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Torchwood Recap: Season 2, Episode 10: “From Out of the Rain”

“From Out of the Rain” was so reminiscent of season one’s “Small Worlds” that it came as no surprise that it, too, was written by Peter Hammond.

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Torchwood Recap: Season 2, Episode 10: “From Out of the Rain”

“From Out of the Rain” was so reminiscent of season one’s “Small Worlds” that it came as no surprise that it, too, was written by Peter Hammond. Like Hammond’s inaugural episode, “From Out of the Rain” is atmospheric and creepy, and reaches back into history both personal and cultural. But where “Small Worlds” grappled with a well-known archetype, here we’re dealing with something almost unrecognizable: a traveling sideshow that appears out of nowhere to abduct and murder. It was OK that we never got much of an explanation about the fairy elementals, but it’s frustrating here that we never learn anything about the creatures that terrorize Cardiff. Well, not quite; even worse than the lack explanation is the curious lack of menace. “Small Worlds” worked, in part, because we knew that the elementals had the power to destroy everything. Both urgency and momentum are lacking, here; without that existential threat, there’s little to engage beyond nostalgia.

We first see them when the episode begins at a turn of the last century fairground. A mother and daughter approach a tall mustachioed man in a top hat (Julien Bleach), delivering the typical “come one, come all” speech. We’ll call him Joshua Joy, since he’s standing under a sign proclaiming his show, and he’s clearly the boss. He offers the girl a pink ticket, declaring everyone’s waiting for her. As she reaches for it, a fox cries in the woods, and her mother looks away for just a moment. When she turns back, she’s completely alone; the entire scene, and everyone in it, had disappeared.

In modern-day Cardiff, a young man (Craig Gallivan) surrounded by old film canisters and film strips opens a canister to see what it holds. A strange burst of music sounds, and he pauses, but the music is gone so he loads the film into his camera. Typical old-fashioned home movie scenes play out, until suddenly the film changes, and there’s Joy again, beckoning us to the show. The camera continues into the show, and we see the various performers: clowns, a strong man (“The Great Stromboli”), a tattooed man. The young man is amused but business-like; this show business doesn’t belong with the film he’s splicing together. He stops the projector to cut out the offending frames, but suddenly a window blows open, and the tape re-threads itself into the projector and runs to the end. He notices that the image of Joy, reaching and calling, keeps looping, even though the tape has finished.

At the Hub, Jack (John Barrowman) pauses momentarily, hearing that same brief snatch of music. He wanders over to ask Toshiko (Naoko Mori) if she heard anything, but Tosh is up to her eyeballs in gadgets and monitors, and didn’t hear a thing. Jack asks about a circus or a traveling show, and Toshiko says such a thing would be wasted on such a stormy night, but Ianto (Gareth David-Lloyd) would know if there was anything going on. She explains to Jack that Ianto has dragged Owen (Burn Gorman) and Gwen (Eve Myles) to some cinema; by the time she looks up, Jack has already gone after them.

Our three intrepid Torchwood team members are braving a terrific downpour to get to this cinema, but it’s not your typical movie theater. Ianto’s eyes are gleaming as they let themselves in, sopping wet; this is the Electro, the cinema he used to come to with his dad, when he was just a boy. Gwen asks after popcorn and sweets, but Owen disabuses her of any notion of fun: this is educational. The manager, looking uncomfortable in his suit, complains to his wife in the ticket booth about how late their son Jonathon is; he’s bringing the film. Just then we see the young man dashing out of his flat and belting down the stairs.

When he finally arrives, his father is none too happy with him, but he puts on his best “everything’s all right” face and gets the evening started. His introductory speech is awkwardly offensive, but he blunders through it; his meager audience is either apathetic or forgiving. Cuing the piano player, they start the black and white film of scenes from the Electro’s heyday. The film begins normally enough, with scenes of ordinary men and women, soldiers lined up, people walking up and down the street. But then, just as in the apartment film studio, the images change, there’s Joshua Joy, beckoning us in again, and there are all the performers as well.

