Banshee was a pretty crazy show: violence, mystery, unreal (but fantastic) characters. Despite what reads in a synopsis as a lunatic-filled bloodbath, Banshee was one of those can’t-miss indulgences. I was looking forward to watching the final season early in 2016, but then the final season was pushed back to April. It felt like an interminably long time to find out the fates of the Banshee crew. When it arrived, it seemed to end so fast.
The premise always stretched capacity to believe. An ex-con arrives in Banshee, Pennsylvania, Amish country, and assumes the identity of the town’s new (recently murdered) sheriff. He doesn’t seem like a run-of-the-mill lawman, but for years he manages to never quite be caught impersonating a dead man. The story evolves but really isn’t anything special without its cast, the colorful characters who make up the Banshee world and the killer action/fight sequences. It’s not deep, meaningful entertainment, but it’s well done.
Most of all, I think, I will miss Danish actor Ulrich Thomsen as Kai Proctor, the town villain and Amish outcast. He was not long missing from the small screen, though, as even before Banshee’s final episodes had aired, he turned up in NBC’s The Blacklist, which feels like an ideal role for him, even if it’s in an increasingly irritating show.
TV is saturated with shows that tell some variation of the immortality/reviving someone from death story. Some are better than others. The two most recent (at least that I bothered to watch) – Forever and Second Chance – couldn’t be more different. (Penny Dreadful crossed into this category to some extent, but it is an entirely different… monster. And it suffered greatly from a huge buildup that led to a rushed and unfortunate, low-satisfaction ending after three unhurried seasons.) Like Dreadful, both Forever and Second Chance ended up prematurely cancelled – in their cases, after a mere single season.
Forever, starring the charming Welsh actor Ioan Gruffudd – who made a star turn in the latest season of UnREAL – in the lead and Judd Hirsch – who has recently made his curmudgeonly mark in The Goldbergs and Maron – in an excellent supporting role, actually had the story and the writing to make the idea of a man who can’t die – and keeps “reanimating” after every death. In the form of flashbacks we find out how he got immortality as well as piece together his relationship with Hirsch and so on. Flashbacks can be the most grating part of many shows, but they were effective in Forever because they helped give us a piece of the puzzle. The show was engaging enough that we wanted those pieces.
Second Chance, though, apart from the presence of Tim DeKay (of White Collar fame)… did not deserve a first, let alone, second chance. It was this improbable concoction of improbable stories and people. Loosely crafted around the Frankenstein theme, it was all over the place. I would describe how except that it is not worth my time or yours. Especially since it’s over before it really began.
What fascinates me is the constant urge to resuscitate this idea of bringing the dead back to life or creating some form of immortality, especially when all the cultural works about everlasting life show that it is often more painful than anything else.
I write often, recognizing the hyperbolic quality of my claims, that one show or another is the worst show ever. But you can trust me when I write here and now that Zoo is THE WORST SHOW EVER. It makes no sense, has the worst plot, terrible acting from much of the cast… it is just outlandish. This week, watching Billy Burke deliver the line, with all seriousness, earnestness and urgency, “We need that sloth” was just the final blow in declaring this the worst. I love James Wolk, but I can’t watch – not even hate watch – any longer. It is just too bloody stupid. And the worst part? It has been renewed for a third bloody season while really unusual and promising shows like BrainDead are on life support!
I was looking forward to HBO’s Vice Principals. I found Eastbound & Down to be crass but hilarious. Bringing the sensibility and tone of that paean to petty insecurity into a high school setting seemed potentially genius. The story follows the high school’s two dueling vice principals who have to band together to get rid of the new principal who has usurped the job they both thought they deserved, and this seemed like it could be a recipe for hilarity. Add to it the great Walton Goggins, and it also seemed like a recipe for success. But it’s absolutely dreadful. Not funny in the least bit. I don’t even know how describe how unfunny it is. It hurts to watch – and not in the good, awkward, cringe-worthy way that things like The Office was. HBO has a huge misfire on its hands here.
The only bright spot – if there is one at all – is that the two idiotic men at the heart of the show fail on so epic a scale in their schemes (very Wile E. Coyote). But those schemes are so destructive, so dark, so hideous that we cannot see anything remotely entertaining about them. The idea then that these plans and destruction backfire on such a colossal scale means that everything they’ve done is for nothing. They seem only to be strengthening their enemy rather than destroying her.
Then again, if there is any silver lining here, it’s that dumb, entitled men who think they should just slide into places of authority when there are better qualified individuals, including women, aren’t going to find it that easy to derail real adversaries.
