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Mad Men Recap: Season 3, Episode 10, “The Color Blue”

By Mad Men standards, this week’s episode, “The Color Blue,” gives viewers a couple surprisingly major plot developments.

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Mad Men Recap: Season 3, Episode 10, “The Color Blue”
Photo: AMC

By Mad Men standards, this week’s episode, “The Color Blue,” written by Kater Gordon and Matthew Weiner and directed by Michael Uppendahl, gives viewers a couple surprisingly major plot developments. In the first, new information is revealed to the audience, as we learn that Sterling Cooper is for sale again, seemingly setting up a season-ending conclusion to the “British” storyline that roughly mirrors Duck Phillips’ (Mark Moses) arc in season two.

The second, decidedly more major, development involves information known by the audience since season one, and which has loomed over the series ever since as its biggest we-know-it’s-coming-eventually moment (larger even than the Kennedy assassination, which continues to cast its (fore)shadow over each episode of season three). Betty Draper (January Jones) opening Don’s (Jon Hamm) secret drawer and discovering the box that contains both divorce papers from Anna Draper and the pictures and fragments of his past as Dick Whitman is one of the very few explicitly plotted Mad Men moments we’ve all known is coming; in Mad Men’s own hushed sort of way, it’s on the level of the Galactica crew discovering the final cylon, or the audience finding out what put John Locke into his wheelchair.

Like both of those, it’s a hand that could have easily been overplayed, and regardless will undoubtedly disappoint many fans. As Betty discovers that she’s not the first Mrs. Draper, the scene is set for Mad Men to finally unleash so much of its pent-up, repressed energy that has been so thoroughly hidden behind gender roles and good manners. Yet, instead of a melodramatic breakdown in which Betty throws down the suburban housewife bit and finally says her piece, the show, in its usual reserved way, gives us … nothing. Well, not nothing, but certainly no fireworks, as Betty internalizes this development just like all the others, setting up a final scene that ranks right up there with Mad Men’s most barely constrained and viciously uncomfortable moments.

The lack of fanfare with which “The Color Blue” greets its big moments is hardly surprising, as this is a series that rarely confronts its larger issues directly, focusing instead on the ways in which the characters move around those issues, therefore relegating everything large and sweeping to something we only catch glimpses of through momentary cracks in the surface. Mad Men’s methods of offering us these glimpses are typically as subtle as anything we’ve come to expect from the show, and are usually left to be inferred by the audience.

Seldom has this been as true as in the final scene of “The Color Blue”, set at a celebration of Sterling Cooper’s 40th anniversary. The event, as we know, is a façade. The British owners are selling the company, Bert Cooper (Robert Morse) has no desire to celebrate his greatest accomplishments as it merely highlights that they are all in the past, Roger (John Slattery) and Don hate each other, and Don’s general discomfort in these situations is such a foregone conclusion that the show has no need to make it explicit. Yet there they are, cheering and clapping, as Roger disingenuously introduces Don’s keynote speech.

Earlier in the episode, when John Hooker (Ryan Cartwright) refers to an address Lane Pryce (Jared Harris) has prepared for the party as “rousing,” Lane asks him: “Churchill rousing or Hitler rousing?” It’s a humorous reference to the grand histrionics of speechmaking, but of course when Don steps up to the podium to give his climactic speech the episode fades to credits. It’s a reminder that it’s not the big moments that make this show tick, but the small moments that surround them. In this case, these few moments before Don’s speech offer us one of those cracks in the surface I mentioned—the sort of glimpse we rarely see. Of course, it comes to us via Betty Draper, whose presence at the event is the biggest ruse of all.

January Jones’ performance here will be rightfully remembered as amongst this season’s best, as Betty appears barely contained, applauding the man who has been lying to her for years. She could erupt at any second with an outburst rivalling the histrionics of any speech, but of course she doesn’t. The camerawork, however, is every bit as important as the performance: The shot of Don at the podium is not the slowly approaching or slowly retreating view we’re typically given. It’s stationary, and angled strangely—for some reason, it’s as utterly uncomfortable as the entire fraudulent event. But with the final shot of Betty abruptly ceasing her applause, we understand why: It’s from Betty’s point of view. The shot gives us a new perspective on Don, because Betty herself now sees her husband differently. This is beyond even her discovery of Don’s affair in season two. Something has fundamentally changed.

The use of a perspective shot is important, both in terms of style and content, as perspective itself is one of the episode’s major themes. Mad Men gives us a lot of information, but we’re not typically given perspective. With the possible exception of Don’s and Betty’s respective hallucinations of their pasts and their families, we haven’t spent a lot of time in the characters’ heads. The camera moves fluidly and methodically, providing an omniscient view but always keeping us at arm’s length; it questions, but never enters, never deploying the handheld shot or any other device that might put us on the ground with the characters.

“The Color Blue,” however, may be Mad Men’s most explicit treatment of perspective as a theme. The title refers to a bedroom conversation between Don and Miss Farrell (Abigail Spencer), his new mistress, who, in one of her increasingly unsettling (to Don, anyway) displays of domesticity, tells Don about a child in her class who asks how we can know whether the blue he sees is the same as the blue everyone else sees. Anecdotally, this question seems like a common shared experience—it represents our first foray, as children, into metaphysical problems and the first time we began to question the foundations of what we consider real and true. Don, seemingly missing the point of the exercise, dismisses a problem concerning universality by referencing something particular: his own perspective as an adman, the same insular world that so many of Mad Men’s characters seem constrained by. Advertising, he explains, is about “boiling down communication,” and, ever the practical realist, he seems to claim that producing the same reaction in a group of people indicates a shared experience.

Mad Men has dealt with this theme before, though typically in much larger strokes. The show itself, after all, is about the very particular world the characters have created for themselves, and much of the show’s tension comes from the collision between this world and the rapidly changing outside world of 1960s America. It’s a collision that very few of the characters, being so trapped by the narrow perspective of their milieu, seem particularly prepared for.

As Todd pointed out in his piece on this season’s premiere, series creator Matthew Weiner has largely avoided any overly plotted moments and twists external to the characters themselves, because he knows that the viewers provide the tension a sweeping narrative offers themselves. We all know things are about to change, and so Weiner is free to allow the era’s historical weight to develop in the background, and move between the spaces where the show’s major dramatic conflict takes place.

Mad Men is therefore left with an audience perspective largely incongruous with that of the characters. For all the show’s historical recreation and meticulous attention to verisimilitude, the audience is essentially cut off from its world. We hold knowledge that the characters do not. We see what’s hiding around the corner, and the way it casts its shadow over everything that happens on screen. We cannot see the Mad Men world from the characters’ perspective, and therefore are not asked to suspend ourselves to look at the world through Don Draper’s eyes. Rather, we are required to bring our own perspective to the table, with all the knowledge and hindsight that comes with it, a move that brings Sterling Cooper’s world into collision with our own.