Jonathon notices and tries to stop the camera, but it won’t switch off. Even worse, the film appears to be looping; Gwen and Owen make obnoxious comments, naming each performer after one relative or another. Owen referring to one female as an aunt who’d gotten into the gin again was too much for Ianto, but Owen and Gwen are acting like schoolchildren on a field trip. They’re too busy laughing to see their own Jack up on the screen. His smile is a mile wide and he’s brandishing a gun; it looks entirely like he’s blowing his own brains out. Ianto tells the other two but they don’t believe him; while they’re waiting for the image to repeat, the film finally stops. As Ianto stands up to leave, we see two shadows scurry past him.

Jack arrives too late, but Ianto describes what happened, including the figures sliding past him. Jack goes off into one of his nostalgic meanders, remarking that cinema killed the travelling show, now they’re just history, trapped on film, forever.

Again, not quite: a young woman is standing out of the rain at a bus stop, pleading into her cellphone, trying to get her mum or dad to come and get her. Joy, still in his top hat and white-face makeup, walks with the woman from his troupe, dressed like some kind of flapper acrobat (Camilla Power), moving with a peculiar, languid grace. Joy talks to the young woman, and asks if she’d like to join the show; of course the young woman refuses. Before she can get away, Joy reaches out and touches her mouth. Immediately she begins gasping and choking. Joy opens a silver flask and captures a wisp of something silvery as it escapes the young woman’s mouth; she collapses.

Jack and Ianto are up in the projection room with Jonathon, who insists that the film played itself. Jack stretches this extraordinary statement even further: “Like something was trying to get through.” How did he reach that conclusion? I have no idea. It didn’t make any sense to me.

Tosh calls in to report that there has been Rift activity at the Electro, and she heard that music Jack mentioned. The police have discovered the girl at the bus stop, but Jack tells Tosh to notify the police that they’ll handle it. Owen examines the poor girl and finds that she has a heartbeat but she’s not breathing; she’s alive, but only by the slimmest of threads.

Joy and the acrobat continue their midnight stroll through the wet streets of Cardiff, with the acrobat pausing every so often to bathe in the puddles. They approach the Windsor Café, where a lone woman is cleaning up. Joy knocks, and she opens the door enough to say that they’re closed. The acrobat speaks, “Make her cry.” The woman can’t believe what she just heard. “I want to drink her tears,” the acrobat finishes, and Joy touches the woman’s lips just as he did to his first victim.

At the hospital, the team discusses the inappropriateness of the hospital’s treatment of the young woman; they’re all still there when the woman from the cafe is brought in. Jack says that there’s something keeping them alive, some life force somewhere. Again, there is nothing evident to support this assertion, but we’ll have to go with it.

Toshiko has set up a projector at the Hub, and everyone is gathered to watch the film they confiscated from the Electro. It really was Jack that Ianto saw in the film; one of the better attempts at humor happens here: Jack says, “I was part of this freak show,” and continues, “Some things never change.” Owen picks right up on that and shoots back, “Are you being rude about me?” Gwen teases Jack about doing stand-up, or being a song-and-dance man. Jack demurs; he was billed as “The Man Who Couldn’t Die,” and he was “shenshational.” The film keeps running during this banter, and comes to an image of Joy’s troupe, assembled. That triggers something in Jack’s memory, and he identifies them as the Night Travelers.

Jack tells them what he knows, what he heard, 80-odd years ago when he was sent to investigate this mysterious sideshow. They only performed in the dead of night, and they seemed to come out of the rain. There were stories about people dying strangely or disappearing outright, linked to the appearances of the Night Travelers. Jack never did find them, all those years ago—but apparently he learned enough to be able to identify them now. The extended flashback here is evocative, and we hear Joy introducing “The Amazing Pearl”, as like to a mermaid as you will ever meet, able to take your breath away.

