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Review: Broad City: Season Three

In the show’s third season, Ilana and Abbi continue to run up against caricatures of class and privilege.

3.0

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Broad City: Season Three
Photo: Comedy Central

Given its similar focus on twentysomething women navigating the professional and personal challenges of being a female millennial in New York City, Broad City has often been compared to Girls. Less remarked upon, though, is its kinship to Seinfeld. Both shows, after all, generate much of their humor from exaggerations of the absurdity of everyday human behavior: miscommunication, culture clashes, class assumptions, and so forth. But for the best friends played by Abbi Jacobson and Ilana Glazer on Broad City, navigating the city’s almost carnivalesque circulatory system becomes a badge of honor, even when it leads to their horrified embarrassment.

In the show’s third season, Abbi and Ilana continue to run up against caricatures of class and privilege, from a snooty waitress at a hot brunch spot who can’t be bothered to hide her annoyance when Abbi makes her wait for Ilana before seating them, to the Greene Hill Food Co-op’s imperious, holistically obsessed owner, played to the hilt by Melissa Leo as a ratty-haired nightmare vision of clean living. Of course, and with the exception of Ilana’s quasi-boyfriend, Lincoln (the magnetically nonchalant Hannibal Buress), most of characters that flit about Abbi and Ilana are etched in the same grotesque register, sometimes awkwardly clashing with the show’s penchant for sharply observed slice-of-life humor. The effect doesn’t always escape the feeling of the deck being too easily stacked in order to make Abbi and Ilana seem comparatively like the most normal people in the world.

This is the same us-versus-them worldview that was at the heart of Seinfeld, with Jerry, George, Elaine, and Kramer reacting to the awfulness of the world by withdrawing into their own collective bubble, where they were free to scheme, parse, and criticize to their disaffected hearts’ content. But instead of retreating from the often tough and unforgiving world around them, Abbi and Ilana press on—living, striving, and meeting all challenges with equal parts tentative optimism and carefree exuberance.

It’s fitting, then, that some of the show’s most stellar episodes have been quest narratives, with Abbi and Ilana facing myriad obstacles to get to a particular destination. And the third season’s premiere episode operates in that same adventurous vein, featuring a journey to an art-exhibition opening that includes such indelible bits of screwball comedy as Ilana trying to use a piece of gum to retrieve a bike-chain key stuck in a sewer and Abbi being trapped in a port-a-potty as it’s being loaded onto a truck to be taken away.

Broad City exudes a warm empathy, however selective, that distinguishes it from the more openly misanthropic Seinfeld—which isn’t to say that Jacobson and Glazer let their main characters off the hook. One brief moment in the premiere offers a pointed jab at the kind of big-city privilege even relatively struggling twentysomethings can fall into when Abbi and Ilana, as the latter rants about the oppression of women in Saudi Arabia, become upset over the disappearance of bottomless mimosas on the brunch menu.

In the especially uproarious “Game Over,” a team-building exercise at Abbi’s gym brings out the character’s heretofore unforeseen ultra-competitive side, which at once alienates and attracts her co-workers. Later, Ilana inadvertently gets herself fired from her job, sparking an extended, Sister Act-inspired dream sequence—Whoopi Goldberg even makes a cameo—in which her long suffering co-worker, Nicole (Nicole Drespel), expresses her euphoria at finally being rid of her slacker cubicle-mate. Regardless of how their behaviors are received, though, Abbi and Ilana seem to understand that they’re entirely responsible for their joys and disappointments. And hapless though they may be, they at least still have each other to lean on through it all.

Cast: Abbi Jacobson, Ilana Glazer, Hannibal Buress, Arturo Castro, Paul W. Downs, John Gemberling Airtime: Comedy Central, Wednesday, 10:30 p.m. Buy: Amazon

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Review: Amazon’s Hanna Quickly Exhausts the Novelty of Its Premise

The series fails to uphold, subvert, or otherwise comment on the stylistic vision or thematic coherence of its source material.

