Spring Round-Up Part III: Garfunkel and Oates, Comedians, 12 Monkeys, Bates Motel

Twelve Monkeys (SyFy)-Based on the Terry Gilliam film of the same name, this loopy time travel series got my attention out of the gate. It had a premise that kept me eagerly awaiting the next plot turn despite the fact that it's based on a story I'm already familiar with.

Aaron Stratford (Pyro from the X-Men) plays Bruce Willis' role of Cole and gets the dazed and confused stature of the action hero down (which isn't particularly far off from the war-weary and jaded thing he's going for). The chemistry between him and Dr. Railly (Amanda Schull) and Stratford has a certain electricity to it despite the fact that they aren't romantically intertwined (as of Episode 10, at least). They do a lot with wayward glances which makes a scene like Cole's attempts to dance at a cocktail party a lot less cringeworthy than originally written.

Credit: Cnet.com

Slowing down this romance is Railly's off-and-on-again boyfriend/fiancée who goes from disbeliever to uneasy ally. Part of this might have to do with the sort of trippy quasi-love triangle they're in wherein one side might have some extra special motivation to ensure that the other side gets erased from time although this isn't acknowledged (which is kind of weird).  Emily Hampshire (the MVP of Schitt's Creek, pictured right) plays the Brad Pitt character with a wild manic energy that's worthy of more of my adoration.


Unfortunately, the series gets bogged down in the middle episodes with plot lines set in the future outside of Cole that don't resonate. Dr. "Not Indiana" Jones gets into a power struggle with a faction that wants to cure the virus rather than do the whole time travel assassination thing. This virus cure strategy aligns more with the plot of the original movie but it's nowhere near as exciting as assassination via time travel, so what's the point? Even more questionable is the choice to add a subplot about Ramse's ex-lover and newly discovered child. This is way too much screen time to give to a character who exists primarily as a side character and confidante to Cole. This would be like if "It's a Wonderful Life" interrupted the main plot to bother us with story lines about Clarence and his domestic squabbles in Heaven.


The primary purpose of setting scenes in the future in the film was to provide the backstory and showcase Terry Gilliam's aesthetic which this show can't compete with. The scenes set in the present from Dr. Railly's point of view where she has highly imperfect information over what/where/when will happen next is when the series is at its best so let's hope we see more of the show set there. The show is still very enjoyable despite its complex plot and unpleasant deviations and I'm only at Episode 10, so let's hope things right themselves by the end of the season.


Garfunkel and Oates (IFC)-The brainchild of two actors that met each other performing at the UCB theater, Garfunkel and Oates originated from a song and dance act of two girls singing plain and dirty truths set to sweet harmonies and ukuleles. The musical numbers are undeniably catchy but there's nothing beyond that that isn't already being done by better acts that came along first. The first comparison that will come to mind is "Flight of the Concords" which is pretty unflattering considering that G & O does such a poor job of shoehorning their songs into plots.

Other than that, we have unflattering comparisons to "Broad City" in that the leads are two dense ladies with questionable abilities to navigate adulthood in a codependent relationship with each other. If not for "Broad City," there's also the "Live Prude Girls" web series (starring the AT&T girl) and Grace Helbig doing the dense girl shtick solo.

I'm not suggesting that these two actresses are falling short of the admirable goal of finding their voice and translating it into sitcom form. It's just that they have the awful luck of having a voice that's eerily similar to a number is shows already out there and what little there is that differentiates Garfunkel and Oates from Broad City or Live Prude Girls is a very small slice of demographic pie.

[Update: I watched a couple more episodes. The one with Ari Graynor is pretty solidly written]

The Comedians (FX)-Even if we admire the execution of shows like Louie, Episodes, Comeback,  Curb Your Enthusiasm, Life is Short  or The Michael J Fox Show we need to stop celebrating the same tired concept of a comedian or actor playing a thinly veiled version of his or herself. It comes off as vain and is becoming ad overused a genre as vampires are for teens.  At least Michael Judge or Jon Favreau had the creative decency to channel their creative frustrations into metaphors like tech start ups or cooking. To make matters worse: Billy Crystal already mined this territory in Mr. Saturday Night. For someone who's primarily known as a last minute resort for Oscar hosting with the same shtick he's been doing since the 90s, you would think he would use an opportunity like this to do something more inventive. On the plus side,  underrated character actress Stephanie Weir is now employed for a while. 