This dramatic irony does far more than create tension. It sets into motion many of the show’s major themes, including the fragility (and obstinacy) of identity and the elusiveness of truth and value. It provides us with hints not only as to how we should relate with the characters, but also how they relate to each other. Don points out on several occasions throughout the series that the staff at Sterling Cooper does more than sell products, they sell perspective, a way of looking at the world. Don is in the business of universalizing his own perspective, as he says to Miss Farrell: “The truth is people may see things differently, but they don’t really want to.” (Their conversation takes place in a very hushed, post-coital scene, with Hamm delivering his lines barely above a whisper, yet he hits such a subtle note of self-assuredness that it comes across as Don Draper bravado at its most arrogant.)

It seems important, then, that Mad Men so effectively builds barriers between differing perspectives and worldviews. Mirroring the characters’ lack of preparedness for the sweeping social change to come, perspective in Mad Men is so sedimented that any break can only be painful, causing those involved to question not only how they see the world, but how they see themselves. Like a child’s questions concerning the color blue, it brings into doubt the foundations of what they know and consider true. There will certainly be many valid interpretations of Betty’s decision not to confront Don, and future episodes will undoubtedly develop the plotline further, but personally, I see a character who has based so much of her own identity on her perspective of a man she thought she knew. It’s not a simple matter of Don hurting her, as he has in the past; if she brings Don to task on this, she not only brings him into question, she brings herself into question as well.

We see this elsewhere in the episode, as well, such as Paul’s (Michael Gladis) “my God” moment with Peggy (Elisabeth Moss). Paul spends much of the episode awaiting divine inspiration, with jazz, smoke and the smell of scotch pouring out from underneath his door. He even goes so far as to converse with Achilles. (Really! Well, okay, Achilles the janitor.) When the moment finally arrives, he proceeds to fall into a drunken stupor before writing his genius idea down, of course forgetting it by morning. To Paul this is absolute catastrophe, akin to Homer dreaming up the Iliad one morning only to forget it by afternoon. Don and Peggy both react with sympathy and a small degree of solidarity: it’s surely one of the most frustrating experiences for a writer. Yet at the same time neither seems particularly troubled, and Peggy, with nary a hint of divine inspiration, plays off of some offhand comment Paul makes to develop a great idea anyway, one which Don quickly jumps in to put a button on. Paul’s shocked reaction is hardly a grand event, but in many ways it’s an essential character moment. He’s realizing that Peggy, like Don, sees blue differently than he does. It’s a gap he cannot bridge with his Ivy League education or reading.

A much more poignant example of the same event happens in the car between Don and Miss Farrell’s brother, Danny (Marshall Allman). It reminded me of two scenes from season one. The first was when Don thoroughly owns Midge’s (Rosemarie DeWitt) unbearable Bohemian friends with quips such as, “make something of yourself,” “the universe is indifferent,” and most memorably, “you can’t.” The second is the scene with Don’s own brother, Adam (Jay Paulson), in which he gives Adam $5000 and encourages him to remake his life. When Don says, partly to Danny, but mostly to himself, “I swore to myself I’d try to do this right, once,” he is, for the first time, acknowledging his failure with Adam. It’s a profoundly painful scene, as despite Don’s efforts he can do no more than he did for Adam: giving Danny some money and sending him away.

But Don is also discovering the root of his failure with Adam. When he dresses down the Bohemians and tells them to make something of themselves, it’s effective, because we all know that they are more than capable of doing so; they are intelligent, idle people. Don’s air of superiority is not rooted in classism or some sense of inherent ability. It’s rooted in his being the proverbial self-made man and his knowledge that any of those Bohemians could do what he has done, but haven’t.

The epilepsy with which Danny has been “afflicted”, however, is something foreign to Don’s perspective and something he has trouble processing. When Danny reacts badly to Don suggesting they can “still change things,” we catch a brief glimpse of the Don that shot down Midge’s friends, firing back, “does that just sound stupid to you?” It’s Don that’s shot down here, however, as Danny explains his situation, and claims that he “can’t do” anything that Don can do. The line “It’s not a question of will” seems especially important, as it’s what separates Danny and Adam from Don, and also from those kids in Midge’s apartment. It’s not a question of will, it’s simply that Danny can’t see blue the way Don does, and neither could Adam.

Some other stuff:

1. Todd floated the idea to me that the ’Kinsey theater’ mock ad was an allusion to the JFK assassination. It’s not something that I personally caught, but it fits with the assassination’s increasingly looming presence over the third season.

2. Talk about perspective: Betty’s casual racism continues to play its part in her relationship with Carla (Deborah Lacey), as she seemingly thinks the Drapers aren’t required to go to church as often as Carla is. It’s almost as uncomfortable as Betty’s reaction to the 16th Street Baptist Church bombing.

3. Even little things in the episode are about the different ways in which people can see the same thing. The hang up and the contrasting assumptions it causes Don and Betty to respectively jump to, is a fascinating example.

4. “The driver’s Chinese!”

For more recaps of Mad Men, click here.

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Review: Truth Be Told Is Uninterested in the Malleable Nature of Truth

The series attempts to derive excitement solely from its overly calibrated performances.

1.5

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Truth Be Told
Photo: Apple TV+

As Octavia Spencer’s journalist turned podcaster Poppy Parnell leads her listeners through the shadowy histories of gruesome criminal cases in Truth Be Told, the actress perfectly mimics the warmly grave vocal delivery that’s a hallmark of the true-crime podcast genre. Yet, while the Apple TV+ series understands this genre’s allure, it fails to replicate the enduring insights of podcasts like Serial—insights which pertain to the opacity of fact and the idea that the truth can be shaped by the whims of institutions, such as jury selection and the preservation of crime-scene evidence. Truth Be Told eschews the fixations of the nonfiction works that it apes, focusing on lurid gossip and incredulous plot twists and, as a result, proving uninterested in the malleable nature of truth itself.

Truth Be Told follows Poppy as she reassesses a grisly suburban murder from 20 years ago—one she mined for professional success at the time, penning a series of columns which helped turn the public tide against Warren Cave (Aaron Paul), the teenager who was convicted of the crime. A nagging flaw in Truth Be Told emerges early on, as the series fails to elucidate exactly why Poppy is convinced of Cave’s innocence. Reference is made to a key witness who may have been coached, but that inconclusive new development seemingly confirms Poppy’s long-harbored suspicions, which exist for reasons that are never made clear.

The show’s contrived central mystery, then, pertains to who really killed Chuck Buhrman (Nic Bishop). It’s a question that’s far less complex than that of many high-profile true-crime mysteries, and Truth Be Told attempts to derive excitement solely from its overly calibrated performances. Indeed, the direction given to a majority of the actors seems to have been to glower more, act shiftier, or seem more agitated. The series suggests Buhrman’s killer could have been any of the figures Poppy encounters, but because they’re all so obviously creepy, a pervasive sense emerges, unintentionally, that they’re all engaged in some kind of conspiracy.

Paul bizarrely plays Cave as a feral presence, growling and tilting his head during his character’s interviews with Poppy. Incarceration, the series unsubtly suggests, has made him an animal. Likewise, Buhrman’s daughters, Josie and Lanie (both played by Lizzie Caplan), are a pair of incessant liars who’re still grappling with the trauma of their father’s death. Other characters seem to simply be evil, none more so than Cave’s father, who’s the show’s plainly obvious red herring. All of these figures are suspects, yet the persistent suggestion that that we might also empathize with many of them results in Truth Be Told vacillating between conflicting viewpoints: one that sees these characters’ flaws are the resultant damage of Buhrman’s murder, and one that sees their flaws as inherent and may have led them to kill. But the series lacks the tact or nuance to investigate the idea of inherent evil, and what’s left is a rather muddled whodunit in which the answer ceases to be very interesting.