1.5

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Hanna
Photo: Amazon Prime

Like the 2011 film upon which it’s based, Amazon’s Hanna follows the eponymous teen (Esme Creed-Miles) as she embarks on a revenge mission against a shadowy spy agency. The series milks visceral thrills from Hanna’s fight skills as she kicks, punches, shoots, and kills burly adult men. But where Joe Wright’s film was distinguished by its thumping Chemical Brothers score, bluntly filmed and brutal action scenes, and strikingly lensed locations, the series neither carves a unique path for itself nor upholds, subverts, or otherwise comments on the stylistic vision or thematic coherence of its source material.

After an opening sequence that sees Hanna’s parents fleeing for their lives from the spy agency, the series flashes forward to regard Hanna training with her ex-military father, Erik (Joel Kinnaman), in the woods where they live in solitude. When the duo is eventually forced to flee their safe haven, Erik reveals to Hanna that he’s actually been preparing her to hunt and kill a villainous C.I.A. agent named Marissa Wiegler (Mireille Enos). While Marissa is shown in flashback to be nefariously connected to Hanna’s childhood, Erik tells Hanna nothing else about her target. Consequently, the central mystery of Hanna’s origin, and Marissa’s role in it, is predicated on the secrets that Erik keeps from her for reasons that are never made clear.

Every episode of the series more or less follows the same format, as slow-burning cloak-and-dagger spy games eventually yield a few more revelations about Hanna’s past before leading to an eruptive and often incoherently filmed climax. The season’s middle stretch is particularly dull, as Erik and Hanna’s first attempt to kill Marissa goes awry and the teen finds herself stranded with a vacationing English family. Hanna attempts to use the relationship which emerges between Hanna and the family’s daughter, Sophie (Rhianne Barreto), to yoke a violent revenge plot to a coming-of-age teenage drama—which doesn’t work, chiefly because it’s impossible to understand why the otherwise unremarkable Sophie would be suddenly obsessed with Hanna, who’s nearly feral and prone to extreme violence.

Of course, Sophie’s fascination with her new friend is mysterious in part because Hanna herself is purposefully difficult to know, with Creed-Miles uses her open face and wide eyes to portray Hanna with a faraway look and a curious intelligence. The girl is inscrutable by Erik’s design, but less understandable is why the adults in the series, particularly Marissa, are similarly vague. Throughout, Hanna goes to great lengths to make its villain, who’s shown committing heinous acts, more sympathetic to the viewer. Certain plot twists suggest that Marissa may be ready to deal with her guilt over the nature of Hanna’s being, yet Enos’s severe, unsmiling performance and the season’s hectic third act go a long way toward muddying our sense of whatever change of heart the woman may be experiencing.

This muddled depiction of Marissa’s ostensible moral transformation, along with the introduction of a cabal of more menacing villains operating alongside her, rob the season finale of catharsis—which is about the only quality otherwise still preserved in the vicious retributions doled out by Hanna. Just as the series struggles to define Marissa’s motivations, it doesn’t hint at what might eventually happen to the rest her shadowy organization. The season’s conclusion asks as many questions as it answers, appearing to exist only so that Hanna may sustain itself, offering more henchman bones for Hanna to snap without wondering whether the character should, or even wants to, keep snapping them.

Cast: Esme Creed-Miles, Mireille Enos, Joel Kinnaman, Khalid Abdalla, Rhianne Barreto, Benno Fürmann, Sam C. Wilson, Félicien Juttner Airtime: Amazon Prime

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Watch: The Long-Awaited Deadwood Movie Gets Teaser Trailer and Premiere Date

Welcome to fucking Deadwood!

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Deadwood
Photo: HBO

At long last, we’re finally going to see more of Deadwood. Very soon after the HBO series’s cancellation in 2006, creator David Milch announced that he agreed to produce a pair of two-hour films to tie up the loose ends left after the third season. It’s been a long road since, and after many false starts over the years, production on one standalone film started in fall 2018. And today we have a glorious teaser for the film, which releases on HBO on May 31. Below is the official description of the film:

The Deadwood film follows the indelible characters of the series, who are reunited after ten years to celebrate South Dakota’s statehood. Former rivalries are reignited, alliances are tested and old wounds are reopened, as all are left to navigate the inevitable changes that modernity and time have wrought.