Hit & Miss was the first time I heard Joy Division’s “Atmosphere” in what would be twice in two days (the second was in the stellar soundtrack to Stranger Things). Just incidental but positive.
I don’t know quite what led me to Hit & Miss. It’s a British show from 2012, so it’s not new, but I think it appeared on a recent list of “must-see” shows (which I routinely paw through looking for gems I may have overlooked in my obsessive TV viewing. Believe it or not, with the mushrooming of different platforms and their respective original programming, it’s easy for a lot of good and true-to-the-word “original” programming slip through the ever-widening cracks).
The protagonist, Mia, played by the versatile Chloë Sevigny, is a pre-op transgendered woman – and hitman/professional assassin. She’s at the top of her game in terms of successful hits when she gets word that her former girlfriend is ill with cancer and the surprising news that she has a son, Ryan. By the time Mia receives the letter and goes to her former girlfriend’s home, the woman has already died, leaving behind just her children. Mia, wanting to be there for her son and indeed for the rest of the children, takes on the entire family. The drama that ensues from here plays out over the course of six episodes is well worth watching.
Somehow, describing the plot in these bullet points makes it sound completely outlandish: any show would have more than enough story to grapple with just managing any single one of the traits/points listed. That is, a story about a transgendered woman could make a whole show. The story of a female assassin, another. The story of a former lover having to return to the past to rear a child he never knew about, another. But to combine all these and make it not just work but triumph is a real feat. Not everything about Hit & Miss was perfect, but its understated nature and careful, never-gratuitous handling of all of the difficult and sensitive subject matter nearly was. And at the core of that near-perfection was a solid, committed performance from its star, Sevigny.
Why I changed my mind: Chloë Sevigny
Sevigny was sort of an “it” girl – but a subversive one – in the 1990s, but she never embodied that overhyped concept (a concept that makes one biased immediately against someone who is overexposed in the early parts of their career). Someone like Sevigny, who has never been “mainstream” in a sense but has been prolific in her varied work, is someone I felt that bias against, both because of the overexposure/praise and because many of her sometimes daring choices seemed attention-grabbing (unsimulated oral sex in The Brown Bunny) more than professionally risky. Not to mention that many of the characters, despite being vulnerable, are almost never likeable. Often shady, scheming, not anyone you would want to be friends with or emulate. But that is Sevigny’s genius. She can make all of these negative character traits work and weave them into so many vastly different characters but at the same time make many of these characters fragile and vulnerable in ways that I have rarely seen any actor convey. Over time I have come to appreciate the growing depth of her work (I loved to hate her in Big Love; felt she added an interesting, honest, world-weary depth to the already brilliant Bloodline; was one of the few bright points in the most recent season of the increasingly bad American Horror Story). Frankly she grounded Hit & Miss, which could have been a colossal miss had it not been for her performance.
Nashville is not one of these shows. My reaction to its existence and eventual cancellation was as muffled as the run-of-the-mill, trope-filled show itself. I liked the show at first. This did not last.
What started out as an entertaining, if soapy, look at a bunch of fictional country music stars became a ludicrous, predictable mockery of storytelling. I, for one, was pleased to see that it was finally put out of its misery. Only then to be disappointed that CMT decided to revive the show as one of the network’s offerings in original programming, claiming, “We will treasure Nashville like no other network”. Every other network and online platform is doing it, so why not CMT?
The only possible bright spot and hope for redemption is that the show was self-aware enough to know it was circling the drain and needed immediate therapy. It had already begun to significantly retool itself, gearing up for a kind of reboot in its fifth season. Nashville’s previous network. ABC, brought in veteran showrunners, Marshall Herskovitz and Ed Zwick, to shake things up (they are both still on board with the CMT move). We’ll see if this makes a difference (and, despite low expectations, I will watch). After all, I love Connie Britton (was she not amazing in her small role as Faye Resnick in The People vs OJ Simpson?), actually want to see what happens with Hayden Panettiere’s difficult Juliette character and perhaps most crucially am interested in the way the character Will Lexington continues his coming-out journey. I have read that some of the neglected and/or mishandled characters and their stories will be gone (i.e., Layla Grant and her whiny, sniveling, overprivileged troublemaking – highly annoying because just when you wanted to root for her, she did something to ruin it; Luke Wheeler – after his engagement to Britton’s Rayna broke apart, he has just been hanging around for no apparent reason).