While the show’s reliance on easy misdirection and incredulous plot dynamics are an understandable hallmark of its genre, Truth Be Told similarly fails to distinguish itself in cinematic or thematic terms. Shot in an exceedingly workmanlike fashion, the series is designed to offer boatloads of information and little else. Every conversation unfolds in rote over-the-shoulders shots, and exteriors are plagued by the copious drone shots that have become a kind of shorthand for high production value in prestige television. Even the rare bursts of action unfold mechanically, with twists telegraphed by the show’s performances and scenes either being marred by slow motion or shaky-cam obfuscation.

Coherent cinematic flourishes would have been a welcome addition, because much of what’s being captured here seldom exceeds matters of exposition. For instance, every discussion between Poppy and her private investigator, Markus (Mekhi Phifer), includes clumsy references to their past romantic history, as if we might forget. Seemingly every conversation that Poppy has with anyone includes a statement of their current emotional dynamic. While Spencer’s warmth and wit hint at Poppy’s skill as an investigator, the actress is too often left delivering dialogue that merely states what’s happening around her or in her head.

Throughout Truth Be Told, Poppy constantly explicates her guilt, yet the series doesn’t seem sure what exactly is prompting those feelings. The show flattens its performers’ unique personalities, utilizing them simply in service of engendering suspicion. Ostensibly about the nature of fact and the spiraling effects of dishonesty, Truth Be Told is actually much less thought-provoking than all that, and simply erects a byzantine rumor mill around one man’s death and then mining those rumors for cheap thrills.

Cast: Octavia Spencer, Aaron Paul, Lizzie Caplan, Elizabeth Perkins, Michael Beach, Mekhi Phifer, Tracie Thoms, Ron Cephas Jones, Nic Bishop Network: Apple TV+

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Review: Joe Pera Talks with You Digs Into the Truth About Our Preoccupations

Season two of the series explores how our preoccupations bring us comfort when we might need it most.

3.5

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Joe Pera
Photo: Adult Swim

As a comedian, Joe Pera is a bit of an enigma. With a hunched-over, ambling gait and a slow, soothing voice, he may be the youngest old man on TV. How much of this is an Andy Kaufman-esque stunt is an open question; Pera is certainly committed to not totally breaking character even outside his TV series Joe Pera Talks with You, as he sustains his grandfatherly persona through stand-up routines, promotional interviews, and appearances on the local news. His website provides a form for fans to guess his age. He’s almost painfully polite and modest, brimming with a shy, nervous energy, using pauses and stumbling over words to disarm viewers right before he jams in some unexpected joke.

In other words, how much of Joe Pera the man is in Joe Pera the performance art character, and which parts are specifically turned up for comedic value? Watching Joe Pera Talks with You is to simultaneously ponder this question and be so taken with his sweet, earnest persona that the answer seems not to matter. The show’s 11-minute episodes are ostensibly structured around the middle-school choir teacher’s interest in mundane objects and activities: speaking directly into the camera, he discusses beans, hiking, shopping at the grocery store, and other things around his home in Marquette, Michigan.

Other topics and concerns inevitably creep into each episode, whether because Pera is easily distracted by things like the effect of jack-o’-lanterns on one’s soul or because other forces—a boisterous co-worker, an awareness of consumerism, or a disagreement with band teacher Sarah (Jo Firestone)—briefly throw him off course. Following from the previous season, he and Sarah are newly dating, though their viewpoints sometimes differ as Pera’s apparent frivolity clashes with Sarah’s status as a committed end-of-the-world prepper with a fortified basement and a handgun; in one episode, she asks him if he’s willing to kill to defend his garden.

In another type of series, Pera might be some wacky side character or otherwise relegated to the butt of a joke to contrast a more cynical protagonist, but the brilliance of Joe Pera Talks with You is how he instead provides the dominant perspective. No matter how seemingly insignificant, Pera and his interests are presented with complete sincerity through gentle music and loving close-ups of objects and processes, creating an atmosphere of reserved but infectious passion through his dedication and attention to detail. With a mix of serene images, oddly well-researched facts, and understated visual comedy, episodes play like a mix of Mister Rogers’ Neighborhood, ASMR videos, and Guy Maddin’s My Winnipeg.

An extreme self-awareness fuels the show’s comedy, from the subtle tics and timing of Pera’s speaking style to the use of subtitles and careful compositions that do such things as gradually reveal that he’s wearing shorts. He walks silently in one episode, and as soon as that silence begins to feel awkwardly too long, he begins his monologue about hiking to reveal, simply through impeccable timing, that the silence stems from a weird, adorable belief that before he can discuss hiking, he must first demonstrate what it is. He’s thorough, this guy. And he makes sure to inform you that he’s just kidding when he says cold beer is nutritious.

Joe Pera Talks with You never feels like it’s making fun of Pera’s demeanor. Though the character is almost childlike in his perpetual wonderment, the parts of him that initially come off as absurd also feel truthful and even aspirational, in how this man has thought long and hard about things like the societal value of beans. He’s a master of conveying miniature stories in just a few words, like how he has “been devastated in the past” by experimenting in his garden or how classifying Easter as “the third most romantic day of the year” suggests a considered ranking of dates by such values.

Many of Pera’s observations ring true for their cutting, hilarious simplicity, though much of the comedy comes from how he’s not some inaccessible guru or unsung sage of Michigan’s Upper Peninsula. Some of the show’s funniest lines are when Pera brings up something his outward naiveté suggests he might be ignorant of, like American interventionism. He has his own worries; they’re just often about whether his beans will grow properly around the wire arch in his garden. He focuses on the beauty in the mundane, the things that bring him quiet joy. Employing warm cinematography, gentle narration, and its lightly absurd portrayal of everyday life, Joe Pera Talks with You digs at a larger existential truth about our own preoccupations and how they bring us comfort when we might need it most.

Cast: Joe Pera, Jo Firestone, Conner O’Malley, Pat Harris, Jo Scott Network: Adult Swim

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Review: Servant Is an Unrelentingly Strange Examination of Grief and Denial

The show’s control of tone and atmosphere soon becomes even more engrossing than the story’s mystery itself.

3

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Servant
Photo: Apple TV+
Editor’s Note: This article contains plot spoilers.

On paper, the premise of Apple TV+’s Servant sounds simple enough: New parents Dorothy (Lauren Ambrose) and Sean (Toby Kebbell) hire a nanny, Leanne (Nell Tiger Free), to take care of their infant son in their Philadelphia home. It’s a ritzy place, with a fully stocked wine cellar and a spacious kitchen for chef Sean to test out his elaborate recipes. When coupled with the show’s musical score of discordant, jittery strings and atmosphere of uneasy stillness created by long takes and peculiar camera angles, however, everything simply feels off, even before it’s revealed that the child, Jericho, is dead.

