second season.

(Airs Wednesdays at 10pm on FX.)

ZERO-HOURHad Dan Brown written Taken, it probably would’ve resembled Zero Hour. When Hank’s (Anthony Edwards) wife Laila (Jacinda Barrett) is kidnapped by notorious criminal White Vincent (Michael Nyqvist), he must uncover the truth about a series of ancient clocks that predict not only the end of time—or “zero hour”—but also the most likely whereabouts of Vincent and his wife.

With twelve clocks in the mix (to represent the twelve disciples), you would think they would have plenty of Da Vinci Code sleuthing to last them a few seasons. But each episode reveals the location of the next clock while also enlightening us about famous historical figure’s conspiratorial pasts. Fortunately, this pacing is what makes the show so entertaining (as long as you get past the uninspired pilot episode). By the end of the third episode, enough twists have been inserted into the series that you’ll be begging for more.

Bottom Line: This adventuresome thriller will entertain you if you let it. It also serves as the perfect aphrodisiac for Brown’s upcoming new release Inferno.

(Airs Thursdays on ABC at 8pm.)

Cult-Poster-cult-31484975-620-912Cult is like the meta younger brother of The Following. Skeptical Jeff (Matthew Davis) gets sucked into cult intrigue when his brother goes missing. With the help of Skye (Jessica Lucas), the two navigate the murderous cult following that bases their actions on the hit TV series Cult (scenes from the show within the show are featured in each episode).

Unlike big brother The Following, Cult is a lifeless series. Even though I enjoy Davis and Lucas as actors, their acting is flat. And all the various layers of the show are just smoke-and-mirrors designed to hide how little substance the show really has.

Bottom Line: Avoid at all costs, and go watch The Following instead.

(The CW has already buried the show in the graveyard that is Fridays at 9pm.)

house-of-cards-final-posterLastly, for those of you who prefer to marathon shows in one weekend instead of enjoying the dissemination of plot development over 13 weeks, then House of Cards is perfect for you. This Netflix original series helmed by David Fincher will fill that Boss-sized hole in your heart (RIP!). Cards follows the revenge-y political machinations of spurned Majority Whip Francis Underwood (Kevin Spacey) along with his cold, calculating wife Claire (Robin Wright) and ambitious—yet naïve—journalist Zoe Barnes (Kate Mara).

The show is instantly addicting, and Netflix does its best to encourage bingeing behavior. Its only misstep is use of asides to the camera by Underwood to explain his thoughts in certain moments (which only serve to undermine the complexity of the series—if you can’t tell when Underwood is being manipulative then maybe you shouldn’t be watching this show). Thankfully, the asides become negligible (or at least less distracting) the farther you get into the series. Just be careful what you tweet about the show because, due to its watch-at-your-own-pace option, everything  (and conversely nothing) is a spoiler.

Bottom Line: If namedropping Fincher, Spacey, Wright, Mara, or Boss hasn’t convinced you already, then watch it because it is merely the first of Netflix’s groundbreaking new foray into scripted series.

(Airs on Netflix Streaming whenever you want it to.)

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by xoxojk on March 5, 2013  •  Permalink
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Posted by xoxojk on March 5, 2013

http://thejkreview.wordpress.com/2013/03/05/winter-tv-roundup-the-good-the-bad-and-the-unbearable/

Avoid Getting Caught “In Between Men”

For all the great LGBT webseries out there, there are bound to be a few duds. In Between Men falls into that latter category. In the same style as Hunting Season, Men follows four gay men’s drama-filled lives in Manhattan. But other than voiceover narration, these two series share very little in common.

Dalton (Nick Matthews) is the leader of the bunch and an up-and-coming event planner. Although he prefers to work independently, Kendra (Margot Bingham) is luring him to come work for her high profile PR firm. Benjamin (Ben Pamies) is the requisite slut of the group, but Pamies gives him enough emotional depth to make him the only interesting male character. Jacob (Max Rhyser) is the bisexual artist in a long-term relationship with insecure bartender Kyle (Sidney E. Wright). And Dane (Chase Coleman) plays yet another insecure gay man, one who has to dole out pills to addicts in order to get laid.