Ianto, with his eye for detail, notices that it’s not quite the same film they saw at the Electro—but of course it has to be, right? But the man in the top hat, Joshua Joy, and the scantily clad young woman, Pearl, are missing, as if they had walked out of the film. Jack assigns everyone tasks, looking for old cinemas, witnesses, anyone who might know something about the Night Travelers. When he says he needs Ianto for his local knowledge, poor Eve Myles is saddled with the line, “Is that what they’re calling it these days?” This line didn’t just fall flat, it was completely out of character for Gwen. It’s not that she doesn’t joke, it’s that she doesn’t joke when people are being left in bizarre near-dead condition and they have no idea how or why it’s happening, or whether or not it will happen again. I winced.

Toshiko’s monitors go haywire for a few minutes; she’s reading the sea in the middle of town.

Somewhere in Cardiff, a family of four is out in their SUV. Dad comes to a sudden stop to avoid running over Joy and Pearl, but by the time he stops they’ve disappeared. Mom wonders why he stopped, but before he can say anything, there are Joy and Pearl, beside the car.

Then Joy and Pearl are somewhere else, and there’s a huge puddle that Pearl continues to bathe in. The area is alight with candles all along the perimeter. Pearl speaks to Joy about “their audience”; we can hear the sounds of the sea, gulls crying. “Can we bring the others?” she asks. She wants to travel, to perform. Joy says they need the rest of the film. This scene is pretty but inexplicable. Who set up all those candles? By “perform” does Pearl mean collect more people? What are these two, anyway? Evidence points to neither one of them being human, but we don’t even get a theory on what they might, or where they might be from.

The stricken family has been brought to the hospital. A nurse overhears Torchwood’s conversation, and recognizes Jack’s phrase, “out of the rain.” She remembered a patient at the mental institution had used that phrase. They go and visit Christina (Eileen Essel), who knows there’s something uncanny about Jack: “Your eyes are older than your face,” she says. Jack tries to laugh it off, but she takes it quite seriously, and tells him he doesn’t belong anywhere.

We cut away briefly, and hear the music of the hurdy-gurdy. Pearl, at an abandoned pool, opens a door and peers in at a roomful of people, standing, paralyzed: their audience.

Christina tells Jack how Joy, the Ghost Maker, asked if she would like to join the traveling show, how he had a silver flask that would hold her breath so she could be in the audience forever. Newspaper stories from 1911 repeat the key details of Christina’s story. Now the team has a new mission: find the flask, save the victims. With the prevalence of CCTV, and Torchwood’s ready access to every single camera in Cardiff, they should’ve been able to make short work of this, but Hammond drops the ball completely. In Torchwood’s Cardiff, no one can ever hide as effectively as Joy and Pearl have, even if only for a few hours. They certainly wouldn’t be able to sweep up so many victims without someone else noticing, would they?

Back at Jonathon’s flat, his film archive has been trashed. The sound effects in this scene are especially evocative, contributing to the sense of dread. The young man is distraught but cautious, and he moves slowly through the apartment, coming to the bathroom at last. The tub is overflowing, and he approaches, not knowing what he’s going to find. Pearl is there, submerged, but she sits up and reaches out to him; he flees.

Joy gloats to Pearl that they have the film, and now it’s time to bring the others.

The young man, hysterical, calls Jack immediately and tells him what happened. He’s waiting outside his flat and doesn’t see them come out; he insists they should still be there and tells Jack to hurry over.

His parents aren’t faring much better over at the Electro. The piano’s going, but no one is playing it. But Pearl is there, with a flashlight, playing usher, “This way, please,” she directs them. The parents are now part of the permanent audience.

Clips from the sideshows play up on the big screen as Torchwood arrives. “They’re bringing more through,” Jack says, and we get to see the process of the flat, black-and-white images taking flesh and stepping away from the screen. It worked better in The Purple Rose of Cairo when Jeff Daniels’ character remained black and white. It’s strange to see these characters come from the film, but it’s not exactly scary. They’re sideshow performers, after all, and none of them have done anything to indicate that there’s something we should be afraid of. Joy and Pearl have some weirdness going on, certainly, but why exactly should we be afraid of these others, besides the fact that they’re part of Joy’s troupe? Do we really need to care about them?