What lays motionless in the crib is actually just a silent, unblinking doll meant to placate Dorothy, who suffered a psychotic break following Jericho’s sudden death. Beyond a handful of instances throughout the season where she stares listlessly into the distance as if on the cusp of some revelation, she treats the Jericho doll as though it’s alive and well. The bitter, curmudgeonly Sean plays along, but when he’s alone, he’s content to drop the thing on the floor or knock its head against the crib. Hiring Leanne is just one more part of the charade, until one night Sean finds a living, breathing, crying infant in the doll’s place.

Much of the series follows Sean as he tries to figure out what’s going on, and with the help of Dorothy’s high-strung, perpetually wine-drunk brother, Julian (Rupert Grint). They investigate where the baby could have possibly come from and dig into the background of the prim, devoutly religious Leanne, whose presence coincides not only with the return of the new Jericho, but with Sean getting splinters from nearly every surface he touches. Dorothy resumes her work as a newscaster none the wiser, but her bright, outgoing demeanor—an extreme contrast with the sullen, dickish Sean—keeps putting their newly living baby at risk of discovery when she invites people over or insists on bringing him to work.

It’s a supremely weird setup for a series made only weirder by the way it builds atmosphere through the use of jarring sounds and an austere visual language. Though most of the season’s episodes noticeably lack the ambitious directorial hand of M. Night Shyamalan—who’s an executive producer on the show and helmed two episodes—cinematographer Michael Gioulakis maintains an unnerving mood through close observation of seemingly mundane actions. By holding so long on faces and often employing overhead angles, the camera lends a sort of voyeuristic, almost alien-like tinge to the proceedings.

And the close-ups are uncomfortably close, particularly with the constant focus on Sean’s cooking that finds him meticulously pulling apart the flesh of eels, lobsters, and squids. At other times, he’s seen tugging splinters out from his neck or inside his mouth. Whether something actually does happen when the camera lingers on Sean shoving something into the garbage disposal, the potential for disaster always seems to loom large. In such moments, it’s as though grief, denial, and pain coalesce into one suffocating presence.

Servant’s mystery unfurls at a satisfying clip, since it’s broken up into brisk half-hour chunks that always present some new complication. Episodes rarely leave Dorothy and Sean’s home, locking us inside to watch everyone seethe and fall apart. In the absence of traditionally horrific imagery, the show emphasizes an unrelenting strangeness not only through Sean’s increasingly odd recipes, but through things like a man vigorously dabbing sauce from his slice of chicken before, for no apparent reason, wrapping it in napkins and then squeezing the food between his fingers. The season ends, perhaps expectedly, with more questions than any particularly satisfying answers, but in similar fashion to shows like Twin Peaks, its control of tone and atmosphere soon becomes even more engrossing than the mystery itself.

Cast: Lauren Ambrose, Toby Kebbell, Nell Tiger Free, Rupert Grint, Phillip James Brannon Network: AppleTV+

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Review: Season 3 of The Crown Makes Progress Look and Feel Wearisome

The series homes in on the growing chasm between royal expectations and public norms.

2.5

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The Crown
Photo: Des Willie/Netflix

Season three of The Crown lacks the urgency that previously made the Netflix series so engaging. This is partly due to the more subdued relationships between the older members of the House of Windsor, now settled into their various roles as sovereign, husband, sister, and wife. Only a few years have passed between seasons, but Queen Elizabeth (Olivia Colman), her husband Philip (Tobias Menzies), and sister Margaret (Helena Bonham Carter) have accumulated a deep weariness that can be enervating to behold.

This season, the countercultural politics of the Swinging Sixties nurtures a new sense of awareness around the myriad hypocrisies and criticisms of aristocratic life. The series homes in on both economic inequality and the growing chasm between royal expectations and public norms, with the British crown’s traditional nonpartisan position becoming increasingly detrimental to its image. The antiestablishment spirit of the time seeps into Buckingham Palace via the small rebellions of Princess Anne (Erin Doherty), now a miniskirt-wearing, David Bowie-loving young woman. And it’s through her that the monarchy makes small but significant steps toward changing its perception as an outdated institution.

The Crown’s first two seasons tapped into the allure of a world insistent on formality. The ‘60s, though, bring a new set of societal challenges that redefine the relationship between the Windsors and their American counterparts, especially in the episode “Margaretology,” in which Margaret takes a tour of the States. Her spontaneity and charisma—the very qualities that make her a liability to the monarchy’s rarefied image—help Elizabeth to win over President Johnson (Clancy Brown), who dreads the codified etiquette that dictates their countries’ “special relationship.” Johnson doesn’t care about exclusive invitations to Balmoral Castle; he’s happy with dirty jokes and drinking contests that fly in the face of royal protocol.

The crown’s relationship to the British people is also changing, as highlighted in “Bubbikins,” which chronicles the impact of the infamous 1969 BBC documentary Royal Family. One of Philip’s public relations projects is to make the Windsors seem more appealing to the masses, but in his vanity, he fails to understand the importance of mystery and ritual to their public image. Royalty is the ultimate spectacle, and The Crown valiantly attempts to illuminate the psychological and emotional toll it takes on those who have little control over their lives. But it’s more than a little difficult to feel sympathy for the royals when the prince consort is seen trying to explain why the queen deserves more taxpayer money.

Despite Philip’s efforts to sweeten their image, the Windsors’ most likeable member is as un-royal as it gets: his mother. At turns fragile and fearless, Princess Alice (Jane Lapotaire) is a welcome mid-season addition, providing a much-needed contrast to her son, who’s still itching to find meaning in his life. Where Alice is selfless and warm, Philip is consumed by the need to micro-manage everything around him. As the younger Philip in the show’s first two seasons, Matt Smith was palpably angsty, but in Menzies’s hands, the neurotic prince is drawn ever inward. And a highlight of the new season is an entire episode concerned with his midlife crisis. Set during the events of the 1969 moon landing, “Moondust” is a sensitive exploration of masculine insecurities, and in no small part for the way Menzies calls upon reserves of pathos to chart his character’s miserable descent into self-pity and spite.

The most prominent thread running through The Crown’s third season is the dualities in people’s lives. It’s in the juxtaposition of the royals’ public and private selves, the ever-present chasm between aristocratic and common society, or the much more personal struggle of characters reconciling individual desires and duties. There’s plenty of fertile ground to explore this dynamic, as almost every character is in a state of conflict, from Elizabeth, who struggles to show genuine humanity to her people, to Prince Charles (Josh O’Connor), who reckons with his destiny as the future king. Within their rigid world, the royals pursue their desires in their own little ways—Charles with his love of the performing arts, Elizabeth with her beloved racehorses at Sandringham, Anne with a casual fling that surprises her family.

Toward the end of the season, even Margaret has a fleeting taste of happiness outside of the public eye, before getting sucked back into the vortex of her unhappy marriage. It’s impossible for the Windsors to fully escape the demands of the crown; several extended family scenes see even the most individualistic characters obediently falling in line. Elizabeth is ultimately the only character who digests and accepts this reality without much drama. Colman brings a hard-won confidence to the queen, who weathers changes and hard decisions with the mettle of a ruler who recognizes the importance of self-reliance and stability.