The thing about Nashville is that maybe it’s not safe to count it out, which is another reason I will watch again. After all, it started out well and pulled me in. It pulled a lot of people in. I just hope that it doesn’t go the way, say, a bad job does. I was reminded today as I started writing this about how sometimes you start a new job, and because it’s new and different, you get into it and really like it, but soon all the weaknesses show up and the structure starts creaking. Day by day (or in the case of Nashville, episode by episode), you grow more disillusioned and unhappy. You stick with it in the absence of something else but feel yourself growing numb. Then when you try to quit, someone in the organization convinces you to stay (or the network promises big changes, as ABC was working on for Nashville). You have your doubts but agree. And immediately regret it. It’s time to cancel. In the case of the job, I cancelled. But I will still give Nashville another shot, hoping that it follows a happier trajectory than an unhappy corporate job.
I never imagined, when he was young (or when I was young, for that matter), that Matthew Modine would, in middle age, come to play a range of (semi-)evil masterminds. But both here in Stranger Things and in the short-lived and flat Proof, Modine is just that. He is a behind-the-scenes kind of guy, pulling all the strings. Would you have imagined that when you saw him Vision Quest or Full Metal Jacket? (Well, maybe. In his long career, he has been and done almost everything.)
That’s not really the point, though. Where Modine fits into my brief and redundant narrative is that he, having been a fringe fixture in 1980s movies, fits well into a Netflix show that revives the 80s and its entertainment, its style and its feel down to the last molecule, Stranger Things.
I am once again hitting a wall in terms of finding an original thing to say about it – it’s been wildly popular (so much so that it took the Netflix platform down) and thus picked apart and analyzed to death. That happens with sudden phenomena such as these that feed so many different things:
Winona Ryder revival: a real one this time; for those who were not around in the late 80s and early 90s, Winona was a kind of offbeat ‘it’ girl; a shoplifting conviction and a lower profile made it seem as though she disappeared. She worked steadily but had both lost some of the indie/grunge cred that ignited her earlier career and, of course, aged out of the “it girl” title. She’s appeared in the Star Trek reboot and Black Swan as well as the lauded Show Me a Hero. She never went anywhere; nostalgia and the popularity of this show have just catapulted her back into the limelight.
1980s nostalgia: oh, that dreadful fashion and hair; paeans to 1980s youth adventure films; nods to 1980s classic horror
Sounds: That unbelievable and dreamy soundtrack.
Immersion therapy: We have other 80s love stories on TV (Halt & Catch Fire), which are great, but you don’t really get to immerse yourself in the time and spirit as much because it’s a weekly. Stranger Things was nothing if not an eight-hour-long time-trip into 1983. And for those of us who were there, around the ages of the boys in the show, riding their bikes all around town looking for their lost friend, Stranger Things has brought that entire era back to life believably (perhaps nowhere more than in the wardrobes and sensibilities of the teens like Barb and Nancy).
All that said, I am not one of the people who loved this and gushed about it. I liked it, I binged on it. But do I anxiously crave another installment? Not so much. I was never THAT into the 80s as they happened, hated being a kid and being around the kinds of kids who are the protagonists of this movie, and I always thought Ryder was overrated.
On the surface, and in pretty much all ways, Ray Donovan and Suits are two shows that have absolutely nothing in common. Except in my mind. I find that both suffer from devices – places and things – that distract the viewer. Every single thing seems plotted in an artificial way – or at least it feels artificial.
In Ray Donovan, particularly in season one and to some extent in season two (maybe understandable as the writers and characters find their footing), I felt like the entire show was a series of mobile phone calls between the wide character list. Sure, some action took place, but the phone calls were constant – either setting the action into motion, stopping some action before it happened or adding information that would have been unavailable (in reality or as a storytelling device) in the grand old pre-mobile-phone era. I wondered while watching what they would have done with a story like this minus the phones. Could Ray Donovan even have done his job without mobiles? (And in some cases, would his job – the way he does it – even be needed?) What did films and TV shows do before cell phones saved the day or could act as a device to up the suspense (i.e., girl goes home with murderer; her sleuth-like friend figures it out and tries to call her, but the phone is downstairs, and she’s already upstairs tied to the bed about to be slaughtered; camera pans to phone ringing away on the kitchen counter)?
