Category Archives: TV

"The Chicago Code" and why I don't watch network dramas

Posted on February 8, 2011 | Leave a comment

Premiering last night on Fox, The Chicago Code is a new drama from Shawn Ryan. It’s a police procedural with a focus on corrupt politicians, and while I don’t bother with most procedurals, I gave it a shot for a few reasons. First, there’s Ryan’s track record; after following a classic (The Shield) with dreck (The Unit), he bounced back and was show runner on last year’s saddest cancellation, Terriers. The show also stars Jason Clarke, who was phenomenal on another amazing but underappreciated series, Brotherhood. Then there’s the premise – the intersection of crime and politics – which seems like a simplified version of Brotherhood or the mid-series subplots from The Wire.

Right off the bat, The Chicago Code is uptempo, and it doesn’t really let up over the pilot. There are quick cuts and quicker dialogue, even if some is a little silly; no one has ever uttered the words “I’m not a beat copper anymore” in real life. The narration is a bit heavy-handed, but it’s useful in filling the audience in on backstory and motivation for multiple characters.

Jason Clarke plays Jarek Wysocki, another Cowboy Cop who burns through partners faster than cigarettes. His ex-partner is the fast-rising police superintendent, Teresa Colvin (played by Jennifer Beals). And what would a police procedural be without a buddy cop element? Enter Caleb Evers (Matt Lauria) – young, brash, and slightly more by the book than his new partner.

Alderman Ronin Gibbons (Delroy Lindo, who makes the character half Clay Davis and half Rodney Little) is established as the Big Bad almost immediately. After meeting in his office, a whistle-blower who works at a company he secretly controls is dead within 5 minutes. Not exactly subtle.

Apart from the easy characterization of all involved, the pilot suffers from an overall lack of oxygen. The breakneck pace makes it nearly impossible to digest and enjoy the dialogue or the plotting. Even worse, the incessant need to Raise The Stakes was off-putting. The protagonists had to investigate a murder, plant the seeds of a larger corruption case, and prevent a gang war, all in 45 screen minutes!

Judging a show by its pilot is the ultimate example of judging a book by its cover. Pilots have to captivate fickle audiences and establish a new world in a short amount of time. Plenty of shows improved greatly from weak pilots (American Dad comes to mind) while others never met the lofty standard set in the pilot (Studio 60 being a major offender). But the problems in The Chicago Code‘s pilot are more endemic in network drama, and I fear it won’t be able to make it past the simplistic standards of its peers.

While The Wire may have perfected the medium, it’s unfair to compare it to standard issue procedurals. But that doesn’t mean networks can’t learn a thing or two. The networks still refuse to infuse their dramas with the nuance that has helped other procedurals find critical (if not commercial) success, shows like Veronica Mars and Terriers. But given the latter’s untimely demise, I’m not surprised to see Shawn Ryan opt for the easier path this time around.

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Catching up on "Justified"

Posted on February 8, 2011 | 3 comments

Justified was last year’s finest example of guilty pleasure television. The FX drama follows in the footsteps of predecessors The Shield and 24, featuring a protagonist who Breaks the Rules but Gets Results, a phrase that might actually be trademarked by the cable network. Thankfully, it returns tomorrow for a second season.

Justified follows US Marshal Raylan Givens as he reluctantly returns home to eastern Kentucky, Stetson and fastest-gun-alive in tow. Givens is an Old West sheriff born in the wrong century, so it’s fitting that he’s played by Timothy Olyphant, whose last major TV role was as Deadwood’s Sheriff Seth Bullock. Based on a short story by Elmore Leonard, the show has the author’s sharp-tongued wit and well-drawn characters. Apart from the dialogue, the show benefits from a premise that is both episodic and serial. Week to week, Givens fulfils his duties as a marshal: hunting for fugitives, protecting judges, and negotiating with hostage takers, among other things. He also is the featured player in a love triangle that includes his ex-wife Winona (Natalie Zea) and Ava (Joelle Carter), the woman he loves and the woman who loves him, respectively.