[Update: I only watched the first episode]

Bates Motel (A and E)-I was incredibly pleased with this show over the first two seasons. Who would've thought that Hitchcock's most action-oriented film could be adapted into one of the best mood pieces on TV. This is like Dawson's Creek or another small town teenage drama except with a lot more rape,  arson,  manslaughter, corruption,  schizophrenia, and outright murder. But it's still a mood piece with a strong sense of place,  deep characters and great performances.

The problem if that the show might have run out of mileage by now. The reveal that Norman has a habit of losing his marbles has already happened, we already know Mama Bates is creepy, the town's dirty,  and we've already seen Norman fall in love and murder someone twice (On the subject of his murdering: Shouldn't he be put in a mental institution by now?) What's there left for the show to do?  

From what I've seen of this season,  they're now pairing him off with a new love interest in Emma and more shady people are rolling into town. Neither of these things are new. I'm not suggesting the show needs to shift it's identity but rather reconsider whether the show will have diminishing returns from here on out. I'm not saying "Let's cancel the show!" but there are some obstacles in place that need to be worked out if the show is going to tread in the same direction.

For other editions of my Spring 2015 review:
Part I: Glee, Togetherness, Last Man on Earth, Archer
Part II: Schitt's Creek, Unbreakable Kimmy Schmidt, The Librarians 
Still to come: Daredevil, Better Call Saul, Fresh off the Boat, Empire, and possibly Modern Family, It's Always Sunny in Philadelphia, Empire, and Silicon Valley

2014 Review Sans Fall Season

A moderately exhaustive catch-up of pretty much everything I've seen this year before the Fall Season rolls around and I cover those shows. Some reviews will be very brief or I'll link you elsewhere. The shows are broken into categories:

Top tier: Shows that are firing on all cylinders

1. Archer, FX-Even by today’s standards, Archer did something pretty bold by flipping the entire premise of its show. The ragtag spy agency previously known as ISIS (they allegedly sold the naming rights to a real-life band of Jihadists in Iraq or something like that) got disbanded and the characters became criminals for a full season. Comic possibilities quadrupled. (longer review)
2. The Bridge, FX-The Bridge-Last season, "The Bridge" was a suspenseful ride, but the two aimless episodes between the conclusion of the first season and the actual season finale had me wondering where the show would go once the bad guy was put away. What I didn’t anticipate was that the show’s rich characters and sense of place were more than enough to carry the show regardless of the villain. What’s more, the second season nicely wove the aftermath of the David Tate plot along with the disparate side plots into a larger picture. The show continues to have a lot going for it: A well-paced plot, a touch on topical issues, and some of the most underrated characters on TV (Daniel Frye is who I now want to model myself after as a journalist. I even plan on going to the nearest bar and developing my own drinking problem after I finish writing this)
3. Orange is the New Black, Netflix-As Piper became more comfortable with her environment and even began to take command of her surroundings, the show took on a more self-assured tone that could even be called optimistic. In the first season, pretty much everyone Piper bumped into at Litchfield was some version of your worst nightmare. The second season got interesting in the way it kept redirecting audience hatred towards a number of temporary villains (Mendez, Fig, Healy, Alex, Crazy Eyes all did despicable things at some point or another) before making themselves sympathetic once more and eventually redirecting us to one big bad. This show has also written and rewritten the textbook on ensemble pieces, both from the narrative (balancing focus on several characters) and the acting sides. (longer review)
4.  Review, Comedy Central- Starring straight-man extraordinaire Andy Daly, the premise posits the show as a distant cousin of the "Truman Show" in the way that presenting a man's life choices being driven entirely by the demands of a media audience leads to some very deep satire. In this case, Daly is TV show host Forrest MacNeil who will review any life experience anyone tells him to without question. The cleverest thing about "Review" is how it drops clues towards the genesis to the show-within-a-show and the larger storyline about a somewhat overeager broadcaster being manipulated by a ruthless producer. Viewers are challenged to decipher these clues and it's not until the end of the season that some of the blanks are filled in a season finale, which makes for **SPOILER** a cathartic ending.  (longer review)
5. The Knick, HBO-Every medical procedural (from Grey's Anatomy to E.R.) should just be set back 100 years in time where medicine was more like alchemy than an exact science. "Patient is not responding! I want some leaches and epoxy salts under his nose stat!" That Clive Owen only got nominated for one Oscar astounds me.
6. Quick Draw, Hulu-It’s understandable that this TV show would be underappreciated considering: 1) It is on a network that really hasn’t had any visible hits, and 2) the creator’s last show was on TBS during an era when they proved just how little they know about comedy with those annoying “very funny” commercials. It’s worth believing in second chances because while John Lehr’s previous show “10 Items or Less” was a mixture of slightly inventive and bland, “Quick Draw” is in that sublime zone of comedy where the comic climate is so well-established that as long as the characters stay reasonably in character, every attempt at humor is a joke that hits and every joke that hits is a home run.

