This expansion of the Miss Fisher mysteries by Acorn TV isn’t awful, but it isn’t the Miss Fisher we knew and loved. It is simply a fun set of mysteries and characters.
The core issue is the title character. Geraldine Hakewill is fine, but she doesn’t have even a small portion of the energy and charisma that Essie Davis brought to the original character. And though surrounded by a fun group of well-executed characters, she just doesn’t dominate the stories the way she needs to for this role.
Basically, much like The ABC Murders, Acorn is trying to capitalize on a property without being able to deliver the same quality. It is a shame as the story and characters are entertaining…they’re just not what you want or hope for even though it is substantially the same production crew from the original.
The first three-quarters of this limited series are both intriguing and engaging. We are introduced to a complex group of people in an intriguing historical period and provided just enough plot to keep us wondering where the heck things are going to go. And then it takes a turn. It is a fair turn in retrospect, but the resolution and motivations are, at best, forced.
Despite the sort of non-ending provided, the rest of the ride is actually interesting and the cast is chock full of solid performers. Among them is Keeley Hawes (Mrs. Wilson) who appears to be in just about every BBC show these days. But the tale revolves more around Toby Stephens’ (Vexed, Lost in Space) Petrukhin, a Russian-Jewish inventor trying to make a place for himself and his family in 1950s British society. A far from easy task.
Along with Linus Roache (Mandy), Lucy Cohu (Ripper Street), Mark Bonnar (Shetland), Timothy Spall (Finding Your Feet), Claire Bloom, as well as a nice Sophomore turn for Lily Sacofsky (Bancroft) and freshman outing for Rose Ayling-Ellis, we get a look at many facets of British life, fears, and prejudices of the era. While not ground- breaking, putting a rising Jewish family at the center of the story provides a lens that we haven’t often seen through in these stories.
Whether the plot feels fair and complete to you I imagine will be a matter of expectation. I suggest you just roll with it. This starts as an intimate story and ends the same. But it certainly has a lot of meat in the middle to work with and keep you wondering and wanting more.
You just can’t keep a good detective down….or at least an obsessed one. We all thought the fan gift of the Veronica Mars movie was the end of the line for the intrepid investigator. But having left High School behind, Mars Investigations continues on in this engaging bridge season that maintains the wonderful noir sensibility of the original series, for all the good and bad that can bring.
The good is very much in the dialogue and twisty plot. Kristen Bell (How to be a Latin Lover) is as acerbic, witty, and broken as always. She and Enrico Colantoni (Travelers) continue the father/daughter love and comedy in style. The return of Jason Dohring (iZombie) adds some character evolution and fun, while the addition of Izabela Vidovic (Wonder) provides some reflection on the once and future past.
Where it is weak is where it has always been weak. Procedural accuracy isn’t a top concern of noir, never has been. And Mars has always played loose with the rules and the realities for the sake of the mysteries. We trade that for the rest of the fun, though I’d really like to see what Rob Thomas could do with that added aspect. But all those aspects that may have brought you to Mars in the first place are still there, though admittedly not much more. But if you liked what came before, you’ll enjoy this latest expansion. And do make sure you watch the opening credits through the whole season for a subtle, small extra.
The Hot Zone This is an old story given new, and surprisingly terrifying, life given we know the outcome and that Preston’s book is well over 20 years old. It is a little uneven in acting, though the issue is more casting than performance. While Julianna Margulies (The Upside) is solid as army research doctor, James D’Arcy (Survivor) just didn’t work for me on multiple levels from his accent to his whiny nature. But that aside, the story is surprisingly gripping and the warning not a little unsettling.
The real question with this one was: How do you film the impossible book? Well, up till the end, apparently really well. This six-part look at the absurdity of war and humanity generally is funny (till it’s not) and gripping through till its final moments (when it isn’t). On screen, the reason for its success is unequivocally Christopher Abbott (First Man) in the main role of Yossarian/Yo-Yo. Without him, it all falls apart. Around him are a cadre of characters that are, basically, absurdist creations that remain all too connected to truth. On its own, this version of Heller’s classic has a point to make. But if you’ve read the book, you might find the finale more than a little frustrating, especially after having been teased along so expertly for the rest of the journey.
MARVEL ACROSS THE GENERATIONS Marvel is everywhere and, it seems, represented on almost every major channel or streaming option. Hulu and Netflix have some of the most interesting offerings. And, between them, they reach out to a range of ages.
