Legion is the evolution of the superhero screen adaptation. It’s hard to overstate how intrinsically it differs from nearly every prior film or TV show about a Marvel or DC character. Confidently blazing a new trail with little need for the genre’s well-worn touchstones, the series is riveting. It’s as if a gonzo director bought the rights for peanuts when the genre was down on its luck, ignored most of the property, and used it as a playground for their crazy vision.

But this is no Jodorowsky Dune adaptation conjured up on the fringes of the mainstream. This is a co-production between erstwhile rivals Fox (owner of screen rights to the lucrative X-Men franchise) and Marvel TV (responsible for the Netflix Marvel shows set in the company’s cinematic universe, which notoriously does not include the X-Men). For both, this is a rare venture into avant-garde weirdness. Intertextually ambitious as the Marvel Studios films may be, Doctor Strange’s visual flourishes are the extent of their experimental storytelling. Legion, on the other hand, is experimental to its core, with an unreliable narrator for a protagonist who forces us to question the validity of everything we see.

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Episode 303

Episodes is mainly known as that show in which Matt LeBlanc plays himself. Beyond that it hasn’t received much attention, quietly chugging along for the last few years for a loyal audience. I expected that if I ever got around to watching it, I’d find something adequate but superfluous.

To my surprise, it’s a vigorous, acid-tongued delight and worth catching up with before the fifth and final season arrives later this year. The experience is a reminder that in the saturated age of Peak TV, minimal buzz isn’t the reliable filter that it used to be.

The premise, at least, always sounded irresistible. British comedy writers Sean and Beverly Lincoln (Stephen Mangan and Tamsin Greig) have an acclaimed TV show about the trials of an overweight British private school headmaster (Richard Griffiths). After they accept an offer to remake it for American television, their vision is torn apart by oblivious network executives who warp it into a show about a high school hockey coach played by Matt LeBlanc. Worse, LeBlanc turns out to be callous, amoral, and dysfunctional. Trapped in a creative nightmare, Sean and Beverly have to somehow churn out a show they now despise.

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SPOILERS below the cut

The catalyst for everything that happens in 11.22.63 should have tipped me off that this mini-series would have fundamental flaws. The main character travels back to 1960 to prevent the assassination of John F. Kennedy. How? Through a time portal in the back room of a diner.

As a means of time travel it’s more suited to a fairy tale or a sketch comedy than a serious drama. The script doesn’t even bother to distract us from how arbitrary a plot device it is. But for the first few episodes, the contrivance is forgivable because it efficiently ushers us into the unabashed fun that the premise creates. In one of his periodic shifts sideways into unexpected jobs for a movie star, James Franco plays Jake Epping, a Maine schoolteacher recruited by his old friend Al (Chris Cooper), owner of the diner, to save JFK. He moves to Texas and spends three years preparing, including by spying on Lee Harvey Oswald. If he determines that Oswald acted alone, Jake will kill him to change the future.

The opening episodes have a Back to the Future appeal as we watch Franco adjust to life in the early 1960s, often failing to hide his 21st century perspectives and speech pattern. Watching him track down alleged key players in the assassination conspiracy has a meta thrill. This period of American political history has become so culturally iconic that it feels mythical and almost fictional in what a strange loose end it remains. 11.22.63 understands how exciting it would be to follow a contemporary of ours crossing that divide and watching it unfold around him.

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Riverdale: Pilot

riverdaleIs Riverdale an admirably bizarre experiment? Or a desperate reconfiguration of recognisable intellectual property that darkens a cheerful vintage text as a shortcut to sexy?

A live-action TV adaptation of the Archie comics that morphs a classically wholesome piece of Americana into a teen soap murder mystery in which Archie sleeps with his teacher is certainly one of the more provocative overhauls of recent years. But if you’re a network looking for yet another comic book property to adapt and Archie is one of the few icons left, how else do you make it viable?

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Sense8 to date: Season One and the Christmas Special

sense8-3Streaming services like Netflix and Amazon are spending enormous amounts on original shows. In the frantic race to stay ahead, some of that money will inevitably be thrown at underdeveloped projects. Netflix’s Sense8 is Exhibit A. An enormous budget and vast resources have been lavished on a script with a fatal lack of believability and momentum.

If only these problems had been overcome, because Sense8’s philosophy is admirable and valuable in our divisive political climate. Creators the Wachowskis and J. Michael Straczynski have built a show around the importance of empathy and love. Eight strangers from around the world become telepathically connected, able to share thoughts, skills, and experiences that give them new insights into humanity and themselves as they navigate their day-to-day lives.