Second Tier: Shows that are getting it done in style:

1. House of Cards Season 1, Netflix-Lots of interesting tension and great characters. I soured on this show on Season 2 so I'll cover that more there (longer review)
2. John Oliver-When he took over as host of the Daily Show last summer, it was a breath of fresh air that led me to believe he should take over the show. The second best thing happened: Oliver's carved out a niche for his comedy on HBO. Due to the novelty factor, John Oliver is my favorite late night comedian to watch at the moment.
3. Manhattan, WGN-The show isn’t groundbreaking but is certainly watchable. It’s an intelligent historical drama that has a firm grasp of what makes its designated period of history interesting and utilizes that for some good juicy drama. The show manages to touch on social issues from a bygone era from an ironic distance without coming across as overly preachy. The show’s ensemble has mostly unknowns outside of Rushmore/Dollhouse’s Olivia Williams but there are a lot of interesting characters and the ensemble has enough tension so that there’s enough inter-group conflict for a tense World War II pic without a single Nazi. 
4. Legit, FX-The aimless life of an Australian comedian with too much free time on his hands could rival Seinfeld in terms of low-impact storylines (or as Seinfeld called it “nothing”). with  The second season has Jim becoming no worse or better than before, but relatively succeeding at growing up by virtue of the fact that his two roommates have become far more depraved by comparison.
5. Bojack Horseman, Netflix-"BoJack Horseman" isn't particularly easy to get into, but a few episodes in, the show's pathos and interesting character dynamics shines through. Like Will Arnett's previous work, "Arrested Development," the show features characters who aim to be dynamic and get out of their ruts in life. Unlike "Arrested Development" however, the show dares to give them, and us, hope at actual improvement. Either way, there's a definite investment to the characters by season's end that gives the show life. The satire also starts getting sharper once the hidden jokes and the parallels to ABC's TGIF line-up of the 1990's start to reveal themselves. People might not notice on first viewing how spot-on "Horsing Around" gets (longer review)
6.   Royal Pains, USA-I have always maintained that even if “Royal Pains” isn’t the most ambitious show on television, Hank Lawson is one of TV’s most relevant heroes considering the healthcare crisis that’s only intensified since this show premiered in 2009. As medical procedurals go, few are more uplifting than this one. There are no McSteamys and McDreamys here: Just a desperado concierge doctor, a scalpel, lightning-quick diagnosing abilities and the mysterious ability to constantly be around some of the rarest medical emergencies ever recorded (OK, maybe it’s a little more than a scalpel he has). This season’s main thru-lines—The discovery of the Lawson clan’s long-lost sister, the navigation of newlyweds Evan and Paige through a rocky first year, the desire for Jeremiah to step out of his comfort zone—all gibe well and pleasantly focuses on underrepresented dynamics (i.e. siblings, adult-father-and-son) in television. It should also be noted that the series is total scenery/lifestyle porn: People might be falling into comas and strokes in Hank’s presence but they’re having near-death experiences in style. 

Third Teir: Pretty Alright

1. Key and Peele, Comedy Central

2. Crossbones, NBC-Thoroughly enjoyed this pirate saga that has many of the elements of “Pirates of the Caribbean”: beautiful shots of exotic Caribbean locales, swordplay, and the kind of plot twists that come from a pair of mischievous Jack Sparrowish characters who both possess a near-endless capacity for on the fly.

In one ring, we have Blackbeard (John Malkovich), who in this alternate take on history, faked his death and is now living large as a semi-peaceful ruler of an off-the-grid pirate kingdom of his own making. His main foil is combination doctor/spy/ tactician/lover Tom Lowe (Richard Coyle) who is originally sent to expose/kill Blackbeard but ends up in an uneasy alliance with the semi-erratic despot.  There’s also a love triangle between Lowe, free-spirited quartermaster Kate Balfour (I could easily write another paragraph about how enchanting Claire Foy is here) and her handicapped husband (Peter Stebbings).