Jessica Jones (series 3) Jessica Jones is, by far, the most adult of the range. Since its inception, Jones has been one of the most interesting characters. As a flawed, powerful anti-hero, she was instantly engaging, even when those around her weren’t. This finale to the series is worthy of her journey, even if it was somewhat cut short.
Cloak and Dagger (series 1 & 2) This teen-oriented, but delightfully dark story of two teens tied together by happenstance is lots of fun and often shocking for the places it’s willing to go. It is much more fantasy than science fiction, leaning heavily on New Orleans hoo doo. But the show maintains its consistency and drags you along into its weird and wonderful world. It isn’t perfect, often dipping heavily into clichè, but Olivia Holt (Same Kind of Different as Me), Aubrey Joseph, and Emma Lahana (Haven) get to have a heck of journey over the first two seasons…and a lot of fun, sweat, and tears getting there.
Runaways (series 2) Of all the Marvel shows, I was actually most interested in this one, till I got to see it. Mostly it had my attention because of the various writers of the comics over the years. But the result is something aimed to the tween audience (or younger) and rarely with any credibility. There is enough of a mystery to keep me semi-interested, but I grind my teeth way too often while trying. The writing is weak, the plotting forced, the characters willfully ignorant or just plain stupid, and the purposes just downright confusing at times. Ultimately I fell away halfway through the second season, though I may pick it up again to see how they resolve it all.
After a bit of a bingery weekend, I decided to collect up a few Netflix streaming offerings into this single write-up.
Stranger Things (series 3) (4 stars)
ST has always lived in the gray area between satire and homage, and this series is no different. This latest go-round is more horror than the previous seasons, which lean more into fantasy and science fiction. It is also a bit more in-your-face with the product placement. But the show is done with a great nod and wink to handle all of those aspects and continues to be worthy of our expectations. Unlike earlier series, though, this one took three or four episodes to really get rolling, though it remains interesting throughout. The series is also purposefully structured to pull you along; every episode ends in crisis, thus the binging. The story has a lot of setup that ultimately gets paid off in the rush to the finale. However, up till the halfway point I was getting concerned. But the Duffer Brothers proved again they can riff on nostalgia and not only create something new out of it, but provide great entertainment while doing so. And, of course, despite feeling almost like it was wrapped up, they’ve left a door open to continue into the already announced fourth series.
Murder Mystery(3 stars) I realize I’m behind the trend on this one, but I have to admit that this silly Gosford Park meets Murder By Death mystery had me chuckling quite a bit. It also had me cringing an equal amount, but that’s no surprise with Adam Sandler (Men, Women, Children) in one of the main leads. Jennifer Aniston (Cake) played heavily into Sandler’s silliness opposite him, but the two never really find a rhythm together…you feel like they could, but every roll comes to a grinding halt and there is no romantic connection between them which leaves the movie sort of empty as a comdey. Even the additions of Luke Evans (Anna) and Gemma Arterton (Their Finest), not to mention Terence Stamp (Crooked House), seriously over-the-top Adeel Akhtar (Victoria & Abdul) and under-played Ólafur Darri Ólafsson (Trapped) couldn’t provide a consistent enough background to make it really good. However, it’s a solidly fun distraction, though not much more, for all the efforts in front of and behind the scenes.
I Am Mother(3 stars) While there are some interesting points made in this story, , it feels like it would have made a better short story than a movie. On the upside, it isn’t overly insulting to its audience, providing open clues from the very top without ever explaining all of it directly. Clara Rugaard is solid in her lead role, even against Hilary Swank’s (What They Had) somewhat odd and explosive survivor. For a first feature effort, Grant Sputore does a credible job with pacing and emotion, but the material would have been better suited to a single hour format in an anthology series like Electric Dreams or Black Mirror rather than its expanded 90 or so minutes. It isn’t a waste of time, by any stretch, but it is somewhat well-worn territory, even with its own twists taken into account.
Years and Years embraces the aphorism: The journey of 1000 miles begins with a single step. And quite the journey it is, from the smallest to the largest step along the road of choices that marks out this slippery narrative.
Russell T. Davies (A Very English Scandal, Bob & Rose) offers up a far spanning look at current politics, all lensed through the very human and personal eyes of a single family. We follow them across a decade as they deal with the fallout and shifting landscape of a world in transition. It is often difficult to watch, especially the time period closest to our own, but it is also hypnotic and gripping. As it moves forward a hundred steps, and then a thousand steps, the world is completely unrecognizable and yet utterly familiar and undeniable. It often isn’t easy seeing how people act and react, but we’ve millennia of proof that we are seeing typical responses.