In Between Men claims to focus on the masculine/feminine identity crisis that affects so many gay men (see also: Bro-ing Pains); but, aside from a disdainful view of Pride, the show ignores this theme after the first episode. Yet the lack of thematic concept isn’t what plagues the series, it’s that writer Quincy Morris seems unable to write a coherent episode. Each short “episode” is comprised of one or two scenes following each of the characters’ lives that almost comprise a complete story when watched all at once. While each episode does an adequate job of setting up the stories, it skips the middle portion and cuts right to their conclusion, making them not just anticlimactic but befuddling as well. And even Dalton’s contrived voiceovers can’t pull together the episodic stories.

Despite the poor structure of the series, Morris does have some interesting plot twists. The secret motives behind Kendra’s character make her the most compelling of the characters. But if the only female character on your gay male webseries is the only interesting character, then you’re doing something wrong. (And don’t get me started on Dalton’s schizophrenic Italian boyfriend Massimiliano played by Michael Sharon.)

When looking for a new webseries to delve into, be sure to avoid In Between Men (after all there are plenty of quality ones out there). Even as a guilty pleasure, the series elicits more guilt than pleasure.

 

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by xoxojk on November 21, 2012  •  Permalink
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Posted by xoxojk on November 21, 2012

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It’s Never Too Late to Get Into “The Outs”

The Outs is the first webseries I’ve seen that could easily transition into an actual TV series (for cable, of course). The episodes are long enough, ranging from 20-30 minutes; and the incredible writing gives the show enough substance to make it very compelling, at times even emotionally devastating. Created by Adam Goldman along with Sasha Winters, The Outs explores the muddy waters of life after an intense breakup.

Mitchell (Goldman) and Jack (Hunter Canning) have had a dramatic breakup (the details of which are slowly revealed throughout the series) and are now trying to move on with their lives. Jack goes through a slutty phase, leading him to “Scruffy” (Tommy Heleringer). Meanwhile, Mitchell is trying to rehabilitate his close friendship with Oona (Winters), who was also greatly affected by the breakup, while also attempting to start dating again.

The show’s strong writing (also by Goldman) and crisp cinematography (Jay Gillespie) will quickly draw you into the series. Goldman’s playwright style of writing combined with a stage-like delivery of lines by the actors gives it an overall theatrical vibe that is lacking in many other webseries (i.e. In Between Men, The Vessel). The lengthier episodes, too, allow for more thorough character and plot development.

If the Manhattan lifestyle of Hunting Season makes it akin to Sex and the City, then the Brooklyn world of The Outs makes it akin to Girls (wouldn’t that make for a great hour of TV on HBO?). Both are outstanding webseries that prove that this form of media is yet another great way to express compelling storytelling.

You can watch all 6 episodes of the series here.

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by xoxojk on November 20, 2012  •  Permalink
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Posted by xoxojk on November 20, 2012

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Why “Hunted” Is the Best New Show You’re Not Watching

Unless you’ve noticed Melissa George’s face—and perpetually pouted lips—displayed on the side of buses, you probably haven’t even heard of her new show on Cinemax and BBC One. From Frank Spotnitz (The X-Files) comes an Alias-style espionage series that is as stylistically beautiful as it is complexly plotted. Conspiracies abound, and at the center of it all is George’s Sam Hunter.

After losing her child and almost being murdered herself, Sam disappears for a year to recover; but her desire to learn who tried to kill her brings her right back to her old job at Byzantium. Her boss at the organization, Rupert Keel (Game of Thrones’ Stephen Dillane), is suspicious of her sudden return; but her skills in the field far outweigh his doubts about her motives. She joins Deacon Crane’s (LOST’s Adewale Akinnuoye-Agbaje) team as they investigate a crooked businessman. Sam must infiltrate the man’s family while continuing her hunt for answers about who tried to kill her.