The title of the season’s first episode, “Olding,” is a play on Elizabeth’s age (and the code name of a K.G.B. spy), setting the tone for the queen’s private musings on the trajectory of her reign. The episode is an exploration of appearances and what they conceal, with a number of pieces of fine art and literary metaphors hammering that point home. During a pivotal moment in the season premiere, the Surveyor of the Queen’s Pictures, Anthony Blunt (Samuel West), gives an overblown lecture about the layers of deceit and multiple meanings lurking within Renaissance art—and the moment is followed by a longwinded scene that overcomplicates an otherwise simple allegory about hidden identities and trust.

The Crown presents a network of relationships that are more meaningfully connected by ringing telephones, newspaper headlines, letters, and electric buzzers than face-to-face communication. The show’s royal family is “alone together,” settled in their identities and the demands of their station. Philip only reconciles with his mother after reading an article about her in the papers, and one of the season’s most heartening scenes depicts Alice and Philip walking arm-in-arm together in the gardens of Buckingham Palace. Young Elizabeth once confronted Philip about what he does and where he goes, but she’s since risen above these small concerns. Given the queen’s inability to show her feelings, it’s fitting that the season closes on a note of solitude and isolation. In her own words, “One just has to get on with it.”

Cast: Olivia Colman, Tobias Menzies, Helena Bonham Carter, Jason Watkins, Ben Daniels, Marion Bailey, Josh O’Connor, Charles Dance, Jane Lapotaire, Erin Doherty, Emerald Fennell, Gillian Anderson Network: Netflix

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Review: For All Mankind Prioritizes Cynical Alternate History Over Character

The series suffocates its promising characters with the tedium of backroom politics.

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For All Mankind
Photo: Apple TV+

According to For All Mankind, if the Soviet Union had landed humans on the moon before the United States did, the space race would have continued at full speed, escalating from moon landings to the building of lunar bases to cosmic subterfuge. But the Apple TV+ series, created and written by Ronald D. Moore (of Battlestar Galactica and Outlander fame), Matt Wolpert, and Ben Nedivi, sluggishly leads to little of interest. For All Mankind prioritizes its alternate history’s tedious political maneuvering over its characters, suffocating their development and deflating emotional payoffs.

Navy veteran and astronaut Edward Baldwin (Joel Kinnaman) is the primary focus of the series. In an early scene, set in 1969, he’s sitting in a bar in Houston, watching on TV as a Russian cosmonaut steps on the moon. Ed was on Apollo 10, a trial run for Apollo 11, which in the show’s alternate history is a footnote in the space race. Now, he and crewmate Gordo Stevens (Michael Dorman) strive to get back to space and break new ground.

Most of the show’s supporting characters come and go as if at random. For one, steely astronaut Molly Cobb (Sonya Walger) and her endearing hippy husband, Wayne (Lenny Jacobson) become central figures and then inexplicably, and disappointingly, disappear. Often, characters exist less to provide a human perspective on the space race than to represent issues, a problem that’s more acute when it comes to the show’s women. Some of them—like astronaut Danielle Pool (Krys Marshall) and Tracy Stevens (Sarah Jones), Gordo’s wife—propel more substantial narratives whose social commentary informs, rather than supplants, their personhood. But others, such as engineer Margo Madison (Wrenn Schmidt) and Ed’s wife, Karen (Shantel VanSanten), are merely stand-ins for forces and experiences like sexism in the workplace and the trials that servicepeoples’ families endure.

After the Soviets land a woman on the moon, President Nixon—who’s depicted via archival footage overlaid with recordings, both authentic and fabricated—wants to do the same, which sets up an episode about the training of female astronauts. When the Soviets are expected to establish a military presence on the moon, Nixon and the Pentagon move to ramp up their own, which cues an arc about the creation of a lunar base. Throughout For All Mankind, NASA higher-ups, beholden to the president, ceaselessly relay his demands to Director of Flight Crew Operations Deke Slayton (Chris Bauer) and Flight Director Gene Kranz (Eric Ladin) over in mission control, but all their exhaustingly repetitive policy debates siphon attention away from the human beings whose lives they shape.

As For All Mankind proceeds, however, it shifts its focus from broad political mandates to the specificities of its characters. One episode that centers around three astronauts penned up in a claustrophobic lunar base is among the show’s most evocative. The astronauts spend nearly half a year sleeping in cramped bunks, pickaxing moon rocks, and eating goo. When they intently and gravely tinker with an off-screen item, the stakes feel life-or-death, but a cut to the subject of their concern reveals a damaged VHS tape, one of their six episodes of The Bob Newhart Show. The crew watches the episodes on repeat, eventually reenacting one in a welcome act of catharsis. But later, when an astronaut feverishly acts out all three parts in a scene from the Newhart series, we see how much these people have given up, how profoundly it can hurt to be so far away from home.

One of the show’s notable revisions of the historical record is its portrayal of Ted Kennedy having succeeded Nixon as president, along with the former’s triumphant push to ratify the Equal Rights Amendment. Kennedy initially wants to bring the moon-marooned astronauts home—a relief crew is repeatedly delayed from replacing them—but he ultimately tolerates their stranding because the lunar outpost distracts the nation from his ongoing sex scandal. These and other dynamics fuel the show’s deeply cynical framing of the space race not as a struggle for key geopolitical advantage or a fight for national principles, but as a conflict as fruitless and myopic as a dog’s quest to catch its own tail.

Cynicism suffuses the series both subtly, with its framing of NASA as a pawn of the
president’s administration, and overtly, with Wernher von Braun (Colm Feore), the German aerospace engineer who designed the Saturn V, saying that “every political system is flawed, and every bureaucracy is corrupt.” Soviet points of view are almost entirely absent from the series, but the American cronies on hand justify his mistrust.

Such disenchantment occasionally generates intriguing reflections on imperialism, discrimination, PTSD, and more. It also renders the earnestness of a side plot about a young girl, Aleida Rosales (Olivia Trujillo), and her father, Octavio (Arturo Del Puerto), jarring in contrast. The pair immigrates to the U.S. from Mexico, and Aleida develops a fascination with rockets and space, as well as formidable skills in math. She’s poised to become an engineer, maybe even an astronaut, one day. The suggestion, here, is that the American dream is alive and well. But it seems that Aleida will have to leave Earth to find it.

Cast: Joel Kinnaman, Michael Dorman, Shantel VanSanten, Chris Bauer, Sarah Jones, Colm Feore, Wrenn Schmidt, Sonya Walger, Krys Marshall, Jodi Balfour, Nate Corddry, Eric Ladin, Rebecca Wisocky, Arturo Del Puerto, Olivia Trujillo, Lenny Jacobson, Dan Donohue, Wallace Langham Network: Apple TV+

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Review: Apple TV’s See Feels Startlingly Uncommitted to Its Bonkers Concept

The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.

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See
Photo: Apple TV+

Apple TV’s post-apocalyptic drama See will undoubtedly be sold on the credentials of those involved, from director Francis Lawrence to star Jason Momoa to writer-creator Steven Knight. Knight is best known for TV dramas like Peaky Blinders and Taboo, but his most relevant credit is one that will certainly go unmentioned in trailers and other marketing materials for the series: the stupefying, bonkers Matthew McConaughey fishing-centered noir Serenity, as See suffers from a similarly bizarre, overreaching concept.