The show might have been better titled “Cell” or something (a double meaning: endless mobile phone use coupled with jail time and/or threat of jail) because every scene involved some phone call that was sending Ray rushing off to another crisis or phoning one of his… can we call them henchmen? and sending them off to do his bidding or keeping someone out of a jail cell. This has not changed that much – it is still prominent, but it has lessened to the degree that I don’t find that it has washed away my enjoyment of the show. (After all, in this season, I got to see Ray sing Bob Seger karaoke with a former nemesis. This did not involve a phone.)
I have grown to appreciate Ray Donovan, even when story lines languish and things that feel promising (last season’s arc with Ian McShane – under- and misused) don’t go anywhere satisfying, there is still enough here to bring me back, season after season. In fact, it keeps improving.
What is not improving and has stretched its premise thin is USA Network’s Suits. Yeah, I am still watching, yeah, it still draws me (and apparently a lot of others, as it has been renewed for season 7) and yeah, we do see more places than the well-trodden hallway between Harvey Specter and Louis Litt’s offices, but not much. We get glimpses of New York, of the principal characters’ apartments, a few shots of courtrooms, and this season a glance inside prison. But for the most part, this show is all Specter, Litt or Jessica Pearson (and occasionally Donna, Rachel and Mike) charging down this main hallway between each other’s offices to give the other crucial news, a verbal lashing or some-other-who-knows-what. But this back and forth is starting to feel tired (along with the sap and nonsense of the Mike and Rachel story, which is really starting to, as someone jokingly said to me, miscombining two phrases, “burn my goat”.
What to do about over-reliance on the same things?
I had no real intention of watching Roadies, and then I saw that Robyn Hitchcock would appear in an episode sooner or later. Naturally I had to watch. But how painful these hours have been. There is nothing- absolutely nothing – redeeming about this show. It drags along slowly. There is no story. It is supposed to evoke some reverence for music and life on the road and its gritty romance (it’s actually rough but, you know, you’re supposed to die and live in filth and give up your life to devote yourself to the band you love. It’s all about the music).
Somewhere along the line, while torturing myself with this dud, I saw a review someone had written; it hit the nail on the head:
I’d extend the “written by someone who has never been connected to music or real people” to the entire series (we’re still only at episode six at the time of writing). There is a real element of pretension trying too hard not to be pretentious here. There are some truly obnoxious characters here. And sadly it’s because of the writing and the meandering “story” that tries to make everything seem life-or-death important. But nothing about this is important.
Other recent shows that try to capture the ineffable magnetism of music and the people who make it happen (e.g., Vinyl, also a colossal failure, already canceled, despite a great cast and a few good moments) and that try to (comedically) look at the middle-aged has-been/comeback hopefuls who try to regain relevance (e.g., Sex & Drugs & Rock’n’Roll, which degenerates into a lot of cliches but also is redeemed by Denis Leary’s humor).
Now I just wish I had the presence of mind and willpower to stop watching Roadies … because there is nothing for me here, and as John Mellencamp reminds us in episode 6, life is short, even in its longest days. It’s pathetic because it is not horrendous enough to be a passionate hate-watch; it’s sad because it’s just so fucking boring.
I’ve read wildly conflicting views on The Night Of, and I can see all the arguments. Me, I would watch this even if the whole thing was just John Turturrorubbing Crisco on his eczema-stricken feet and interacting with a cat. He’s a magnetic guy, and his performance here as a sort of weary sad-sack attorney trying to land a name-making case (while genuinely caring about the client) is a gem. His character is a guy who can’t just walk away and has too soft a spot for hard-luck, can’t win cases/situations… and it’s probably why he isn’t really any better at his job. Too soft to be brutal or hard-hitting.
The Night Of is far from perfect. There are a lot of things I don’t understand about this crime drama – from how and why the lead/murder suspect ends up in the situation he does, to how there seems to be no real drive, hurry or impetus for any of the parties involved to investigate the crime (i.e., if the main suspect didn’t do it, as he claims, who did? Shouldn’t his parents or his lawyer be invested in drumming up reasonable doubt?). There is a lot of emphasis on procedure, and I suppose that’s important too. Cases are won and lost on procedural points (isn’t that the whole point of A Civil Action? Yes, and surprise, surprise – both that film and The Night Of were directed by Steven Zaillian). And, with criminal investigations and signing legal clients, there is a procedure involved there too. Same with booking suspects into jail. But… is this a criminal whodunit or a tale of how a mostly naive kid is in the wrong place at the wrong time and ends up in the really wrong place (prison) and has to learn how to deal with that new reality – regardless of whether he committed a crime or not? Is this meant to be a commentary on the criminal justice system and its procedure? Is it meant to be a commentary at all? It’s hard to tell.
