recommended TV shows

Lunchtable TV Talk: The Brink

Standard

Eager to find out how The Brink, a satirical comedy focused on a geopolitical crisis that ignites in Pakistan, ends, I keep watching. It’s a relatively funny journey – not too taxing or challenging given the political story (which can bog down shows attempting to be “light”, as this one aims to be). What sets this show apart is its stellar ensemble cast. Just when I get pulled into the scenes with the incorrigible, frenetic Jack Black and his driver, played by the multitalented Aasif Mandvi, the shift focuses to the sex-obsessed, liberal but never-taking-his-eye-off-the-ball US Secretary of State, played to perfection by Tim Robbins. But the show also has somewhat smaller but still standout roles for Pablo Schreiber, Carla Gugino (who also turned in a good performance recently in Wayward Pines) and John Larroquette.

On an entirely unrelated note, Larroquette’s presence sent me off on a nostalgic mental parade of past television, including Larroquette on the 80s sitcom classic, Night Court, of which he was the best part. But Night Court also included Harry Anderson, a most non-descript guy who nevertheless carved out a niche for himself as a magic aficionado and as a night-court judge, as a frequent guest star in Cheers and in the 80s/90s sitcom Dave’s World, based on the life of comedy writer, Dave Barry. And my twisted obituary-laced brain immediately recalls that Dave’s World’s Meshach Taylor (also famous for his turn as Anthony the ex-con in Designing Women) is dead – too young. Going back to Night Court, once again, whatever happened to Markie Post, the female lead in the show? Back in the 1990s she was in a little-watched but nevertheless entertaining Hearts Afire with the late John Ritter. (Of course my brain would lead me here – always the grim reaper.) Hearts Afire ended up being about a married couple working on a hometown newspaper in the south, but it started off being thematically not too different from Alpha House and The Brink – without the farce, of course. Incidentally, Hearts Afire also starred Billy Bob Thornton. But people were not quite ready for Billy Bob yet.

In some ways, ensemble shows like The Brink, as topical and sharp as they are, end up making me more interested in making connections – playing some kind of six-degrees-of-Kevin Bacon connect-the-dots. Obviously. Nothing about the unfolding crisis and underhanded political rivalries playing out in high-stakes, behind-the-scenes conflicts should lead someone to forgotten two-season sitcoms like Hearts Afire. But for a TV-crazed lunatic like me, they do.

Lunchtable TV Talk: Key & Peele

Standard

I read that Key & Peele ends at the end of the current season. It’s sad but it goes out on a high. Will miss it and the instantly recognizable Reggie Watts sound of the theme music.

Where else will we see an over-the-top skit where two dudes go nuts praising “Liam Neesons” and follow-up in their onstage repartee with, “Why do we love Liam Neeson so much?” “I’ll tell you what… Ethan Frome – that’s my jam right there!” HAHA. Does anyone even remember that film version of the book?

Until overdosing on the most recent season I had completely forgotten that Key and Peele were in the first season of TV’s Fargo.

At least there’s a new season of Fargo coming up.

Lunchtable TV Talk: Alpha House – “One nightmare at a time, girl”

Standard

I have not seen Haley Joel Osment since The Sixth Sense or possibly some tabloid “reporting” on his drunk driving or something similar. Oh the nightmares of being a child star (see “cast of Diff’rent Strokes” for the ultimate case study in child-stars gone awry). Suddenly, though, I started watching Alpha House during a brief Amazon Prime freebie month, and there he was. And noticed that he’s also in the IFC productions, The Spoils of Babylon and The Spoils Before Dying. Tons of great, funny and interesting people in The Spoils, so Osment is not exactly key. But I noticed him most because of his long absence from the public eye – and then his sudden reappearance in a bunch of stuff – referred to as an unusual “second act”. Osment has made no difference to Alpha House, but I had to note the presence.

I plowed through the first season of Alpha House – it did not start out particularly well. I may have had higher expectations because the show was created by Garry Trudeau. Alpha House focuses on a handful of Republican politicians sharing a house in DC together – it’s meant to be a comedy but until the middle of the season, it does not pick up speed. But eventually there are laughs and insights here and there – most of the characters, even though they align closely with stereotypical caricatures of politicians (egomaniacal sex addicts; uber-conservative closet cases; lazy lifelong politicians who have lost their way, etc.), come out as relatively likeable, human people.