Jack gets the idea to put these characters back on film, and then destroy the film to destroy them. Why should this work? Why shouldn’t they be able to control the new film the way they controlled the old one? Because those questions posit an amount of internal consistency which is lacking here. At any rate, Jack is now wielding a camera like a gun, watching the tattooed man, juggler, and clowns come through, filming them. Owen has gone up to the projection booth to try and stop the film; he comes face to face with Joy, who recoils at the still-dead Owen. Since Owen has nothing for Joy to take, he leaves him, and Jack’s able to capture him on film as well. Outside, Jack rips the film from the camera, exposing it; one by one, the characters disappear. Joy, seeing what’s about to happen, unstoppers his flask and sends it arcing up into the air; Ianto catches it and uses his thumb to save whatever he can. They’ve managed to save one, but which one?

They go to the hospital (presumably they still don’t know about that roomful of people at the abandoned pool), and find the only victim still sort of alive is the little boy from the SUV. Jack holds him up, and tips the contents of the flask into his mouth. The boy gasps, able to breathe again. Ianto chokes up, “It worked.” Yes, it’s just wonderful that this poor boy’s entire family was wiped out, inexplicably. He’s going to have a great life, you can just bet.

Ianto reports that he destroyed the films in Jonathon’s apartment, but Jack worries about other old films that may be lying around anywhere. We see a father and son at an estate sale, buying an old projector and film canisters. Jack puts the flask into the vault, but pauses; at that estate sale, the boy drops the canister and it opens, hurdy-gurdy music escaping. Jack hears it and knows that the Night Travelers may be back; he slams the vault shut.

The biggest flaw of this series is inconsistency, and “From Out of the Rain” points that up, again. If they’re going to use the ubiquitous closed-circuit TV cameras in every other episode, they have to at least explain why they can’t use them here. And it would’ve been nice if someone had said that they weren’t human at all, but a peculiar type of alien breath-sucking vampire. Maybe I’m being too picky; the episode looked fantastic—the breathless victims presented a new kind of “sucked dry” appearance—the period costumes and make-up were fantastic, particularly Pearl’s sparkly outfit and her bizarre silvery-gray eye shadow. The guest casting was good, as was the pacing and direction. The real failure here was to generate a palpable fear, and to come up with a way to eliminate the Night Travelers that actually, you know, made sense. I can only suspend my disbelief for so long.

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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.

3

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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.

2

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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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Review: Daybreak Depicts a Unique but Indulgent Apocalyptic Wasteland

Insipid comedy aside, the Netflix series offers evocative reflections on the premature death of a generation’s childhood.

2.5

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Daybreak
Photo: Ursula Coyote/Netflix

The universe of Netflix’s Daybreak, based on the graphic novel by Brian Ralph, is both familiar and indulgent, as far as post-apocalypses go: Its wasteland is roamed not only by zombie-esque figures, but also by themed packs of survivors sporting rides decked out in spikes à la Mad Max. The show’s doomsday premise, however, features a unique twist: The apocalypse was triggered by a bomb that turned only—and, seemingly, all—adults into trudging undead “ghoulies,” leaving children and teenagers mostly unharmed.

In the six months since the bomb dropped, the young survivors from Glendale, California have responded to the nuclear family’s disintegration with the entrenchment of the chosen family, turning their social circles into tribes: the Cheermazons, the STEM Punks, the Disciples of Kardashia, and others. The tribes largely keep to themselves throughout the five episodes provided to press; only Baron Triumph, a mysterious, motorcycle-riding cannibal, and the Jocks, led by the grunting Genghis Khan wannabe Turbo Bro Jock (Cody Kearsley), resort to gratuitous violence. The post-apocalypse is, as a result, a relatively peaceful place.