And below is the teaser trailer:

https://www.youtube.com/watch?v=tAcftIUE6MQ

Deadwood: The Movie airs on HBO on May 31.

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Review: What We Do in the Shadows Struggles to Carve Out Its Own Identity

The series struggles to find a distinct voice that isn’t beholden to the original film.

2.5

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What We Do in the Shadows
Photo: Byron Cohen/FX

Jemaine Clement and Taika Waititi’s 2014 mockumentary What We Do in the Shadows seems like a natural fit for episodic television. The film was somewhat episodic itself, less an ongoing story than loosely arranged chapters of modern vampire life: going out on the town, having virgins over for dinner, dealing with the cops when there are bodies in the basement. For their FX adaptation, Clement and Waititi mostly succeed in translating the film’s comedy into half-hour chunks, albeit sometimes to a fault, as frequent echoes of the film leave the series feeling like it’s still in search of its own identity.

Both the characters and the New York setting of the series are new here, but the setup is the same, with a documentary crew filming the lives of a group of vampire roommates. All of the vampires are hopelessly behind the times, their shared house a dimly lit den adorned with antique furniture, old-timey portraits, and clothing that’s centuries out of fashion. Though the vampires still maintain the otherworldly allure that guides mortals to their demise, vampirism’s sheer flamboyance hardly meshes with the most banal facets of the present day: The local supermarket doesn’t take ancient coins, and one junior member of the Staten Island Borough Council can’t quite hack it as a vampire’s doom-saying herald.

It’s familiar material to be sure, but going back to the film’s bloody well still yields plenty of goofy, memorable personas. Matt Berry’s commanding presence as Laszlo sells the vampire’s oblivious pomposity when he insists on wearing a cursed hat or says something like, “You are a credit to the women’s suffragette movement.” Human servant Guillermo (Harvey Guillén) carries out his grim work with an excitable verve, insisting, “I’m not a killer. I find people who are easy to kill.” At its worst, though, that same familiarity leaves some scenes feeling like they were lifted from the film’s outtakes reel. Certain traits of the film’s characters seem to have been divided among Laszlo, Nandor (Kayvan Novak), and Guillermo, which can lead to the actors seeming to outright channel Waititi and Clement’s performances.

The acerbic Nadja (Natasia Demetriou) adds a more observant dynamic to the general buffoonery of her housemates even as she’s still prone to similar moments of profound silliness, like stalking someone with an old camera that uses a vintage flashbulb. Elsewhere, Colin Robinson (Mark Proksch) emerges as the show’s most memorable creation: a caricature of a milquetoast, nasally desk jockey who’s revealed to be a day-walking psychic energy vampire. Colin, a sentient mound of dull khakis and sweaters, roams the cubicles of his day job, absorbing people’s boredom and irritation, which he amplifies with mind-numbing small talk. When he feeds, his eyes glow and his mouth gapes in an orgasmic snarl that would be frightening if it weren’t hilariously juxtaposed with Colin’s unassuming appearance.

The vampires’ goal is to conquer the “new world” of the United States (or maybe just Staten Island), which opens comic possibilities like a meeting at the aforementioned city council. There are other bits of continuity between episodes, like LARPing enthusiast Jenna’s (Beanie Feldstein) ongoing transformation into a vampire after Nadja took pity on her, but the series isn’t burdened by a serialized plot. For one, the third episode covers a werewolf feud totally unrelated to the group’s fumbling attempts at conquest of America.

Even with such departures, however, these episodes can struggle to find a distinct voice that isn’t beholden to the film. The series certainly offers some amusing additions to this occult universe, but the comedic value of its more familiar material has begun to diminish now that the concept must sustain not only a feature-length movie, but multiple episodes of television.

Cast: Matt Berry, Kayvan Novak, Natasia Demetriou, Harvey Guillén, Mark Proksch, Beanie Feldstein Airtime: FX, Wednesdays, 10 p.m.

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