John Goodman is more compelling in every single other role he’s played but then he only seems to come to life near the end of the first season – and this may be by design. His character is a complacent senator who rediscovers his values only once his seat is truly challenged. Mark Consuelos… well, does anyone think of him as anything more than Kelly Ripa’s husband and secondarily – maybe – as an actor on whatever soap opera he met Kelly on when they were both in the show? Actually he is better than that, but because he is possibly the biggest stereotype in the bunch it is easy to pigeonhole him as the Hispanic politician relying on his “roots” even though he does not understand a word of Spanish and as the player/sex addict who may destroy his career with these common pitfalls. Clark Johnson plays another of the politicians sharing the house, and he is pleasant and funny – but there is not much to say about him. (I have not seen much of Johnson since his days in Homicide: Life on the Street. Happy to see him, though – love him!)

Only Matt Malloy is immediately and consistently watchable as a very homophobic Republican senator who wins an “anti-sodomy” award for opposing gay marriage when it is suggested at every turn that he is deeply closeted himself. While the “closeted political operative story” was somewhat more highly charged with Cyrus Beene in Scandal during the flashback scenes depicting his coming out, Malloy’s character trajectory is much slower, certainly less exigent. Maybe that storyline is not gripping – almost nothing about the show is – but it grew on me. Malloy has always been one of those everywhere-everyman actors who plays small roles all over the place although I mostly think of him as the milquetoast “Howard” from the brutal film In the Company of Men. Seeing Malloy in a leading but ensemble role is refreshing – and even greater – Amy Sedaris as his rigidly Mormon, wholesome wife. Too much!

By episode five, the only thing that really piqued my interest was the appearance of musician Charles Bradley (as himself). But by episode seven – the prayer brunch episode, which includes the very funny Wanda Sykes (she’s in several episodes) – the show hits its stride, and I finished season two the very next day. (Who turns up, in fact, in the final episode but Josh Pais, the everywhere-everyman actor I wrote about just the other day?)

With no word yet on season three, I am surprised to find myself – after a very slow beginning – hoping it will return.

Lunchtable TV Talk: Sense8 – “This is the real fucking world – nothing’s fair”

Standard

After the first episode of Netflix’s Sense8, I was disappointed and did not even want to continue watching. I am not alone in this sentiment. The show is uneven in its pace and not every thread makes sense (maybe it does not have to – that might not be the point). The cited Hitfix article praises the show as being ambitious and sometimes great despite its weaknesses, and as I made my way through the show, I felt the same way. There were many touching moments, many hilarious moments, and many concepts that struggled against the ordinary to find greatness.

I won’t get into the premise of the show – it’s scifi, it’s about strangers in different parts of the world suddenly experiencing a mind-body connection that enables them to see, hear, feel each other. If that vague idea sounds interesting, watch it to find out for yourself if it means anything to you.

Hitfix also pointed out that many of the supporting characters contributed more entertainment value and depth than supporting characters generally do. This is particularly true, just as the article says, of Freema Agyeman’s tough, clever Amanita. (She’s better known for her role as Martha Jones in Doctor Who – and for me, who has oddly never seen any of the storied Doctor Who franchise, Law & Order UK, as prosecutor Alesha Phillips.)

The same cannot be said always for the stories of some of the main characters. I found myself most irritated by the story of “Riley” – the supposedly Icelandic character. Her character cites some vaguely “Icelandic” things – half the stuff she says comes back to sentences that begin with, “In Iceland…” – but most of it is the kind of drivel spouted in tourist handbooks. At least the people Riley encounters when she returns to Iceland from her home in London are actual Icelandic people – including her father, portrayed by an Icelandic folk and blues singer, KK.

It might be that much of this show feels inauthentic in that all the characters around the world speak English. There are moments when the characters’ lives collide, and only in those moments, the characters speak in their own native languages (the Korean girl speaks Korean, the German guy speaks German, etc.), but almost immediately “adapt” to understand each other but the entire show is in this lingua franca of English. Given how much of television is now being presented in languages other than English, it feels lazy and assumes laziness to make Sense8 this way when it is otherwise, progressive and full of diverse identities. Does using English help more people in a broad audience connect to a broader spectrum of diverse characters? Does it break down barriers rather than create one in the form of language? Possibly. This show does not always hit the mark, but its sights were set high enough that adding the layer of language might have just been too complex for an already complicated story. That said, though, I feel that “original” language has added so much to other shows that I wonder what might have been added (or taken away) here. (I have already written about original language use on TV, the new subtitling revolution – and I don’t love fake accents in place of the actual language – again, the “Icelandic” girl who is actually a Brit using a put-on Icelandic accent instead of just using Icelandic with subtitles….) Lovely scenery of Iceland, though.