Melissa George is no stranger to the spy world; her character on Alias, Lauren, was as duplicitously vile as her Sam is duplicitously good on Hunted. She easily navigates this world of crooks, spies and terrorists as she unravels the mysteries surrounding “Hourglass.”

This visually compelling series keeps you fully engaged throughout each hour-long episode. The sharp writing allows this skilled cast of actors to convey emotion and motive instead of blatantly stating it (as so many shows on basic cable do). Also, the writers don’t let too many of the mysteries to go unanswered for long—although the answers usually lead to more questions.

Hunted is a twisty thriller series that will suck you in. And, with the show already picked up for a second season, you would be remiss not to delve into this show.

The show airs on Fridays at 10 on Cinemax and on Thursdays at 9 on BBC One

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by xoxojk on November 13, 2012  •  Permalink
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Posted by xoxojk on November 13, 2012

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“Bro-ing Pains” Tackles Friendships Between Gay and Straight Men

Bro-ing Pains is “a webseries about a dude who likes dudes surrounded by dudes who like chicks.” In a market that is flooded with LGBT-themed webseries, Bro-ing Pains explores ground that hasn’t really been focused on before: namely, friendships between gay men and straight men. Other than recent sitcoms like Partners and Happy Endings, this kind of relationship is almost nonexistent in pop culture; yet so many gay many have close friendships with straight men, so it’s great to finally see that depicted.

The series follows Tyler (writer/co-director Jonothon Mitchell) as he struggles to identify both as a gay man and as a fraternity brother. His brothers (played by Ryan Weiss and David Kim) easily accept him—mostly because he’s “straight-acting”—but his roommate (Ericka Winterrowd) feels gypped because she wants him to be her cliché gay bff (making for some amusing tiffs). Soon, she and Tyler make a bet that involves him sleeping with a guy in every fraternity on campus, a plot that is both convoluted and entertaining.

Most TV series take four episodes to fully establish themselves, but in the world of webseries it seems to only take three. And that’s definitely true for Bro-ing Pains. The first episode feels more like Mitchell’s treatise on how it feels to be gay in a fraternity. While it does set up the thematic concepts of the show, it does very little for the show’s plot. The second episode is when the wager is made and we learn just enough about the characters to see how they all fit together. But the third episode is when the characters begin to feel real (and also when the actors begin to feel comfortable playing them). Tyler becomes humanized as a character when he is confronted by his ex-boyfriend (Filipe Valle Costa) at a Pride meeting (that feels like an AA meeting). He goes from being just a caricature of a gay bro to being a character that viewers can sympathize with, making the show fully engaging.

The episodes are being slowly doled out on YouTube as Mitchell and co-director Skyler Scott Kern continue to film and edit the series, giving you plenty of time to get sucked into the world of Bro-ing Pains.

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by xoxojk on November 10, 2012  •  Permalink
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Posted by xoxojk on November 10, 2012

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Gaybies Invade British Culture in the New Webseries “The Vessel”

Pop culture’s obsession with gays having babies (i.e. The New Normal, Gayby) has finally moved across the pond to Britain. In the British webseries The Vessel, one gay couple asks their friend to be a surrogate for their child. Over 10 episodes, the series follows their attempts to get pregnant.

Due to the speed at which they filmed the series (6 days!), there are some unique aspects to the episode that differs from other webseries. Each episode is one uncut scene told from the “vessel’s” point-of-view. Also, each episode is mostly improvised, making the actors look skittish (or “quirky”). The gay couple (played by Giovanni Bienne and Philip Whiteman) comes off as especially frantic, but they manage to play off each other very well.

Because the camera is the surrogate’s eye, it actually makes it more difficult to sympathize with her character. Especially because the second episode works as a PSA for rules about surrogacy in England (you’d be surprised how much it differs from American policies). But in the third episode, she begins to show some hesitations regarding her decision and we get a little alone time with the character. These developments finally give us a sense of her character, and the episode is what actually sold me on the series.