In See’s vision of the future, only a couple million people are still alive, almost all of them blind. Society has, for some reason, gone feudal, with everyone decked out in furs and living in huts and broken up into different tribes. They call the sun the “god flame,” and, at the behest of tyrannical Queen Kane (Sylvia Hoeks), they burn heretics who espouse the mostly forgotten idea of vision. The three-months pregnant Maghra (Hera Hilmar) is taken in by a remote community headed by Baba Voss (Momoa), who marries her. When she gives birth, it’s to twins who can see just fine. This, of course, being heresy, Baba Voss and the rest of the village flee from Kane’s witchfinders, building a new home in a remote location to keep the children safe.

The show’s opening credits display wispy yellow shadows of things like horses and spiders to suggest recognition even through blindness. Beyond that, though, See feels startlingly uncommitted to its gimmick of a blind world. The series is filmed in bog-standard fantasy style, all wide vistas, expansive greenery, and ominous smoke in the distance with seemingly no concession for how its characters’ perception of the world might differ from the audience’s. There’s a near-total absence of subjective camera work here, a sense of how the characters might have to rely on touch, sound, or smell to navigate. Barring a person’s occasional stumble to find their footing or moving a hand along a guiding rope tied across the top of the village, everything unfolds so expectedly that it’s easy to forget the show’s concept entirely.

Even with interminable amounts of exposition in the three episodes provided to press ahead of the show’s premiere, Knight struggles to sensibly lay out the particulars of this post-apocalyptic feudalism in terms of government, social hierarchies, and basic navigation between settlements. Everyone is incongruously well-groomed and color-coordinated, even going so far as to wear hoods when burning people at the stake despite no one being able to see their faces. Gory battle scenes include someone like Voss groping around for a handhold only to swing his blade to perfectly meet an enemy’s throat the very next moment.

See is at its most engaging when it allows itself to get truly silly and weird: A naked woman in white paint follows people unnoticed because she’s said to purge herself of thought, and Queen Kane prays via masturbation, concluding each invocation in the throes of orgasm. But the majority of Knight’s series is a self-serious dirge, where sight-based wordplay like “So they just walk around with their eyes closed?” is delivered with a straight face. In the end, See’s myriad absurdities somehow add up only to a run-of-the-mill dystopia, where the children are the “chosen ones” and the tyrant must be overthrown.

Cast: Jason Momoa, Sylvia Hoeks, Hera Hilmar, Alfre Woodard, Christian Camargo, Archie Madekwe, Nesta Cooper, Yadira Guevara-Prip, Josh Blacker, Christian Sloan Network: Apple TV+

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Review: The Morning Show Boldly Navigates the Nuances of the “Me Too” Era

The series is an uneasy, sometimes nauseating, and often fascinating examination of our current moment.

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The Morning Show
Photo: Apple TV+

In the third episode of The Morning Show, two disgraced men sit down after a spirited tennis match and chat over scotch and Chinese takeout. One, a film director of apparent renown (Martin Short), tells the other—Mitch Kessler (Steve Carell), a TV anchor recently accused of sexual misconduct and fired from his job co-hosting the nation’s most beloved morning show—that he feels bad for people coming of age in the #MeToo era. “There’s nothing sexy about consent,” he says. When Mitch responds with visual discomfort, the director revises his statement: “I guess what I’m saying is, humanity happens in the unspoken moments.”

Mitch claims that his only sin was engaging in consensual “extracurricular sex.” But while the three episodes provided to press ahead of the show’s premiere don’t confirm exactly what Mitch did or didn’t do, and while he expresses genuine contempt for unequivocal predators, we’re granted hints of the unspoken moments he may have orchestrated. At one point, Mia Jordan (Karen Pittman), a producer on Mitch’s former show, enters Mitch’s abandoned dressing room and presses a button under his desk, which automatically closes the door.

Earlier, Mitch receives a surprise visit from Alex Levy (Jennifer Aniston), his longtime co-host. He’s been cooped up in his house, surrounded by reporters, for days. The two clearly adore each other, and when Alex starts to leave, Mitch begs her to stay. His pleas are unnervingly murky: They may be the innocent symptoms of his loneliness and isolation, or they could be glimpses of the tactics he uses to keep women where they don’t want to be.

Alex is furious at Mitch for leaving her on her own, at executive producer Charlie Black (Mark Duplass) for keeping her in the dark about the allegations, and at the network itself for the bitter contract renegotiation it’s putting her through. The network is represented largely by Cory Ellison (Billy Crudup), an executive who’s dismissive of hard news and devoted to entertainment. He’s a delightfully odd highlight of the series, less traditional suit than android: unblinking, unreadable, and teetering on the edge of going haywire.

The rage that Aniston summons as Alex is beguiling. She slams her fists on conference tables and roars at her staff, achieving a catharsis that’s at odds with the passive aggression that permeates The Morning Show. But when she interviews Bradley Jackson (Reese Witherspoon), a firebrand reporter from West Virginia who’s gone viral thanks to a candid video of her passionately telling someone off at a protest, Alex demonstrates a subtler wrath; thinking that the viral video was part of a scheme for fame, she asks increasingly antagonistic questions. Bradley, though, stands her ground, and the electrically pointed but within-bounds exchange escalates like a polite knife fight. Bradley’s resolution, verve, and popular appeal catch Cory’s eye, making her, unknowingly, a candidate to replace Mitch.

Bradley is predominantly limited to her outsider-ness—being a moderate conservative from a rural locale—and clichés about both-sides journalism that undercut her supposed radical streak. But Witherspoon infuses the character with scrappy charm and complexity, namely in Bradley’s uncharacteristically tender interactions with her brother, a recovering drug addict. Mitch, meanwhile, is thoroughly ostracized. Carell delivers bursts of pathos that disconcertingly temper Mitch’s grotesque rants, but the series uses Mitch as too broad a stand-in for the fallen man. A conversation between him and Charlie feels as though it’s meant purely to squeeze in boilerplate talking points about “McCarthyism” and “the court of public opinion” (and to make the insufferable Charlie even less sympathetic).

In its introductory episodes, however, The Morning Show mostly avoids trite, glib, or otherwise thoughtless writing. The series takes on the risky goal of humanizing Mitch—albeit inconclusively, for now—and carefully navigates the minefield of its sensitive subject material. Propelled by its magnetic performances, the series is an uneasy, sometimes nauseating, and often fascinating examination of our still-unspooling current moment.

Cast: Jennifer Aniston, Reese Witherspoon, Steve Carell, Billy Crudup, Mark Duplass, Gugu Mbatha-Raw, Nestor Carbonell, Karen Pittman, Desean Terry, Janina Gavankar, Bel Powley, Jack Davenport, Victoria Tate, Tom Irwin Network: Apple TV+

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Review: Season 2 of Jack Ryan Leans Hard on Generic Action and Stale Plotting

The occasionally thrilling series relies on generic action cribbed from other, more distinct espionage fiction.