The show is best when it reveals its many small moments of insight – even if they are not “deep” or hidden insight – moments of clarity that reflect on the duality and universality of the main characters’ lives overlapping. One small example – in episode 9 when Lito, the Mexican soap star, states while drowning his sorrows in a bar, “I was living in two separate worlds”. He could just as well be referring to his status as a Sensate, colliding into multiple worlds although he might be talking about his public life as a famous actor and his private life as a closeted gay man and the struggles and losses that has caused for him. “A secret self”, as Lito discusses with the bartender before it degenerates into self-hating homophobia.

Ultimately the unanswered questions, the potential and the little insights may provide a path for a second season. Fingers crossed.

Lunchtable TV Talk: Sex & Drugs & Rock & Roll

Standard

On the surface, I don’t think Sex & Drugs & Rock & Roll would appeal much to me. But then, when have I limited my TV viewing to things that appeal to me?

The show is ostensibly about trying to keep the washed-up drug addict former lead singer of a band called The Heathens (Denis Leary) off drugs long enough to write a few new songs. It turns out he has a daughter he never knew about, and she turns up with money and the intention of putting the band back together – with her as the lead singer. Leary created the show, and more than anything, it showcases his fast-paced, smart-ass, sharp humor better than anything I’ve seen him do lately.

Leary as Johnny Rock: “Bowie had this haircut in 1973, this is an iconic look.”

John Corbett, as Flash, one of Johnny Rock’s old bandmates: “Bowie’s been drug-free since 78.”

Johnny: “Talent-free, too, bro. Let’s dance… let’s not, David….”

Johnny: “Name one great band or rock star that doesn’t get high.”

Rehab, former bandmate: “Coldplay.*”

Johnny’s daughter, Gigi: “Morrissey.”

Bam Bam, another former bandmate: “Radiohead.”

Johnny: “I rest my case. Every time I hear a Radiohead song, I feel like I’m failing the SATs all over again.”

This coupled with a few zingers about Pat Benatar and her husband, Mr. Pat Benatar had me chuckling through the first two episodes. Sadly that’s all that’s been broadcast so far.

Of note, the band manager, Ira, is the actor Josh Pais… who is one of those unafraid to be non-descript guys who shows up everywhere. He is the quietest, pent up and most unassuming dentist in the indie film Touchy Feely but then is this angry, volatile, perv, Stu Feldman, in Ray Donovan. I love actors who blend in but deliver wildly and widely varied performances, and Pais is great at this even if he is upstaged here by Denis Leary and John Corbett. He may always be upstaged because he blends in well and does exactly what his character is there to do.

Overall, it may be that you have to have a soft spot for Denis Leary to like this in the first place, but I suppose I qualify even if I have no fondness for the kind of selfish, ne’er-do-well character he represents.

*I would argue that Coldplay is NOT a great band, whatever their reach and popularity. Agree there with Leary’s resting the case.

Lunchtable TV Talk: Rectify – When you don’t do yourself any favors

Standard

The quiet, weird calm on Daniel Holden’s surface occasionally erupts in blind rage – leading to events he does not remember. And he never does himself any favors – either in committing these impulsive and violent acts nor in how he goes about handling them. It’s frustrating as hell as a viewer but makes for very unusual storytelling – especially for episodic tv. Things Holden did sometime in the first season of the show are only coming back to light in the third season.

This is how Rectify operates. Very slow-moving drama, following Holden and his family and the other people in the town into which he is released after 20 years in prison. It is never clear that Holden is innocent. DNA more or less exonerates him, but the town (especially its power structure) remains suspicious of him. His odd behavior, speech and mannerisms make people uncomfortable enough that they are never sure he is innocent either. In fact, neither is he.

The show is deliberately slow and often so poetic and thoughtful in its dark and quiet explorations on different themes. As such, it does not surprise me that it is not widely watched – and not just because it lives on Sundance, not the most visible network. Cited many times by many media outlets as a hidden gem, too slow for many but worth the effort, it’s hard not to feel for and be frustrated by everyone involved – peculiar Daniel Holden, his impassioned sister, Amantha (one of many TV roles nailed by Abigail Spencer – see also the latest season of True Detective, previous seasons of Suits), his mother and stepfather and step-siblings (who have their own issues), and even his long-suffering and frustrated lawyer.

The frustration is a part of the beauty of the show and its character development. It moves more at the pace of real life, does not offer neat or happy endings and is as challenging to draw conclusions from as everyday life is. Thanks to Netflix, you don’t have to rely on reruns to see the previous seasons.