As for the “Pirates of the Caribbean” comparison (a compare/contrast angle is inevitable considering that is the only other pirate film I have seen), this isn’t the movies but an NBC show that’s relegated to the summer schedule (AKA low-key filler) so adjust your expectations accordingly. It is worth pointing out, however, that while Johnny Depp anchored the Pirates series with a meticulously crafted iconic comic character in Jack Sparrow Jon Malkovich’s humor is unintentional: His interpretation of Blackbeard’s accent is suspiciously Malkovich-like (worth mentioning other than the accent, Malkovich is fine here). But hey, written history can only tell us so much about the accents of 18^th Century pirates. Maybe Blackbeard did sound like John Malkovich?

3. Portlandia, IFC-A solid sketch show about the art and science of looking cool. Fred Armisen and Carrie Brownstein still find ways to reinvent themselves and refine their concept four seasons in. The show is also a great haven for guest stars whether Steve Buscemi, Bobby Moynihan, Kumail Nanjiani, Kyle MacLachlan, and the Portland Trailblazers. (longer review)

4. Colbert Report, Comedy Central-The announcement that he was going to take over for David Letterman alerted me to the fact that he's been on the air nearly ten years. That's a long time to stay in one character and I have full confidence that he could do another 10 if he wanted. 

Also the Third Tier: Shows That Took Me By Surprise (in a good way)

1. Suburgatory, ABC-After sporadically watching in Season Two, I caught onto the back end of the third season and found a more satisfying and complex entity than I had previously seen. When the show premiered, it had bite to it in its satirizations of suburbia in the form of city folk George and daughter Tessa, who had moved from Manhattan to the uber-suburban town of Chatswain. As sitcom characters are prone to do, Tessa and George found love interests, friends and frenemies which resulted in a dampening of the edge as George and Tessa were no longer outsiders and overly connected to the town they were supposed to be making fun of. I was highly pleased to find a happy medium between these two poles in Season 3 and all the more heartbroken that the show was cancelled.

2. About a Boy, NBC-The pilot episode and the difficulties of adapting a TV show gave me plenty of doubt, but the show was successfully stretched to a longer-term format. These characters are worth investing for in the long run and from an episode-to-episode perspective, it's  nice charming low-key comedy that offers the same thing the book and movie did: unique character dynamics. (Longer Review)

3. Playing House, TBS-The female-centered comedy initially seemed like chick flick territory, but the two leads are charming and have enough chemistry together to sell the show. (Longer Review)

4. Gravity Falls, Disney-It's difficult to put my finger on what makes the show work considering it defies categorization in this animated TV landscape. It's not really a show for kids (thematically too dark) which is especially bizarre considering its on the Disney Channel which is the new Nickelodeon. At the same time, "Gravity Falls" isn't a direct satire of kid's shows and is unironically steeped in the style of a classic kid's show itself. It will take me some thinking to figure out exactly why this show is working for me, but in the meantime, let me report: This show has hooked me and it's seeming to hook quite a few of my peers. Also, let me report: The spunky protagonist Mabel (Kristen Schaal AGAIN) Pines is one of my favorite characters on TV.

5. Glee, Fox-Its been a while since Glee's heyday when it was water cooler talk. That's understandable as the show cycles through characters, romances and plots at high velocities. In that sense, the show is more about style than substance and inevitably the novelty factor wears off without substance. This past season, some of the substance came back into the show as the character development decelerated. Sam, Tina, Artie and Blaine's senior year was split in two giving the cast a bigger chance to gel. (Longer Review)

To be covered in more detail:
I'll Watch It if It's On:
Bad Teacher, CBS; New Girl, Fox; Modern Family, ABC; The Awesomes, Hulu; Fugget About It, Hulu; Parks and Recreation, NBC; American Dad/Family Guy, Fox; Broad City, Comedy Central

What Was I Thinking??: Shows I've Soured On
Under the Dome, Fox; House of Cards (Season 2), Netflix; Deadbeat, Hulu; Halt and Catch Fire, AMC; Mindy Project, Fox

Shows I just never got into:
Hannibal, NBC; The Strain, FX; Turn, AMC; The Middle, ABC