With so many webseries floating around the Internet, it can be hard to decide which ones to watch (if you haven’t checked out Hunting Season you should definitely do so immediately). But The Vessel, despite its clinical-sounding title, is a topical series that is amusing and endearing.

New episodes are posted on Sunday evenings at 8pm.

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by xoxojk on November 6, 2012  •  Permalink
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Posted by xoxojk on November 6, 2012

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Glee Season 4 has a “New York State of Mind”

 

Warning: The following review includes spoilers on the first three episodes of the new season (and includes rumored future plotlines in the final paragraph).

Glee’s fourth season is now in full swing, and I couldn’t be happier—or more annoyed. The new season splits each episode between the continuation of life at McKinley High and the thrilling life that Rachel (Lea Michele) and Kurt (Chris Colfer) are leading in NYC. It’s a bold storytelling move, and it almost works.

The New York stories are awesome, and that’s because the writers have finally written something right. As someone who has recently moved to NYC—from Ohio, no less—I know exactly what Rachel and Kurt are going through (I, too, moved to Bushwick when I first got to the city). They make comedic observations about life in the city and in Brooklyn that speak to those of us who live here or are familiar with NYC.

But, even though they capture living here perfectly, they still tell outlandish stories—Kurt would never really get an internship at Vogue.com purely because he’s from Ohio and wearing a hippo brooch. Of course, if you haven’t learned to accept the ridiculous stories of Glee, then you should really just stop watching. At some point you have to embrace the camp factor and just enjoy the show and its few creatively genius moments—and ignore the rest.

However, back in Ohio, the stories couldn’t be less interesting. Since the show began I have greatly disliked 4 characters—Brittany, Artie, Tina, Blaine—and they are now the stars of McKinley. Brainless Brittany (Heather Morris) now gets more songs and scenes, making her the worst character of all. Whatever charm she had as a nitwit with a comedic punchline is forever lost. Artie’s (Kevin McHale) ego has become so inflated he clogs the hallways with his imagined bravado. Poor, uninteresting Tina (Jenna Ushkowitz) still can’t catch a break when new girl Marley (Melissa Benoist) steals her soloist title (as if Tina stood a chance against drama queen Blaine) in the season premiere and pushes her out of the show entirely (did anyone even see her in “Makeover?”). And without Kurt around, Blaine (Darren Criss) feels even more completely useless as a character.

The only redeeming characters at McKinley are Sam, Sue, and Marley. Sam (Chord Overstreet) is growing into his role of big brother to the gang, even as he begs Brittany and Blaine to be his best friends. Sue (Jane Lynch) is on point with rude comments and becomes more enjoyable without her obnoxious plots to ruin everyone’s lives. Most surprising, though, is newcomer Marley. When I heard they were inevitably adding new characters, I rolled my eyes. But Benoist is charming as the new Rachel; she has a great voice that is exemplary in her stripped down performances (see: “Chasing Pavements,” “Everytime”). I was fully prepared to dislike her and newbie Jake (Jacob Artist), but I’ll take them over the old New Directioners any day (they’re acoustic duet mashup “Crazy/’U Drive Me Crazy” is playing on repeat at this very moment).

With stellar guest stars (Kate Hudson is hilarious; Sarah Jessica Parker is amusing as a reincarnation of Carrie Bradshaw); some much-needed breakups (goodbye Klaine! Finchel!); and Santana’s (Naya Rivera) supposed move to NYC, I’m excited to see where this season will go—at least the NYC half (I would love to buy a DVD version of this season that contains only the NYC scenes).

 

You can watch Glee on Thursday nights at 9pm on Fox.