More intriguing is the overarching plot line that pits Givens against Boyd Crowder (The Shield’s Walton Coggins, aka Shane Vendrell aka Cletus Van Damme), a white separatist / cult leader / explosives-wielding criminal. Childhood friends on opposite sides of the law, Givens takes Crowder out of commission in the pilot; the bullet doesn’t kill him, but Crowder (allegedly) changes his ways, finds Jesus, and moves to a commune in the woods. Crowder is more svengali than supremacist, and Coggins gives the role more nuance than he did with his character on The Shield. The question of Crowder’s true intentions is all shades of gray and makes for an intriguing plot line.

Over the first season, the show highlighted the episodic content over the serialized, but finished strong. The romantic subplot is a bit predictable, but it integrates with the other stories organically enough. Overall, the performances, dialogue and unique setting make this show one to watch.

Watch Justified on FX, at 10pm on Wednesdays.

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Is “Lights Out” a true contender?

Posted on February 2, 2011 | 2 comments

From the earliest teaser trailer of FX’s Lights Out, the premise looked like a winner. A boxer on the downturn of his career, trying to be a husband and father, with a career path that forks at “one last chance before dementia” and “low-level enforcer.” The high concept log line would be The Fighter meets The Sopranos.

After four episodes, the show has flirted with the lofty promise of that premise. Unfortunately, its success has been in fits and starts. While each episode has been compelling in its own way, it feels like the potential isn’t being met. Still, we’re only four episodes in to the first season, and the show has a lot to offer.

Lights Out opens with Patrick “Lights” Leary (Holt McCallany), bloodied and unconscious on a metal table, bathed in a harsh halogen glow; it might as well be a morgue. He’s just lost his career defining match: losing his belt to “Death Row” Reynolds. His wife Theresa (Catherine McCormack) snaps the smelling salts, stiches him up (she’s in medical school), and hands him an ultimatum: fighting or family, but not both.

Lights hangs up his gloves, and five years pass. He tries his best to piece together the money needed to keep his family in the lifestyle they’ve become accustomed to: med school for his wife, private school for his kids. It’s a tenuous ploy, and he leaves it in the hands of his brother/manager Johnny.

Johnny, played by The Wire’s Pablo Schreiber, has sunk Lights’ funds into a stalled development project, The Landing, reminiscent of the Soprano-Lupertazzi joint venture, the Esplanade. He’s also trying to keep his father’s gym up and running. As if that wasn’t enough, Johnny is a total degenerate, fucking anything that moves and always looking for an angle. Each broken promise and bad deal begets another lie, as he digs a deeper hole for himself, and in turn, his family. Predictably, Lights does whatever it takes to bail out his brother. After four episodes of this, it’s already a tired act.

Johnny connects Lights with local gangster Hal Brennan (the icy Bill Irwin). A collection here, a delivery there, and Lights is that much closer to being a button man. It’s not a role he relishes, but the bingo games and local commercials aren’t paying the bills. His connection to Brennan is the most intriguing subplot the show has simmering.

The show has flaws beyond its genre cliches (the same cliches found in The Fighter). Thus far, the venerable Stacey Keach has been criminally underutilized (the fourth episode finally gives him some extended screen time). Also, Lights’ children are two-dimensional objects of his devotion. The difficult teenage girl, the precocious pre-teen, and the adorable innocent are stereotypes we’ve seen before in shows like Rescue Me and Brotherhood. Furthermore, the show often loses the battle between episodic plot lines and legitimate development of overarching subplots and themes. Still, there’s time for these characters and plots to become more richly drawn, as Lights Out comes into focus.

The crucial scene of the pilot intercuts Lights in his three roles (father, fighter, enforcer) and serves as a microcosm for the series. He’s just beaten up a cocky barfly for a fistful of dollars, and broken a delinquent gambler’s arm for the promise of a few more. He consoles his youngest daughter over ice cream, after she’s seen old fight footage: “There’s nothing I wouldn’t do to keep you safe.” In his own way, he’s trying to do just that. Lights’ footwork, as he attempts to walk that path, is what keeps me watching, despite the show’s cuts and bruises.

Lights Out airs on FX, Tuesdays at 10PM.

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Thoughts on "Boardwalk Empire"

Posted on September 27, 2010 | Leave a comment


[Editor’s note: I’m a week behind, but enjoy!]