Our guide through the cataclysm is Josh Wheeler (Colin Ford), a tribeless loner looking for his girlfriend, Sam Dean (Sophie Simnett). Throughout the series, Josh often breaks the fourth wall by introducing flashbacks, cuing montages, and contextualizing the apocalypse for the audience. These meta moments are less charming than lazy, rejecting subtle world-building in favor of information dumps. Much of the Daybreak’s comedy is similarly uninspired: While Glendale High School’s Principal Burr (Matthew Broderick) hilariously evokes a certain kind of white, bubble-blinded progressivism in Josh’s flashbacks (“We’re all woke here. Uh, wide awoke”), the teenagers’ dialogue relies on meme-y jokes—like one about never skipping leg day—that result in a stilted representation of Gen Z.

Insipid comedy aside, Daybreak offers evocative reflections on the premature death of a generation’s childhood. After one of Turbo’s underlings fires a homemade gun, Mona Lisa (Jeanté Godlock), Turbo’s right hand, declares, “You broke the Emma González Accords. We’re not playing with guns.” The throwaway line briefly hints at the trauma that the kids have experienced. They won’t use guns, even at the world’s end, because school shootings have scarred them. They can’t reckon with the apocalypse because they’re still processing the horrors of their old lives, still fettered by a social order that can’t see beyond jocks and nerds and cheerleaders, still reeling from the damage caused by neglectful parents and bullies.

Daybreak most formidably juxtaposes the past and the present in an episode following Josh’s newfound companion, Wesley Fists (Austin Crute), a jock turned ronin seeking redemption for his sins. Director Sherwin Shilati and writer Ira Madison III have created a remarkable samurai-flick-style exploration of Wesley’s various personal apocalypses: his relocation from Compton to the much-more-white Glendale; his falling-out with the cousin (Frederick Williams) he used to do everything with; and, now, his need to choose between a forbidden love and his friends. It all unfolds beneath an astonishingly versatile voiceover by RZA, who’s both very funny and very capable of hitting the episode’s dramatic beats.

When, toward the end of the episode, Wesley speaks directly to the narrator, the exchange avoids the triteness of hollow fourth-wall-breaking. It reads, instead, as an honest confrontation between the character and his psyche, a clinging to selfhood all but reduced to rubble. In such sequences, Daybreak flexes against the mechanical writing that constrains it elsewhere, exploring forces and fears powerful enough to render the apocalypse insignificant.

Cast: Colin Ford, Austin Crute, Alyvia Alyn Lind, Matthew Broderick, Sophie Simnett, Gregory Kasyan, Krysta Rodriguez, Jeanté Godlock, Cody Kearsley, Jade Peyton, Rob H. Roy, Austin Maas, Chelsea Zhang Network: Netflix

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Review: El Camino, a Breaking Bad Sequel, Is a Man’s Rueful Lament for Past Wrongs

The film mixes a self-help message with moments of hard, cruel detail.

2.5

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El Camino
Photo: Ben Rothstein/Netflix

Writer-director Vince Gilligan’s El Camino: A Breaking Bad Movie is driven by a structural perversity. The story—about a man fleeing from the aftermath of the events of the AMC show’s finale—is rife with flashbacks, often resisting to answer the “What happened next?” question that drives most follow-ups. Young meth-cooker Jesse Pinkman (Aaron Paul) was last seen at the end of Breaking Bad driving a stolen El Camino into the desert darkness, hysterical after escaping imprisonment and torture at the hands of white supremacists, whom his partner, Walter White, ultimately killed. We last saw Jesse in a sort of propulsive extremis, which one assumes might bleed into a sequel, but Gilligan conjures in El Camino a rueful tone that bears more of a resemblance to the recent seasons of Better Call Saul than to Breaking Bad. Before Jesse can move on to the next stage in his life, he must reckon with the abuse he’s just fled, with the wreck his life has become.