 

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by xoxojk on September 28, 2012  •  Permalink
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Posted by xoxojk on September 28, 2012

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White Collar: Season Three

Before Matt Bomer skyrocketed into pop culture fame by singing on Glee, he was the star of USA’sWhite Collar. Bomer plays con man and art thief Neal Caffrey (whose reliance on a fedora is more successful than Maria Bello’s on Prime Suspect and his spiffy suit collection would give How I Met Your Mother’s Neil Patrick Harris a run for his money). After being caught—again—by FBI agent Peter Burke (Tim DeKay) upon escaping from prison, he convinces Peter to let him assist with the FBI in catching other criminals (something he knows a lot about) instead of sending him right back into prison. Thus is the premise for the show.

In season three the writers strike a perfect balance of procedural and serialized storytelling (something most shows fail at—except The Good Wife andScandal). The story picks up with Peter suspecting Neal of having stolen the Nazi U-boat treasure that supposedly blew up at the end of season two. In actuality, it was Neal’s criminal bff Mozzie (played to hilarity by Willie Garson) who stole the treasure. He convinces Neal to run away from New York forever and start a life of luxury and freedom in Europe.

Read the rest of the review at JustPressPlay.

See also: Brandon Touhey’s critique of the White Collar Set Design.

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by xoxojk on June 11, 2012  •  Permalink
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Posted by xoxojk on June 11, 2012

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Great Expectations (2011 BBC Miniseries)

I had great expectations for this BBC miniseries of my second-favorite Dickens novel (especially since my favorite one, Bleak House, was so spectacular). But there was much of this miniseries that I found off-putting. So, I’m going to start with the bad and work my way to the good (because there was definitely some great stuff in there, too).

The opening credits were droll (boring music and creepy insects) and, thus, turned me off immediately. The first hour (it’s a 3-hour miniseries) stayed pretty true to form. Ray Winstone’s Magwitch was frightening and Oscar Kennedy as Young Pip was dead on. They captured all the important moments of Part 1, but I still felt somewhat bored afterwards.

The downfall for me was the second hour. The story strays from the actual text and aggrandizes the relationship between Pip and Estella. I’ve long ago resigned myself to the fact that naïve Pip is in love with Estella (even though she’s heartless), but there were so many excessive scenes developing their relationship that it detracted from his other relationships with characters that would be more important later (eventually they did get their dues).

Pip, too, brought up issues for me. Pretty boy Douglass Booth (remember when he made out with Matt Smith?) plays the teenager Pip, but his Pip is more of a calculating one than how Dickens wrote him. This Pip turned all his suspicions (about his benefactor and betrothal to Estella) into inner truths as he climbed his way up the social ladder. In the book, Pip always had a clueless naiveté about him that endeared him to the reader; but Booth’s Pip just made me want to slap him in the face.

Fortunately, the third and final hour nearly makes up for the overall defects. They delve right into the mysteries and actions of the final third of the book, which make this story so great. And over that hour Pip truly learns his place and begins to think of others. Though a few stories were tweaked, the writer did a good job of building the suspense and action and bringing the story to a satisfying ending (though I’m never truly satisfied with the final moments ofGreat Expectations).

The true gem of this production, however, is Gillian Anderson. Her portrayal of Miss Havisham is unique and, dare I say, groundbreaking. She taps into a different aspect of Miss Havisham that we haven’t seen in previous incarnations. Usually depicted as withering old woman, Anderson gives “life” to this frozen bride. She affects a high-pitched speaking voice that reminded me that Miss Havisham is merely the young version of herself frozen in time like the rest of Satis House. She brings out the child in Miss Havisham that was jilted and turned into a bitter old woman. And in one of the truly greatest moments in the miniseries, Miss Havisham pauses with her arm next to a candle and I could hear the flame as if it were ready to reach out and grab her.

With an American production of Great Expectations coming this year, I’m eager to see what their take on the novel is. I sincerely doubt Helena Bonham Carter’s Miss Havisham will bring any new revelations to the role, but I hope David Nicholls can writer a better screenplay for this than he did for One Day. Needless to say, you should probably just go buy the new Penguin Classics edition and read the story for yourself (since I know you probably just read the cliff notes in high school).

 

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by xoxojk on April 19, 2012  •  Permalink
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Posted by xoxojk on April 19, 2012

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