Two of my favorite genres are the gangster drama and the political thriller. Central to each is the demonstration of the drastic measures taken on the quest for power. When combined, these twin quests are often examined in a clearer light. From the New York Machine in Gangs of New York to the ethnic-urban gangster politics of “Brotherhood,” I can’t get enough of this intoxicating crossbreed.

HBO’s “Boardwalk Empire” is a (non-mini) series about Prohibition Era gangsters and politicians, and the murky line between them. Consider the pedigree: Created by the finest “Sopranos” scribe short of David Chase (Terence Winter), with a pilot directed by the most celebrated filmmaker of his generation, Martin Scorsese, working right in his wheelhouse. For me (and plenty of others), it’s a no-brainer.

I relished each of the 72 minutes of the pilot episode – this much Scorsese doesn’t come for free. The director’s trademarks abound: sharp angles, well-placed quick cuts, track zooms, dialogue over freeze frames. A gun fight that jumps and jerks with violent urgency, and a sense of humor out of an Abbot and Costello routine. Scorsese is a master of film whose well-practiced parlor tricks still get me, after all these years.

Like in “Brotherhood,” the main characters are ostensibly on different sides of the law. For Steve Buscemi’s Enoch “Nucky” Thompson and Michael Pitt’s Jimmy Darmody, however, things are not that clear cut. Thompson is the treasurer and behind-the-scenes power broker of Atlantic City; Darmody is a fresh-faced, slightly-hobbled veteran of the Great War who wants in on the action. First off: How good is Steve Buscemi? This role seems built for an actor with such a nuanced range. And Michael Pitt, playing with the emptiness behind his blue eyes, is no slouch with a character that could go either way (a talent also exploited in Michael Haneke’s US version of Funny Games).

The pilot only hints at the varied landscape and rich, interesting characters of the Boadwalk Empire. As Nucky’s flame Lucy, Paz de la Huerta is an original Jersey Shore denizen: foul-mouthed and sex-crazed. Michael Stuhlbarg’s Arnold Rothstein is the opposite of his nebbish titular character in A Serious Man: calm, collected, self-assured, and oozing power. Rothstein may prove to be as tough and adversary as Michael Shannon’s stone-jawed G-man Nelson Van Alden. Perfectly cast character actors from Scorsese films past and similar material round out a solid cast. Shout-out to Michael K. Williams (“Omar’s comin!”), shown briefly as Chalky White, the town’s major black player.

Scorsese is, as always, a master of suspense. You may know the whack is coming, but the “when” and the “how” are always in doubt. It turns out that bootlegging in the 20s is to drugs in 50s as the central internecine conflict between gangsters. As in The Godfather, those who doubt the next step are often left behind.

Like “Brotherhood,” “Boardwalk Empire” exists at the triple point of organized crime, politics and family, but with Terence Winter and Martin Scorsese (and soon, Allen Coulter) at the helm. The sets, costumes and props are immersive in the extreme; you worry that the high budget will eventually doom this show, no matter how rave the reviews and strong the pedigree. Still, this is a perfect pilot, whetting the appetite with a hint of things to come and seeds of story lines sowed.

A key scene between Buscemi and Pitt hints at the central question of this and the director’s earlier works (chiefly Goodfellas and Gangs of New York):

Darmody: “All I want is an opportunity.”
Thompson: “This is America, ain’t it? Who the fuck’s stopping ya?”

Irish, Italian, or Jew – Americans are all immigrants, grasping at the American dream. And whether with the briefcase or with the shotgun (to paraphrase Omar), these guys are going to get it.

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From David to Dexter… Michael C. Hall's Deeply Damaged Dramatics

Posted on July 11, 2008 | Leave a comment


I recently finished watching Six Feet Under in its entirety, during a week of marathon viewing sessions (the only way to truly appreciate TV, in my opinion). What a fantastic show… I regret not watching it earlier. SFU at its best explores the dualities of life, often by having the characters confront the contradictions of their personalities desires, struggling with the cognitive dissonance.

This is never more apparent than in the character of David Fisher, played by the brilliant Michael C. Hall, who has had the most post-SFU success as the titular Dexter on Showtime (which is quickly becoming the destination for quality TV as HBO’s franchises retire in succession). At first glance, the two characters seem very different, but they actually have a great deal in common.