Though the story is bleak at times, it also celebrates the resilience of people. Survival is key: financial, emotional, physical, and even intellectual. Because that is how it works, the world goes nuts and people do what they must to survive. It is rare that a single event is “the end of it all.” But, of course, as things move on, that is always the risk.
The cast are very much up to the task of bringing this story to life; a bevy of recognizable faces, young and old. Some of the more stand-out performances are Anne Reid (Last Tango in Halifax ), Russell Tovey (queers. ), Emma Thompson (Men in Black: International), T’Nia Miller (Marcella ), Jessica Hynes (Bridget Jones’s Baby), and Rory Kinnear (Spectre). But, honestly, it is really quite the cast all around, even Lydia West in her first major role shines nicely.
Years and Years is a visceral response by a writer to the world; when good writers get mad they get writing. When they are also artists, they give us timeless classics like The Crucible. Years and Years is likewise a reaction to today’s political insanity and, if not quite as timeless as Miller’s play, it is certainly powerful and impactful. This is a must-see piece of television that will transport you to the very last moments of the series. It won’t satisfy everyone as the ending does leave some things open, but life is rarely fully satisfying…it simply keeps on keeping on. And as long as we can do that, we survive.
Good Omens (4 stars)
Honestly, for David Tennant (Mary Queen of Scots) and Michael Sheen (Far From the Madding Crowd) alone this farcical romp about the world, life, and religion is worth it. It is delightfully Pratchett and Gaiman, just as their book was. For those unfamiliar, think an updated Monty Python’s Holy Grail in style, but with more of a coherent through line. That Gaiman wrote the series didn’t hurt in preserving its translation to small screen. And Douglas Mackinnon directed the material flawlessly.
With Jack Whitehall (Nutcracker and the Four Realms), Miranda Richardson (iBoy ), Adira Arjona (Emerald City ), and Michael McKean in inventive pivotal roles, the amusement and pointedness just keeps coming. The show is also chock full of special guest stars and smaller roles as well, which only adds to the fun. If you like British humor and don’t mind having religious institutions poked at, make time for this wonderful comedy.
The Tick (series 2) (3 stars)
I had my doubts when Amazon took up the Tick in its third broadcast incarnation (previously there was the animated series and a short-lived network series). Each captured aspects of the original graphic novels, but neither had found a solid enough formula to keep it going. The first series on Amazon was no exception. It was misbalanced and not quite credible, but it was amusing enough and with some nice character work to make you come back for more. The second series really found its footing and came together nicely. The balance of humor and absurd is much better and the story is more complex and compelling. I’d have loved to see what came next.
Unfortunately, the improvements weren’t enough for Amazon, who decided this would be the last season (at least for now). And this is part of my frustration with streaming services. Yes, they’re taking risks on new content, but they tend to throw it out there and then let it sink or swim on its own and forget about it when it isn’t an instant success. Even Cheers took years to build its audience. The point of these services was to try something new… perpetual content means you should be able to come to it when you’re ready. Sometimes that isn’t when the company drops the entire season at once. We’re just back to where we started with the inability to trust something will actually be supported and be back another season. So much for serving the niche audiences, as we were promised. Services should, at the least, insist all series come to an end so no one is left hanging if they get cancelled. That doesn’t mean the stories can’t continue, but the main narrative shouldn’t be left as a cliff-hanger. At least The Tick embraced that credo so we weren’t totally left to wonder.
Lucifer (series 4) (3.5 stars)
The last broadcast season of Lucifer was a mess. So much so that it lost enough viewers to find itself begging for a venue. Fortunately, Netflix saw the potential and revived the wonderfully acerbic and amusing mystery/romance/comedy… whatever it is. This season, having lost the fetters of the broadcast censors, is able to finally be much more of what it really could be (it still PG-ish, bordering on a soft R). And they took time with the writing this series to make it a much more satisfying journey. The characters this season all act much more believably than the last go-round. If you at all liked the first season of Lucifer and gritted your teeth through the subsequent two seasons as it diminished, come back to it again. Netflix really breathed life back into the afterlife on this one. Well, at least for one more season to come, which is to be its finale. I will add that the final moment of the fourth season has one of my favorite unspoken jokes of the year. It is a silent joke during a moment that isn’t intended as funny…but someone slipped in the chuckle. And, given the show, it is much in keeping with the show’s sensibility.