El Camino mixes a self-help message with moments of hard, cruel detail. Gilligan hasn’t lost his talent for narrative invention, especially for rendering subterranean criminal worlds hidden in plain sight. One of Breaking Bad’s most chillingly casual, self-rationalizing henchman, Todd (Jesse Plemons), returns in flashbacks, and is revealed to have acted as a kind of gaslighting partner to Jesse, offering him breadcrumbs of kindness in order to use him to carry out side errands. In the present, Jesse is on the run, trading the El Camino for a friend’s car, staking out Todd’s now abandoned apartment, which he knows contains a large stash of cash. Jesse has this information because he helped Todd remove the corpse of a housekeeper that the latter killed. Todd views this disposal as just another errand, and Jesse drops the body from several floors up like a bundle of laundry. In an especially macabre flourish, Todd removes his belt from the dead woman’s neck and re-loops it into his pants.

Of all the Breaking Bad characters who briefly return in El Camino, Todd seems to stimulate Gilligan’s imagination most. He suggests a modernization of a Donald Westlake character—a thug who’s selfish and intelligent enough to wall himself off from the implications of his actions. Gilligan goes to town finding various ways to express Todd’s callousness, which Plemons plays with extraordinary understatement. When Jesse finds a gun and briefly toys with escaping from Todd, the latter’s understanding of his own power and entitlement is truly unnerving. Todd says, “I’ll have that gun now, Jesse,” with condescension, and, more audaciously, with something resembling actual pity.

Gilligan’s aesthetic also appears to be influenced by Westlake, as El Camino has a crisp, streamlined, matter-of-fact sense of framing that suggests the pared-down prose of the legendary crime writer, while recalling the confident visual style that Breaking Bad grew into and that Better Call Saul inherited. There’s also a bit of Twin Peaks, and Breaking Bad itself, in Gilligan’s chronological hopscotching, which shifts one’s focus from the plot at large to individual scenes. El Camino is ultimately concerned with a simple narrative thread: Jesse’s attempt to find the money to pay Ed (Robert Forster) to help him disappear into a kind of witness protection program for criminals. Jesse could’ve went with Ed in Breaking Bad and didn’t, and so El Camino often suggests a long act of atoning for one essential failure of self-preservation, as Jesse remembers pivotal details from his past to pry himself free from his current predicament. Forster, in his final role, is a master of the implicitly emotionally charged deadpan that Gilligan’s characters use to protect themselves and to launder atrocity.

Yet Gilligan somewhat outsmarts himself in El Camino. For all the film’s invention, for all its trickiness, it doesn’t really move. Jesse isn’t an interesting enough character to connect the film’s various tangents; he’s certainly not a Walter White or a Saul Goodman, criminals who dare the audience to like them via the visceral nature of their inventiveness and need to succeed and dominate. Audiences who’re “Team Jesse” will probably enjoy El Camino more than those who always found him to be somewhat tedious—a youth-flattering character who’s divorced of complicity from the plot of which he’s a part. Gilligan’s love for Jesse doesn’t do the protagonist any favors either, as El Camino is composed of a series of riffs in which he’s continually upstaged by characters who’re allowed to be true to their maliciousness. Breaking Bad ended with Jesse discovering himself in chaos, El Camino reins him back in.

Cast: Aaron Paul, Jesse Plemons, Charles Baker, Matt Jones, Bryan Cranston, Jonathan Banks, Krysten Ritter, Todd Bower, Robert Forster, Gloria Sandoval, Tess Harper, Michael Bofshever Network: Netflix

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Review: Watchmen Is an Intriguing Rebuttal to Its Source Material

The series argues the ways injustice might persist, and in that sense, its alternate history doesn’t look so alien after all.

2.5

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Watchmen
Photo: Mark Hill/HBO

HBO’s Watchmen isn’t a straightforward adaptation of the graphic novel by Alan Moore and Dave Gibbons, but rather a present-day sequel where the events of the original took place decades ago. At one point, a newscast briefly shows a naked blue atomic man, Doctor Manhattan, on Mars, and in another, we learn that the Cold War effectively ended when a massive alien squid beamed into the middle of New York City, killing millions while uniting the world against some vague extradimensional presence. For a while, anyway.