To reinforce the scope of their connection, the series doesn’t simulate their home countries from a single production base as most shows are forced to. Sense8 actually filmed in the US, the UK, Mexico, Iceland, Kenya, Germany, South Korea, India, and more. Even the whole cast made the trip, flying around the world despite appearing only as visions in each other’s minds. The effort made behind the scenes intensifies their bond on a meta level.

Considered as a lushly filmed travelogue, Sense8 is a treat; rarely does scripted TV show us so much of the world. And Netflix, eager to make a mark, was willing to pay for it based on the first three scripts. But if they assumed the story would gather steam, they must be disappointed. The show’s lack of buzz – compare Sense8’s cultural footprint with that of SF stablemate Stranger Things – is likely a direct result. A show this expensive can’t afford such narrative inertia unless the character work is supremely confident and effective. Sadly, it’s not.

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The Expanse

expansePeak TV has caused casualties. The recent explosion in scripted drama means that not only viewers are struggling to keep up with it all, but even the critics who tell us what’s worth watching. During Battlestar Galactica’s run only a decade ago when fewer mainstream dramas were vying for praise, even a space show could attract critical attention. Now with streaming services and yet more cable channels producing scripted TV, Syfy’s terrific return to space, The Expanse, has struggled to get much buzz. But it deserves to.

While some unwieldy subplots prevent it from operating at Battlestar’s level for now, The Expanse largely succeeds as a drama as well as a space opera adventure. Like its forerunner, it tackles contemporary themes through the prism of SF, including resource depletion, inequality, and geopolitical manipulation.

Based on the novel series by James S.A. Corey, the show is set in a future when the solar system has been colonised but interstellar travel is still unattainable. Tensions are brewing between a decadent but depleted Earth, a militaristic Mars, and the marginalised citizens of the asteroid belt. In the belt, washed-up detective Miller (Thomas Jane) is assigned to look for the missing daughter of an Earth tycoon. Near Saturn, a mining ship called the Canterbury answers a distress signal that leads to catastrophe, turning the survivors into fugitives. And on Earth, United Nations powerbroker Avasarala (Shohreh Aghdashloo) tackles the alleged threat of the Outer Planets Alliance, who want freedom for the belt.

Syfy has given the show a higher budget than any of its previous dramas, allowing for huge, detailed sets and bigger name actors like Jane and Aghdashloo.  The production values, dialogue, and acting are strong and the themes are timely. This is a step up from Syfy’s recent efforts, and their first genuinely competitive drama since Battlestar.

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The Secret History of Twin Peaks

secrethistoryFor those of us who love Twin Peaks down to our bones, the arrival of new material set in its singular realm is monumental. The forthcoming premiere of the first new episode of the show in 26 years is the main event, but co-creator Mark Frost’s new novel, The Secret History of Twin Peaks, has snuck in ahead to be the first to bring this world back to life.

New Twin Peaks material is significant compared to other cult properties because Frost and David Lynch have wisely restricted what has been produced. Apart from 30 episodes and feature film Fire Walk with Me, only three approved tie-in books and an audiobook exist to date. No new Twin Peaks material has emerged since 1992 except for Lynch-produced Log Lady episode introductions and the 2014 release of deleted scenes from Fire Walk with Me.

This is because, unusually, Lynch and Frost own the property themselves. Given the gradual rediscovery of the show over the last decade and Hollywood’s eagerness to strip-mine established properties, a studio that owned Twin Peaks would presumably have returned to the well already, with or without its creators.

But the resulting drought in new material and Lynch and Frost’s apparent lack of interest in returning to Twin Peaks left us convinced that what we had was all there would ever be. Twin Peaks was a finite creative work, its afterlife offering only ongoing analysis and rediscovery through the eyes of family and friends. We would while away the years interpreting this elliptical and confounding text, certain its creators would never fill in the gaps or provide a resolution to one of the cruelest unresolved cliffhangers in all of television.
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Star Trek is finally returning to TV


Nearly 12 years after Enterprise left the air, Star Trek will finally return to TV in January 2017. TV is the franchise’s natural home, so this is fantastic news whether or not you like the current batch of movies. At its best, Star Trek holds up a mirror to our times, and TV allows it tell a variety of small stories without the pressure to offer action-adventure again and again. Its voice on the small screen has been missed.