Love, Death, and Robots (3 stars)
This anthology series is everything great and everything awful about anime. It is a testosterone fueled set of adventures with buxom broads and hairy men (and the occasional funny episode). It was an idea rich with possibilities, but David Fincher (Gone Girl) and Tim Miller (Deadpool) as the primary producers got lost in their 13-year-old selves and missed the chance to tell a much wider range of stories. It isn’t that any individual episode isn’t interesting, they are all good in their own way. And the range of styles and ideas is pretty unique with all types of animation on display. But it is so male-dominated and full of violence and, mostly, naked women that after a few you’re almost embarrassed to watch it…its like someone found your porn stash but it’s up on your TV screen.
The issue isn’t the talent or the tech or the acting, it is simply that the anthology is horribly unbalanced and ends up missing an audience it could have had. Watch it, but in small doses to keep from burning out on it. I found 2 or 3, at about 5-15 min. each, sufficient for an evening. Beyond that, they got numbingly similar. On the up side, a second season is on order and it has Jennifer Yuh Nelson, who drove much of the animation for and directed the last two Kung Fu Panda movies, at the helm. Perhaps her sensibility will help bring some variety to the series. Certainly I applaud the idea behind the show; I’d like to see it succeed.
Stargate was a fun and long-running show. Even its spin-offs managed to be entertaining, if not long-lasting. They never quite found the chemistry of the first show again, try as they might. So, when it ended, there was a sense of relief (much like when Enterprise finally died).
But studios are loathe to give up properties they think they can milk, and so Origins was born as a way to sell one of the first digital streaming services. This movie is a compilation of the that one-season attempt of 10-ish minute episodes. It is…well, not very good.
The story picks up a well known storyline from the original series and movie, and shoe-horns in a tale that, by the skin of their teeth and with obvious tricks, manages not to entirely blow up canon. But the acting is cardboard at best. The story is forced and retreads a lot of different aspects of the shows that came before. It is far from satisfying on its own, and leaves little sense of how they could build on the story. Especially true given how many of the holes have already been filled through our time-travelling and flashback buddies over the years in the previous series.
What is clear is that the brains and abilities that provided over a decade and three series of shows were nowhere to be seen. The look is similar and the background established, but the talent is a gaping void. In other words, the only reason to torture yourself with this movie is a sense of complete-ism. Expect to grit your teeth a lot and to feel you haven’t learned much of anything new or, for that matter, of value to the original series.
It is really impossible to talk about either of these shows without referencing the other. They are both reactions to the previous decades of Trek and are being run by competing ex-Trek production staff with (clearly) different visions. Their first seasons established unique directions and sensibilities from what we knew as Trek and from each other. However, both Discovery and Orville somewhat lost their way in their second series. Oddly, while at opposite ends of the spectrum (dark action vs satire), they both moved more centrist. In doing so, they both lost their edge and uniqueness but never quite gained the chops to carry off their more standard action/adventure sf intentions. And what makes them even more comparable again is that they tackled similar uber-arcs to their seasons, which I won’t discuss, but certainly stood out for me.
Let’s start with the official franchise. Discovery has drifted slowly and deliberately from its very bleak prequel universe. That darkness had really set it apart from previous series and allowed for some good characters, all of whom have now become somewhat bland. Worse, the move for the series was from a female dominated to a male dominated one; very disappointing. Sonequa Martin-Green (The Walking Dead) is still the focus of stories, but she has taken a backseat to new arrival Anson Mount’s (Inhumans) Pike and other men on board rather than being the main driver of the action and plots. Her Vulcan-ness has likewise diminished, though I can see an argument for that choice. There was a drive for the first several episodes to inject wry humor to balance the sturm und drang, but it was often tossed off and felt forced, or simply got lost amidst more important information. Eventually, they just gave up. Basically, it has become more standard Trek and less something unique. In fact, in some ways this season as a whole could simply be titled The Search for Spock.
I have to admit, I had trouble letting go of the dark roots of Discovery’s first season’s going into the next iteration. And make no mistake, season two is a whole different animal. In some ways I love the tight banter and wry humor, even if the audio mix often made it challenging to hear clearly. I like that they didn’t just forget season one, but grew on it, even though they remade the show entirely and left a lot of what made it something new, something not standard Trek, behind. Bryan Fuller’s vision for Discovery was refreshing for me. Even if he didn’t get to see it through, you could feel him in the bones of season one.