In modern-day Tulsa, Oklahoma, a white supremacist group called the Seventh Cavalry has risen, opposing, among other things, the reparations paid to descendants of the people caught in the city’s 1921 race riot (these are called “Redfordations,” after President Robert Redford, who’s been in office for decades since Richard Nixon abolished the two-term limit). Some tensions, the series posits, won’t be quelled by the appearance of some separate, cephalopodic other; the hatred of the human other is still very much alive.

The Watchmen universe’s primary wrinkle, beyond an alternate reality so alternate that Vietnam is part of the United States, is the way costumed heroes figure into the whole thing. The Cavalry wears Rorschach-blot masks patterned after one of the graphic novel’s heroes, a violent right-wing vigilante-slash-detective. The crux of the original mid-1980s Watchmen comic lies in the complicating of the superhero archetype through a whole mess of psychological hang-ups and generally unsavory preoccupations (Rorschach, for one, is never explicitly racist in the original text, though he’s a considerable misogynist). It fixated on the idea that so-called “costumed adventurers” took to the streets to beat people up often for the hell of it, because they had a messiah complex or because their mothers told them to or just because it felt good to draw blood. Facing down oblivion was the thing it finally took to pull their heads out of asses that wore the underpants on the outside.

Yet even after the six episodes made available to critics, it can be a little tough to swallow some aspects of showrunner Damon Lindelof’s brave new Watchmen, where a big dead squid has apparently shifted the present racial paradigm so completely that the Tulsa police force is not just masked, but predominantly black. Police weapons are lodged in remotely unlocked car dashboard holsters, and racists live within a “Nixonville” trailer park as though they’re the new oppressed. The idea of a country that both won the Vietnam War and elected Nixon for five terms going on to accept a masked, armed police force composed mainly of minorities seems, to say the least, optimistic. The pacing doesn’t make things any easier to interpret, as the show spoons out details about its larger world as needed, often after deploying some particularly charged imagery. You’re mostly asked to take it on faith that the writers have thought this stuff through, that later everything will make sense rather than serve as empty provocation.

The ensemble cast is anchored by Regina King as Angela Abar, an ex-cop turned vigilante called Sister Night. Draped in a hooded long coat with face paint sprayed across her eyes, King brims with steely confidence as well as a controlled, driving anger. But it’s difficult to shake a general suspicion of the way the series positions racial pain as a constant instigator, with responses to prejudice seeming to entirely define its people of color; they’re more walking expressions of hurt than well-rounded characters. And though the first six episodes have not yet revealed enough about Vietnamese trillionaire Lady Trieu (Hong Chau), her initial appearances exhibit some typical, worrying signs of paranoia about Eastern invaders.

The series expands the comic in some fascinating ways, weaving a dense, bizarre mythology and a richly conceived world to get swept up in. The pilot episode in particular introduces various complicated ideas, drawing clear lines to fascism in the actions of the police and vigilantes. But the series misses some of the novel’s complexity in its eagerness for loaded imagery—lynchings, riots, police violence—and slowly-unfolding mysteries. These episodes offer little follow through on the initial themes, seemingly content to raise questions and then set them aside while indulging in the excesses of fascism-is-sexy fantasy, with “enhanced interrogations” dispensed upon the deserving while set to a soundtrack of fat synths by Trent Reznor and Atticus Ross. Regardless of whether the series plans to return to consciously critique these ideas, its habit of leaving them to hang in the air is troubling.

As thorny as Watchmen’s handling of politics can be, though, it still offers an intriguing rebuttal to its source material. Even the boundless cynicism of Moore and Gibbons’s comic had its potential rays of light, the idea that prejudice might look small once everyone recognized the futility of crying out to be better dead than Red. HBO’s Watchmen argues the ways injustice might persist, and in that sense, its alternate history doesn’t look so alien after all.

Cast: Regina King, Don Johnson, Tim Blake Nelson, Louis Gossett Jr., Jeremy Irons, Jean Smart, Yahya Abdul-Mateen II, Hong Chau, James Wolk, Frances Fisher Network: HBO

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