*Spoilers to both series follow.*

David begins the series as a closeted gay man, battling his own homophobia and self-loathing. He is totally repressed and conservative, from his bottom-down attire, to his cold, controlling interactions with family and clients. Even as he comes out, he is hardly ever at ease with his life, struggling with how his sexuality defines him. He insists on living with what society has deemed as normal.

Dexter hides his life as a vigilante serial killer, and turns his loathing outward, to a world and to people he does not understand. He represses and channels his urges using the “Code of Harry,” killing only those that have wronged society yet fallen from justice’s blind grip with a cold, clean, bloodless brutality. Dexter is forever grasping for normality, figuring out what society expects, and faking the appropriate reactions.

They both love broken people. Dexter purposely seeks out the battered Rita; abuse has left her just as asexual as Dexter, and she becomes his ‘beard.’ And as Rita heals, Dexter begins to legitimately feel affection for Rita and the kids, a strange tinge of compassion that had previously been limited to his sister. Keith is David’s soulmate, but he must deal with the scars of an abusive father and reconcile his sexuality both with his race and his hypermasculine professions. These couples may be damaged, but they’re damaged in all the same places.

The fathers of David and Dexter loom over them, even in death. As he works to maintain the family business and follow in his father’s footsteps, David is haunted by his father’s disapproval (although since they only interact in dreams, we only get one side of the story, as David projects his inward anger onto his father’s ghost). Dexter’s father saves him from the tragedy that created him, and crafts a set of rules that will allow him to live in society. However, as Dexter is still a story in progress, we’ll have to see how he lives now that the truths about Harry has allowed him to stop deifying his adoptive father.

The characters also have significant relationships with their older brothers (who both die young, Brian at Dexter’s hand and Nate by David’s side). Both sets of brothers are two sides of the same coins. Dexter and Brian are both irreparably corrupted after witnessing their mother’s brutal murder, Scarface-style. However, as Dexter is molded by Harry, Brian’s demons are allowed to fester into the Ice Truck Killer. And while Nate tries to run from the funeral home that dominates their family, David tries his best to make peace with Fisher & Sons.

One of the central themes of Six Feet Under is finding purpose in life. After struggling for his entire life, David finally finds happiness with Keith and their adopted sons, continuing the tradition of Fisher & Sons, and eventually pursuing his musical interests in retirement. As he dies, he sees Keith one last time, and his final expression suggests that he’s ready to die, even if there is nothing beyond. Once again, Dexter’s entire story has not been told, but the end of the second season definitely entails a turning point in how Dexter will continue to define himself.

Michael C. Hall deserves a lot of credit for making these characters refreshing and real, but a lot must go to the writers and casting directors who saw his potential for such tormented characters, both in Six Feet Under (2001-2005) and Dexter (2006- ).

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WTF Politico?!

Posted on February 20, 2008 | Leave a comment

Apparently I’m not the only one who sees the similarities between The West Wing and the 2008 primary season:

In presidential campaign, life imitates TV

However, they flip it a bit and draw on the Abby Bartlett – Hillary Clinton connection: ambitious First Ladies unsatisfied with serving cookies and hosting dinners.

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Did The West Wing Predict the 2008 Primaries?

Posted on February 14, 2008 | Leave a comment


So, I’ve finally been able to catch up on watching The West Wing, finishing the sixth season last night. Without Sorkin/Schlamme at the helm, it had become a shadow of its former self, using cheap “Must See TV” gimmicks and frenetic camerawork more akin to ER. But the introduction of the campaign midway through the sixth season rejuvenated the drama, reclaiming some of the gravitas that The West Wing was so adept at presenting.

The most interesting thing about watching the sixth season right now, however, is the often eerie similarity between The West Wing and the 2008 primary season. While not perfect, it’s a pretty good analogy:

Congressman Matt Santos (Jimmy Smits), the Hispanic representative short on experience but inspiring and charismatic, easily compares to Barack Obama. Even their speeches are cut from the same cloth, focusing on hope, innovative solutions, and uniting the country. VP Bob Russell (Gary Cole), the presumptive nominee with perceived weakness in the general, can be seen as Hillary Clinton with a bit of Bill Richardson’s glad-handling and resume-flaunting. I’ve always thought former VP John Hoynes (Tim Matheson) was Al Gore with Bill Clinton’s indiscretions, and Josh’s offer to make him a “party elder” seems to be the role those two men have in the party. The last two may be stretches, but the Santos-Obama connection cannot be dismissed.