And then there was the season finale, which was unforgivable. Loaded with, and led to by, stupid choices and bad writing. It also had a critical element only from the Short Treks, which I’d not seen. The frustration is that if you’re going to make something an integral element of the season, it should be part of the season. Otherwise, it is fine to have nods and gifts from the other material (SHEILD and others have done this), but nothing core as not everyone would have the information necessary.
I will grant that the scope of the season, in terms of the overall plot and ongoing arcs, was impressive and gripping. It managed to be somewhat episodic and still have a much larger story pulling it along. But as a rehash of Enterprise’s failed attempt at the same idea it is full of the same kinds of plot holes and issues. It also took a stab at the now standard trope of revisiting the original series that began with the Tribbles episode in DS9; but they didn’t manage it effectively or with any real emotional weight.
But worse, depending on how they resolve the finale in the next season, the reset of the universe was more than a little cheap and frustrating (both in choice and method). I don’t quite know how they follow up this season in a satisfying way…but they have succeeded in bringing what was a brave new show back to the well-trod Trek center, and making it a lot less interesting.
The Orville has swung in from the opposite direction, trying to become more Trek and less satire of that genre. It essentially gave up what made it unique and left us with middling writing and lackluster plots for most of the season. However, a lot of that middling slog was worth it to get to Menosky’s Sanctuary, which picks up the Moclan tale from season one (Ja’loja) in earnest. It is loaded with guest stars and great moments and hits the exact balance of honest and satire that made the first season so much fun. It is also one of the few MacFarlane didn’t write this Sophomore season.
The final few episodes of the Orville season redeem it…right up through the finale. I am hoping that it indicates a recognition of where they drifted from their mission and that they will return renewed and refocused. Orville may never have been great, but it was entertaining and a good escape. Sure it catered to the geek crowd, especially in its humor, but it had potential. Making the Trek-like universe something a bit more realistic instead of aspirational in its society is not only a rising trend in the written genre, but a hunger in the audience who are tired of the sanitized worlds that had been on offer for decades.
Yes, I will be back for both of these shows, assuming both are back. Only Discovery is officially renewed as of this writing. There is potential in both and both shows have a willingness to take chances and change. I just hope they learned the right lessons from this past year.
I usually wait for a series to complete before writing it up. But watching the initial episode of Fosse/Verdon I was struck by a couple of aspects immediately that brought me to post.
First, if you really want to see the genius that was Fosse, see All That Jazz. The infamous movie covers many of the same questions and issues (not to mention scenes), but presents it much better. And, as meta to the whole thing, Fosse directed which gives you a real example of what a great editor Fosse was in pulling that film together.
Second, was that Michelle Williams (Venom) makes a very credible Gwen Verdon, much more so than Sam Rockwell (Vice) does Fosse. Rockwell has none of the charisma nor physicality that was Fosse, he just comes across as sweaty and slimy. Williams, on the other hand, had Verdon’s look, sound, and movement down beautifully. The story also gives Verdon her due for her own genius and contributions to what we think of as Fosse alone in the general public history.
But the bigger question is why do we need this series when there are hours and hours of archival footage, as well as some of the principals still being alive? I imagine you could argue that this was intended as a dramatization to help us see more, but the drama isn’t that gripping and the ‘impersonators’ aren’t that good…but, then again, we are still seeing some of these people walking around, so why try to imitate them. Why not wait another 10 or 20 years when a retrospective look as a drama may be less haunted by the present?
Admittedly, it is early in the series, and perhaps I know more than the average or intended viewer about this power couple that helped set the template for modern musicals. But, generally, the audience for this story is going to be older by virtue of the subject…and Fosse and Verdon aren’t history to them, they’re a part of their lives. Creators and writers Thomas Kail and Steven Levenson certainly have a love for the subject, but they aren’t up to the task of emulating Fosse or Verdon in pulling together this story. Frankly, it is best seen as an appetizer to digging into the opus of both those artists rather than as an end unto itself. And, perhaps, that makes it valuable to a new generation of viewers who weren’t aware of these two Broadway and film greats.
I’ll be giving it an other episode or so to see if they can pull me in, but my first impressions aren’t overly enthusiastic, even if they aren’t completely negative.
Art, writing, life explained… or at least commented upon…