1.5

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Jack Ryan
Photo: Jonny Cournoyer/Amazon

Early in season two of Tom Clancy’s Jack Ryan, C.I.A. analyst Jack Ryan (John Krasinski) lectures a rapt audience of college students, defining for them the meaning of the term “failed state,” and warning them of the looming threat of economic collapse in Venezuela. Ryan has an easy charisma, owing to the amiable presence of Krasinski, and he describes the South American nation in overly simplistic terms that fit the show’s polarized, good-versus-evil worldview: Its strongman president, Nicolas Reyes (Jordi Molla), is “an asshole,” and the country is destined for ruin. And so begins the new season, with the series in thrall to its title character—and, by proxy, America—and concerned with its South American setting mostly as one more Banana Republic to be saved from itself.

Pitting moral opposites against one another for an occasionally thrilling eight episodes that place the fate of a nation in the balance, Jack Ryan harkens back to the anodyne action thrillers of the 1980s and ‘90s. It’s also clearly influenced by the Reagan Doctrine of interventionism, which encouraged guerrilla wars against left-wing governments. The show’s paternalistic vision of Venezuela, like season one’s notion of the Middle East, leans toward portraying the nation as one inherently incapable of self-management—thus necessitating the help of Jack Ryan, a character who moves, frustratingly, into messianic territory here.

Ryan finds himself in Venezuela on a diplomatic mission to question Reyes regarding a mysterious shipment deep in the jungle, which is being guarded by notorious weapons traffickers. His earlier warnings about the country are quickly justified, as he’s ambushed by a mysterious hitman after the meeting with President Reyes seems to ruffle political feathers. The season’s winding plot spins out from this point, as Ryan and C.I.A. colleague Jim Greer (Wendell Peirce) must attempt to find out who ordered the ambush and what’s in the jungle.

Jack Ryan’s loose grasp of U.S. foreign relations, while providing a poor representation of our history in Latin America, is a feature of its action-hero formula. Yet because the series has little unique to convey about the world Ryan inhabits, it’s composed solely of the brand of generic action and manipulative reliance on cliffhangers cribbed from other, more distinct espionage fiction. Jack Ryan is the Bourne series without the well-honed, if pummeling, stylistic brio; it’s James Bond minus the elegance; Mission: Impossible without the gonzo stunt work. What joys can be derived from it come mostly from Krasinski’s affability and his character’s prickly chemistry with Greer, to whom Pierce lends a warm grouchiness.

Throughout Jack Ryan’s new season, its relatively meaningless story doubles back over itself with a number of twists before, inevitably, the “good guys” win. Right out of the gate, you sense the show’s creative regression, as Ryan has transformed from a fish-out-of-water C.I.A. analyst to a natural superhero—one comfortable liberating prison camps in the jungle, spying on weapons caches, and invading foreign government buildings. The season stretches credulity even by the show’s own standards, culminating with Ryan and a small band of black-ops cohorts invading the Venezuelan presidential palace on election day—and its laughably unrealistic final climax includes Ryan fist-fighting with President Reyes.

Though Ryan is sketched loosely, and strictly in terms of his heroism, Krasinski’s everyman persona and knack for sarcastic comedy assures that he’s believable as a smart guy with hidden ambition and untapped potential, as well as a dash of ego. But despite Krasinski’s effort, the series remains most engaging when the season’s action turns away from Ryan. A secondary plot, involving a foursome of American black operatives invading the jungle, provides some of the season’s most suspenseful action sequences—and its most potent source of pathos, when Marcus (Jovan Adepo), one of the young soldiers, is lost alone behind enemy lines.

As in its first season, the series is still better at assigning motivation to its antagonists than it is at developing its title character, as the palace intrigue between Reyes and his chief advisor, Miguel Ubarri (Francisco Denis), efficiently gets at their motivations, revealing the history of their corruption and foreshadowing a dark fracture in their alliance. In stark contrast, Ryan is merely good, and his goodness is seen as a function of his profession, blank personality, and nationality. While season two is never boring, the series nonetheless has little new to say about Jack Ryan or the world, and while it doesn’t lack for suspense, the fate of the latter is never really in doubt. The season’s length strains the effectiveness of its throwback sensibilities, passable action choreography, and formulaic characters—attributes which may be better suited for standalone feature films.

Cast: John Krasinski, Wendell Pierce, John Hoogenakker, Jordi Molla, Eduar Salas, Francisco Denis, Michael Kelly, Cristina Umaña, Jovan Adepo Network: Amazon

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Review: His Dark Materials Is a Coming-of-Age Tale Dressed in Retro-Futuristic Garb

The series underlines the loss of creativity and boldness that marks the transition from childhood to adulthood.

2.5

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His Dark Materials
Photo: HBO

HBO’s His Dark Materials is a beautifully orchestrated reminder that there’s life after Westeros, albeit with airships, science, and sensible sweater vests. The first of Philip Pullman’s iconic trilogy of novels springs to life in the show’s first episode, “Lyra’s Jordan,” effectively erasing the memory of Chris Weitz’s 2007 film adaptation of The Golden Compass, which failed to embrace the depth of the universe Pullman created.

Dafne Keen slips naturally into the role of orphan Lyra Belacqua, who’s eager to explore beyond her home at Jordan College in an alternate version of Oxford. The actress brings a bristling restlessness to the young girl, who’s much more into stealing wine and sliding down rooftops than reading books and doing chores. In this world, all humans have talking daemons, physical manifestations of their souls that exist outside the body as animal companions. Children’s daemons don’t take on a fixed form until their humans reach puberty, so Lyra’s daemon, Pantalaimon (Kit Connor), constantly morphs between a moth, wildcat, ermine, and a blur of other creatures. It’s a heavy-handed metaphor for coming of age, but it lays a crucial foundation for the story’s existential exploration of knowledge, individuality, and truth.

A visit from Lyra’s absentee uncle, Lord Asriel (James MacAvoy), throws her life into chaos. Asriel is cold and calculating, showing cool indifference even when Lyra saves his life. However effective MacAvoy is in his five minutes of screen time, though, he’s ultimately forgettable—unlike Ruth Wilson, who unfurls like a carnivorous plant as Marisa Coulter, a powerful “friend of the college” who hires Lyra as her assistant and takes the girl to London. Wilson’s performance is a study in expertly controlled layers barely concealing a well of rage and cunning; there’s also the inscrutable face of Mrs. Coulter’s golden monkey daemon, an unnerving extension of her formidable will. In episode two, the full thrust of this relationship is on full display in a traumatic incident involving the monkey and Pan, while in episode four, a wickedly primal scene blurs the line between Coulter and her daemon.

Jack Thorne, who adapted the series from Pullman’s trilogy of novels, takes a balanced approach to world-building without drowning the audience in minutiae. The version of Britain imagined by the series is ruled by the Magisterium, the theocratic government that clashes with colleges that provide traditional academic sanctuary. Given the anti-intellectual inclinations of current real-world politics, it’s frustrating to watch the long arm of the law curl around those that would challenge it, even within its ranks. Thorne generally does well at crafting dialogue that reveals thoughtful bits of backstory, as well as the sociopolitical context of the characters’ struggles. Given that there are so many elements to cover—such as the concept of Dust, which consists of subatomic particles that tend to gather around adults, which the Magisterium views as controversial, even heretical—Thorne pares down the novel’s science-magic descriptions without diminishing their importance.