For the Republicans, Arnold Vinick (Alan Alda) seems to be an idealized version of John McCain, with elements of Arlen Specter: a maverick moderate who fights for pragmatic solutions and regrets the influence of the Religious Right on the GOP. While Vinick’s main difficulty in securing the nomination is his pro-choice record, McCain has his own problems with conservative orthodoxy (immigration, campaign finance reform, the environment, etc). The Reverend Don Butler works as a Pat Robertson clone, but functions as Governor (and Reverend) Mike Huckabee in this analogy.

Despite being dogged by Huckabee, McCain is almost certain to wrap up the nomination in advance of the convention, while the Obama-Clinton battle may continue into the summer. Same thing happened in the West Wing. So, will Obama have to make a passionate speech on the floor of the convention after being asked to drop out for the sake of the party? Will a party elder come to his aid and swing the necessary voting blocs, like Bartlett did for Santos? Anything is possible, and this analogy may prove useful (even though the West Wing implied that the state delegations were winner-take-all, while the Democrats actually use proportional delegation).

One of the intriguing points that I hadn’t thought much about in the real world is the role President Bush will play in the convention. Will the GOP trot out Mr. 24%, 2 months before the election, perhaps letting McCain and Bush relive The Hug? Or will a two-term president be relegated to some opening remarks, pushed aside, and flushed away with the remainder of this administration?

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My Golden Globes Picks

Posted on January 10, 2008 | Leave a comment

I wanted My First Post to be about something important. Unfortunately, I’ve opted instead for breadth over depth.

The ongoing WGA strike leaves the Golden Globes reduced to a press conference on Jan. 13. I think most people can agree that the Globes are a pretty superfluous awards show, allowing studios and networks to squeeze a little more free advertising (“press”) out of their prestige pieces. I don’t remember ever watching the awards ceremony on purpose, and I can’t recall specific winners. With that in mind, a press conference is a bit disrespectful for the winners who actually deserve awards for their craft. But I’m sure true artists don’t need the validation of the Hollywood Foreign Press Association (yes, I did look that up). And anything that keeps Bruce Vilanch out of work is good in my book.

So, here are my picks for most of the categories, omitting those for which I can’t make a well-informed choice; apparently I didn’t see many leading women films last year. These are personal favorites, and not my guesses at the winners. I’m curious how much overlap there will be in 3 days.

MOTION PICTURES

  • Best Motion Picture – Drama : There Will Be Blood, American Gangster, Atonement, Eastern Promises, The Great Debaters, Michael Clayton, No Country for Old Men.
    • I actually saw 6 of 7 in this category, and while they were all very well done, none had the gravitas of the epic PT Anderson flick (expect a review after a second viewing). I’d be happy with any of these winning, except for Atonement and The Great Debaters.
  • Best Motion Picture – Musical or Comedy : Sweeney Todd / Juno, Across the Universe, Charlie Wilson’s War, Hairspray.
    • And it only takes 2 awards before I’m equivocating. I’m reserving judgment until I see Juno, because of my anticipation and the buzz. I did enjoy Sweeney Todd, but I think Juno will be more up my alley. Only in the GG does an Aaron Sorkin picture end up with this company. It’s moot – CWW was disappointing on all fronts.
  • Best Actor – Drama : Daniel Day-Lewis, George Clooney, James McAvoy, Viggo Mortensen, Denzel Washington.
    • Once again, Daniel Day-Lewis dwarfs the competition in a role more intense, determined, and sadistic than Bill the Butcher.
  • Best Actor – Motion Picture – Musical or Comedy : Johnny Depp, Ryan Gosling, Tom Hanks, Phillip Seymour Hoffman, John C. Reilly.
    • Johnny Depp nailed the title role, but this ridiculous category doesn’t put up much of a fight.
  • Best Actress – Motion Picture – Musical or Comedy : Ellen Page, Amy Adams, Nikki Blonsky, Helena Bonham Carter, Marion Cotillard.
    • Placeholder vote – I need to see Juno!
  • Best Supporting Actor : Tom Wilkinson, Casey Affleck, Javier Bardem, PSH, John Travolta
    • This is a toss-up between him and Bardem, and while Bardem hulked and killed his way through No Country, Wilkinson’s role actually surprised me and punctuated a rather methodical film.
  • Best Supporting Actress : Amy Ryan, Cate Blanchett, Julia Roberts, Saoirse Ronan, Tilda Swinton.
    • Helene McCready is the “white trash Southie broad” for the ages – compare that to the sedate Beadie Russell and you can’t even tell it’s the same actress. By the way, does Horse Teeth get everytime she wanders on screen?
  • Best Director : The Coen Brothers, Tim Burton, Julian Schnabel, Ridley Scott, Joe Wright.
    • Where is PT Anderson? Not very often does a film get mentioned in the same breath as Citizen Kane and The Treasure of the Sierra Madre, even if only for scope and subject matter, not significance. The Coens get it by default for putting sweltering West Texas on film and ending up with molasses and whiskey.
  • Best Screenplay : Aaron Sorkin, Diablo Cody, The Coen Brothers, Christopher Hampton, Ronald Harwood.
    • This is a homer pick, straight-up. The dialog was sharp enough but the film fell flat for whatever reason. This might end up being Diablo Cody if I actually like Juno as much as I anticipate.