Lunchtable TV Talk: Dead TV We Never Heard Of – The Divide

Standard

The Divide only lasted for eight intense episodes. It never had a chance. I never even heard of it until it had already long been cancelled, finding it in a list of “shows you should binge watch now”. The Divide came well before the much-praised American Crime – but it tackles many of the same issues of race, injustice, capital punishment, small compromises that lead to bigger corruption, a broken justice system and handles these issues with similar deft subtlety. But no one ever heard of The Divide, while American Crime (not much watched but certainly a critical darling) at least enjoyed its share of media attention. Maybe it was the timing, maybe it was the network each show debuted on (The Divide played on WE TV – have you ever heard of it or watched anything on that channel? American Crime is on a major network – ABC.)

I enjoyed the cast of The Divide (a whole bunch of actors from The Wire), and the story, had the show known it was going to be cancelled, could have been wrapped up in its eight-episode run. Instead, I guess they held out hope that the show would continue and the last episode opened a whole bunch of new threads and left most of the existing ones unresolved… meaning that there was no satisfaction at all. The final episode, in fact, felt really “off” after a relatively tight seven episodes leading up to it. The episode introduced a bunch of seemingly nonsensical and out-of-character activities, particularly a scene where two guys (one a cop and one a guy helping his brother-in-law, the DA, investigate something surreptitiously) hatch an unclear plan to entrap someone – but the plan is not at all clear and the situation goes terribly awry. Maybe it could have been explained had a second season happened. Disappointingly, we’ll never know.

Too-late telly: Kampen om Tungtvannet, or The Saboteurs

Standard

Norway does not understand angst well enough to make good films or television. At least this has always been my contention. If they have ever produced a decent film, it is usually because it hits on the one area many Norwegians seem to understand and some struggle with: mental illness (see Elling or Buddy).

I have, however, been surprised by The Saboteurs. I only got around to watching it now (it’s being shown on British tv now as The Saboteurs. It was shown originally in January on NRK under an original title, Kampen om Tungtvannet, or “The Heavy-Water War”).

Only funny part is that someone seriously asked me if Werner Heisenberg was a real guy. I explained that not only was he real, another tv show (Breaking Bad) had a character who adopted “Heisenberg” as his alias/alter ego because of Werner Heisenberg.

Humans and Mr Robot: The Synthetic Now on TV

Standard

I obsess a bit too much about robots, artificial intelligence and robots taking over the world.

I’ve just indulged in a handful of episodes of the show Humans, and it’s creepily promising. Humans coexist with a population of humanoid “synthetics”, who are basically slaves. A small group of these synths has been created and given consciousness – and this is the story unfolding alongside the intricacies of daily life in which humans rely on, feel humiliated by, feel inadequate next to, feel creeped out by, love and humanize their synths.

Mr Robot is not a show about robots except in the broadest sense, but instead is about a loner-hacker-morphine addict named Elliott. It’s suspenseful and often funny (love it in the first episode when Elliott, also the narrator, recounts for the audience all the ways in which his best friend Angela’s douchebag boyfriend is offensive – including the fact that he listens to Maroon 5 and Josh Groban).

Both shows drum up questions on ethics that are becoming more pervasive all the time, which is part of why I am excited about both shows.

Meanwhile, technology has already taken over.

Lunchtable TV Talk: The Leftovers

Standard

You know how it is when you get all fired up to do something, and if you don’t strike while the iron is hot, the impetus to act dissipates or entirely disappears? Specific topics in writing are like that for me. I can’t count the times I have collected notes and links to articles that inspired or informed my thinking but then don’t write what I want to write immediately. Soon the inspiration is gone, and anything I would write later on the subject is devoid of the passion and sometimes entirely of the point I wanted to make.

(This is a different problem from being inspired and researching and drawing in a lot of information from a lot of sources, only to lose all the gathered information in one horrible technology crash. This also happened recently. Rest assured, I don’t think any of us is suffering or losing sleep over these articles I won’t be writing!)

I have already admitted to being a TV addict, half-watching copious amounts of the stuff while doing other things. Only giving it half my attention means that unless something is truly remarkable, I am not taking much away. I still, though, feel compelled to chronicle all this multitask erstwhile viewing, and if I don’t do it right away (either after watching a particular episode or finishing a season), I might as well not do it.

But here I am a few days after someone recommended the show The Leftovers to me. Usually I have already seen everything there is to see, so recommendations, while welcome, greet me as old news. The Leftovers is no exception. I watched it during its original run and was sometimes confounded, sometimes disturbed. I have no argument with the mostly powerful performances delivered by a large ensemble cast. But the fact that I almost remember nothing about the show, and a lot of its themes have been jumbled in my head with what I’ve seen in the disappointing US version of The Returned, makes me less than enthusiastic about recommending The Leftovers, even though I was drawn in at the time and will watch season two. Perhaps my TV addiction amounts to “too much of a good thing…”.