However, it’s not strictly returning to television. CBS, who holds the rights to the TV side of the franchise, will in the US present the new series exclusively on their dedicated streaming service, CBS All Access. With no obvious free-to-air or cable home for the series these days, streaming makes sense for Star Trek and its typically tech-literate audience.

Other than that, we know very little about the new series. But let’s dig into what this announcement means and what we can potentially expect. Continue reading

Unreal is vital, progressive, and riveting

unrealThis century’s high-quality American drama has been marked by the rise of not just the anti-hero, but more broadly of the morally compromised, psychologically complex lead character. The era when torment was the biggest blemish you could hope for in a series lead is over. But most of these newly multi-faceted characters have been male, as TV drama leads largely always have been. Complexity and moral ambiguity did extend to female characters but in a supporting capacity: Calamity Jane, Carmela Soprano, Peggy Olson. But we’re finally starting to see shows that put these women in the lead, and Unreal is superbly blazing the trail.

Unreal is like a dramatic version of The Larry Sanders Show, set behind the scenes of a Bachelor-style reality TV series called Everlasting. The two principal characters are women: Rachel (the excellent Shiri Appleby), one of the producers responsible for bonding with and manipulating the female contestants, and Quinn (Constance Zimmer), the executive producer and showrunner who will happily do anything to her cast and crew to generate good TV.

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Better Call Saul is delightful and redundant

saulSPOILERS for Better Call Saul season one and Breaking Bad.

For a show that hasn’t yet proved why it should exist, Better Call Saul is remarkably well executed.

Writing that about such a good-natured show is hard, especially when it comes from such talent as Vince Gilligan and a number of his Breaking Bad writers. But spin-offs are always dicey even when the prospects seem rich. When the source material is as focused, singular, and masterful as Breaking Bad, where so much potent character work was achieved, continuing to explore that world feels redundant. Who wants a Sopranos prequel about young Junior and Tony’s dad? After the stunning, operatic crescendo of the final season which, against the odds, was deeply satisfying, was there really a need for more?

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The quiet significance of Rectify

rectify2Even the most artful and complex TV dramas typically have a simple hook to reel us in, one that we can use to recommend the show to others. It might be a high concept like a school teacher cooking crystal meth or a spin on an old genre like the Western or the crime saga. But if TV is indeed compensating for the decline of serious-minded adult entertainment in cinemas, then it follows that a relatively high-profile drama will come along that’s sold by its voice and insight rather than with a logline, just like an auteur-driven indie film. That’s Rectify, the first ongoing drama series from US network SundanceTV.

To be fair, Rectify actually can be summed up easily: it’s about a man released from Death Row after 19 years once new evidence is discovered. But as a hook, it’s not much use. People will assume you’re talking about a crime drama where the guy has to work out what really happened and get some justice. Rectify couldn’t be less interested in that version of itself. Its true appeal can’t be captured in a one-sentence pitch. This is the gentle, measured, and devastating examination of a man learning how to exist in society again. If you recommend Rectify, you’re recommending a perspective on the world.

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Syfy’s new focus on quality drama has a catch

At its upfront presentation last month, Syfy announced several new scripted projects as part of their return to serious-minded science fiction. That the channel behind Battlestar Galactica is again fully embracing the genre after years of lightweight fluff is something to celebrate. Yet Syfy’s newfound ambition is a double-edged sword. They’ve fallen prey to Hollywood’s conservative dependence on existing properties: nearly every project they’re developing is an adaptation.

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Discovering the delightfully insane American Horror Story


American Horror Story doesn’t remotely care what you think of it. It’s excessive, trashy, and grotesque. As I watch the show for the first time, I’m admiring that a lot more than I expected to.

Reviews for the first season suggested it was dynamic and creepy but substance-free. Even after the show revealed itself to be a season-long anthology series, I didn’t jump on for season two, Asylum. Like True Blood, it sounded provocative and diverting but hardly a priority when there’s still more Justified and Louie to catch up on. But so much chatter is hard to ignore. The Good Wife needs to be seen from the beginning, but I can test this out right now.

So season three, Coven, is my first American Horror Story experience. I was tantalised by reviews from the likes of Matt Zoller Seitz and Emily Nussbaum, who were open about the show’s excess but still raved about it. It’s also hard to resist sampling a show that inspires weekly lists of ‘WTF moments’.

Three episodes in, it’s just as insubstantial as I expected. What I didn’t expect is that American Horror Story fully owns its identity as a decadent, over-the-top carnival ride. It’s not superficial because it can’t muster anything better. It’s superficial because it damn well wants to be, and knows how to do that in the most entertaining fashion.

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