Expository scenes detailing the history, science, politics, and arcana of the show’s alt-Britain might be necessary to understand the machinations of this world, but they’re at times weighed down by clunky dialogue, as in a scene in which Ariyon Bakare’s Lord Boreal circles around a Magisterium priest, threatening to reveal his depravities if he doesn’t help him. But where the writing can drag, the show’s visual style is efficient, as in the warm, earthy textures associated with the downtrodden and the sleek jewel tones that mark the powerful. Familiar motifs, from the foreboding pseudo-Brutalist architecture of London to classically framed scenes depicting the apron-clad laundrywomen and busy servant class at Jordan College, succinctly key us into the power dynamics of this universe. And while the show’s retro-futuristic setting hews to a mainstream steampunk aesthetic—a genre that’s historically rife with European colonial associations—it’s encouraging to see a diverse cast, including Bakare, Clarke Peters (as The Master), and Lucian Msamati (as John Faa), playing characters in positions of power.

The main catalyst for the story of the show is the kidnapping of the children of Gyptians, a semi-nomadic people who live in houseboats, bringing simmering class politics to a near-boil, especially when evidence leads back to the Magisterium. In its timely depiction of a grassroots investigation into the disappearance of vulnerable children, His Dark Materials invites comparisons to the banal acts of evil that flourish in a corrupt system. At one point, Mrs. Coulter visits the children to help them write cheery letters to their loved ones before they’re brought northward, and the camera follows their slight frames down a dank, narrow hallway. In this moment, the visual allusion to concentration camps is unmistakable.

Thorne’s character development falters slightly in the scenes set in Trollesund, a gateway port to the north, home of armored bears and as-yet-unseen witches. Throughout, Lyra’s small victories here are almost effortless: She wins over the exiled bear Iorek Byrnison (Joe Tandberg) a little too easily, and Byrnison, while suitably gruff and jaded, comes off as a one-dimensional outcast with little at stake. And it’s in Trollesund where the audience is introduced to the tedious theatrics of Lin Manuel Miranda, thinly disguised as a Texan aeronautist named Lee Scoresby. It’s an ongoing struggle to get past Scoresby’s overcooked Texan accent and constant rambling, and he ends up more caricature than comedic relief.

His Dark Materials underlines the loss of creativity and boldness that marks the transition from childhood to adulthood. As Lyra intuitively learns to read her alethiometer—an arcane truth-telling device that requires years of study—she starts growing into her own identity. Keen shines when she’s at her most defiant, giving stubborn, righteous life to a child struggling to understand the complexities of the real world. At the end of episode four, the series has barely begun to unpack its more fantastical elements, instead choosing to draw us into its well-rounded interpersonal relationships and emotional connections, all of which add an extra sense of profundity to an otherwise straightforward coming-of-age story.

Cast: Dafne Keen, James MacAvoy, Ruth Wilson, Clarke Peters, Lucian Msamati, Ariyon Bakare, Archie Barnes, Kit Connor, Joe Tandberg Network: HBO

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Review: Season 2 of Castle Rock Favors Family Drama Over the Supernatural

There’s little apparent benefit to how the show’s second season foregrounds its interpersonal relationships.

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Castle Rock
Photo: Dana Starbard/Hulu

The first season of Castle Rock was essentially a basket of Easter eggs. With an assortment of peripheral Stephen King characters and locations, Hulu’s horror anthology series revolved around an entirely original but ultimately uninspired plot. The second season dives more visibly into the King universe, sending one of the author’s most famous characters, Misery’s murderously obsessive nurse Annie Wilkes (Lizzy Caplan), on a collision course with another King staple: the undead-inhabited town of Jerusalem’s Lot. Employing these more famous King touchstones, however, hasn’t narrowed the show’s focus so much as it’s left it feeling scattered and unmoored.

At the start of the season, Annie drifts from town to town with her teenage daughter, Joy (Elsie Fisher). She works as a nurse long enough in each town to gain access to its hospital’s array of anti-psychotics in order to continue self-medicating, at which point she and Joy hit the road, swapping out license plates as they drive across the country. A late-night car crash strands them in Castle Rock, Maine, where their skeezy landlord, Ace Merrill (Paul Sparks), clashes with his adopted brother, Abdi Omar (Barkhad Abdi), over business with the local community of Somali immigrants. There’s clearly meant to be some social commentary here about racism and even, to some extent, the opioid epidemic, but even after the five episodes made available to critics, the season has yet to really dig into these thorny topics.

Castle Rock uses neighboring town Jerusalem’s Lot and its witchy history for a new set of mysterious resurrections. But compared to the first season’s supernatural hook, there’s a much stronger focus on family drama here that spreads the story thin across so many characters; the series struggles to cover not only Annie and Joy settling into town, but the bad blood between Ace and Abdi. Ace and his biological brother, Chris (Matthew Alan), are the nephews of the unscrupulous, hard-nosed, but fair “Pop” Merrill (Tim Robbins, who unearths an intense weariness in the role). Out of a desire to make amends for his military service and no small amount of white guilt, Pop fostered both Abdi and his sister, Nadia (Yusra Warsama), who’s the head doctor at the hospital where Annie now works. It’s a tangled web, but the drama never boils to a degree that explains the eventual violent escalation. A shot of a younger, jealous Ace and some snippets of a right-wing radio program are an unsatisfying shorthand for his decision to start lobbing Molotov cocktails at his adopted brother’s house.

The most engaging drama here is actually the one with the lowest, most ordinary stakes, in Joy reaching the age where she’s grown restless under her mother’s wing. She starts to seek out friends her own age, but Annie is, as one might imagine, not an easy person to leave behind. The first season tackled dementia with surprising sensitivity, and there’s a similar undercurrent of palpable pain to watching Joy struggle with the mental illness of a loved one, sorting out what’s best for herself even when she loves and cares for her mother.

Unfortunately, Annie isn’t nearly so easy to empathize with as Joy. She’s such an outsized presence, with her torrent of childish pet names and G-rated curses delivered in an odd folksy accent, that it’s difficult to view her as anything but a caricature. Originally conceived as a strange Other in Misery, Annie has been thrust into the role of protagonist with few apparent changes beyond her dedication as a mother, which nevertheless has its roots in her obsessive tendencies. It seems telling that, in a mid-season flashback episode meant to make young Annie more of a sympathetic character, her conspicuous tics are significantly dialed down.

There’s little apparent benefit to how Castle Rock’s second season foregrounds its interpersonal relationships. Deemphasizing a strong supernatural mystery leaves only a cast of characters that alternates between the dull and the exaggerated. Opting for more recognizable, overt King references hasn’t enriched the show’s storytelling so much as clarified the gap between the author’s best work and this TV imitation.

Cast: Lizzy Caplan, Tim Robbins, Paul Sparks, Barkhad Abdi, Elsie Fisher, Yusra Warsama, Matthew Alan, Abby Corrigan, Chad Knorr, Owen Burke, Paul Noonan Network: Hulu

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