TELEVISION

  • Best Drama : Big Love, Damages, Grey’s Anatomy, House MD, Mad Men, The Tudors.
    • I’m abstaining here but thought it was worth mentioning. I’ve heard good things about Mad Men, but can’t pick it by process of elimination. No Dexter, Sopranos, Shield, Rescue Me, The Riches, or Brotherhood is just unacceptable. TV drama is in a new Golden Age and this is the best they can do? Good job guys!
  • Best Musical or Comedy : 30 Rock, Californication, Entourage, Extras, Pushing Daisies.
    • This is definitely more acceptable. Pushing Daisies is charming, as if Tim Burton decided to do a crime procedural, and it’s a close second. But 30 Rock is the funniest thing since Arrested Development, and it might actually have network support.
  • Best Actor – Musical or Comedy : Alec Baldwin, Steve Carell, David Duchovny, Ricky Gervais, Lee Pace.
    • Alec Baldwin takes his role in Glengary Glen Ross and turns it into a deadpanning straight man. Jack is one of the best roles on television while illuminating its worst aspects. The fact that your typical Hollywood Liberal plays a market-testing, soulless corporate shill like Jack is just another layer on the meta cake that is 30 Rock.
  • Best Actress – Musical or Comedy : Tina Fey, Christina Applegate, America Ferrera, Anna Friel, Mary-Louise Parker.
    • And it’s 30 Rock for the trifecta. Weeds has fallen into a funk and Mary-Louise suffers for it. For a comedic role, Liz Lemon is just sad, but she is best leading lady in a comedy since Mary Tyler Moore (That’s an example of a reference that I pull directly out of my ass, because it sounds right).
  • Best Actor – Drama : Michael C. Hall, Jon Hamm, Hugh Laurie, Bill Paxton, Jonathan Rhys Meyers.
    • Dexter is the role of a lifetime, and Hall brings the cynical detachment of David Fisher. Instead of being a homophobic gay man, he’s a charming serial killer – with a heart of gold. Sadly, I don’t know which one most Americans find scarier.
  • Best Actress – Drama : Minnie Driver, Patricia Arquette, Glenn Close, Edie Falco, Sally Field, Holly Hunter, Kyra Sedgwick.
    • File this with Amy Ryan. Seeing an actress capture a character that we don’t often
      see on screen, yet making it feel vivid and real is always award worthy. Plus, its The Riches only nod.
  • Best Supporting Actor : Kevin Dillon, Ted Danson, Jeremy Piven, Andy Serkis, William Shatner, Donald Sutherland.
    • This is a surprisingly weak category, and while Johnny Drama will probably split votes with Ari, only one of the characters is still entertaining. They should end Entourage and spin-off a show for Johnny Drama, but instead he’ll have to carry a show from a supporting role.

For the most part, the voters did pretty well. There are only a few glaring omissions from the entire list (Zodiac?), and clear winners in each category. Ironically, I’ve now contemplated the Golden Globes more than ever, and the presentation is a mere formality. Hopefully, I’ll be able to see Juno soon and vindicate picking it three times on spec.

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