Archive | US TV reviews

Reviews of US television programmes


June 23, 2016

Review: American Gothic 1x1 (US: CBS; UK: Amazon Prime)

Posted on June 23, 2016 | Post a comment | Bookmark and Share

American Gothic

In the US: Wednesdays, 10/9c, CBS
In the UK: Thursdays, Amazon Prime

Does drama need to have a point? Tricky question - indeed, one I'm increasingly asking in this age of 'peak television'. Obviously drama needs to engage the audience (although Mr Bertolt Brecht might have something to say about it, were he still alive), so to that extent it needs a point. But does it need to speak to something, have a message or do anything beyond that engagement?

American Gothic certainly pushes that particular envelope to the limit, because for the life of me, in common with an increasing number of TV shows, I can't see the point of it at the moment, beyond it filling the airwaves for an hour. Not having read any press notes about it, I assumed it might have something to do with either

  1. The Grant Wood painting
    American Gothic by Grant Wood
  2. The 1995 TV series with Gary Cole

But it didn't take long to realise that at most it wanted to tie into the name of the painting while being 'a bit gothic' - especially since half the main cast aren't American. The show concerns one of those huge American families you get in TV shows, this one a blue collar Boston bunch who have done good for themselves, thanks to dad (Jamey Sheridan)'s construction company. Elder daughter Juliet Rylance (The Kick) is running for mayor and younger son Justin Chatwin (Shameless) is a newspaper cartoonist, while younger daughter Megan Ketch (Gotham, Blue Bloods) and mum Virginia Madsen (Dune, Highlander 2) don't do an awful lot but have husbands, one of whom is a cop.

During one of Rylance's press conferences, Sheridan has a heart attack. Is it age or could it be something to do with the recently discovered new evidence in the case of the notorious 'Silver Bell' serial killer? Whatever it is, it's time to lure back wayward eldest son Antony Starr (Outrageous Fortune, Banshee), who mysteriously disappeared 14 years ago, just as the Silver Bell killings ended. And coincidentally, what should the kids find stashed away in a box in the house but a whole bunch of silver bells like the one's the killer used to leave? Is Dad the killer? Or is Starr, who even if he didn't look like a serial killer, shaves with a hunting knife? Or were they accomplices? Or was it someone else in the family? Whatever it is, it's probably genetic, judging by the way Chatwin's young son has started cutting up cats…

All dark and nasty, albeit with almost nothing to say, just a mystery that needs solving. Except American Gothic also has a weirdly comedic vibe to it. No laughs at all, unless you count people not noticing a car being crushed behind them, and most of the cast are as dead serious as can be, but Madsen, Chatwin and incidental music composer Jeff Russo (Fargo, Power, Extant) are all utterly convinced this is supposed to be a dark comedy, judging by the various choices they've made.

Drama, comedy or dramedy, though, American Gothic isn't very good at any of them. The plot is a composite of all the dafter novels you could pick up in an airport book store, five minutes before your flight was due to board. The dialogue is arch most of the time, but rarely seems to have been intended to do more than sketch, rather than give depth - when Ketch reveals that her husband has just had a promotion, everyone congratulates them for all of five seconds… before instantly moving on to explaining the plot at each other again. You'd think they might ask a question, maybe even two, wouldn't you? And even if they didn't, you'd think Ketch and co might be a bit miffed, wouldn't you? But no.

Starr's the show's main draw, doing an even less animated, more menacing version of his Banshee performance, although Rylance is no shirk, Chatwin is engagingly dotty and Madsen gets hidden depths in the last few minutes of the episode. But the script simply doesn't give them much to work with and it doesn't give you a reason to want to watch the rest of the show. Despite the entire kitchen sink of drama tools being thrown at the screen, it's a show about nothing - and not in a Seinfeld way. It's not saying anything about social mobility, the rich, families, serial killers, Boston, politics, the police or anything else, unless it accidentally stumbles into it. The characters exist merely to drive the plot and/or provide ambiguity. There aren't even any real gothic qualities to it, beyond the occasional shot of mist and old stonework.

So if American Gothic doesn't know why you should you watch it, beyond an arbitrary mystery that needs solving, can you think of a good reason? 

Read other posts about:

June 22, 2016

Review: Guilt 1x1-1x2 (US: Freeform)

Posted on June 22, 2016 | comments | Bookmark and Share

Guilt

In the US: Mondays, 9/8c, Freeform
In the UK: Not yet acquired

There was a time when the US couldn't make a programme set in the UK to save its life. Here's just a shot from one of The Man From UNCLE's many episodes set in the UK (The Deep Six Affair), with Napoleon and Ilya driving around the British countryside:

The Deep Six Affair

Despite being back-projected in a studio and having Scotsman David McCallum on hand to point out mistakes, not only are the trees all Californian, but that's a left-hand drive car.

Over the years, though, US TV has got better, even coming to the UK to film episodes that are set in the UK, with the likes of Friends, Elementary, Parks and Recreation, Lost, 24 et al all coming over to set ever more accurate episodes on our shores. This came to an apotheosis last year with the second season of Legends, a US show now set in the UK that was almost indistinguishable from a UK show:

So does that mean that the US has nailed it, that it can now make UK-set shows that we natives will accept as accurate?

Judging by Guilt, Freeform's new murder-mystery soap set in London, the answer is a resounding no. With certain echoes of the Amanda Knox caseGuilt sees Daisy Head (The Syndicate, and daughter of Anthony "Giles from Buffy" Head) playing a US student studying in London who's implicated in the murder of her Northern Irish flatmate. Things look increasingly bad for her, despite the efforts of the buff British rozzer who believes she's innocent (Cristian Solimeno from Footballer's Wives and Hollyoaks), so her sister, a Boston lawyer (Emily Tremaine from The Blacklist and Vinyl), comes over to help out, along with her step-dad (confusingly, Anthony "Giles from Buffy" Head). But with Tremaine not licensed to practise law in the UK, the family turn to the eccentric and fedora-clad disgraced US attorney turned UK barrister Billy Zane (The Phantom, Titanic, et al) to help them navigate the legal waters.

For UK viewers, the show is trapped in a certain 'uncanny valley', being good enough that you focus on what it gets wrong rather than what it gets right. Despite its almost entirely British cast and copious London location filming, it gets a lot wrong indeed, mainly through imposing US ideas of legal systems, police, housing, clothing, trains, parties and London on a UK setting. Zane's legal offices seem to be in an airy New York Brownstone, rather than in a squalid London barristers' chambers; the CPS 'prosecuter' hangs around guiding police investigations; despite being licensed for law in the UK, Zane doesn't seem to know about the differences in the right to silence et al between England and the US; university campuses look more like Harvard than UCL; warehouses look like they're in Brooklyn; the Eurostar looks more like it's on the way to DC; and WC1 flats look like they're in Manhattan.

Head's flatmate is allegedly from Northern Ireland (no one ever specifies where exactly, though), which gives us dialogue between her brother and the police/'prosecutor' such as: "Are you kidding me? Care about a young girl from Northern Ireland? Your system has oppressed my people for centuries." Erm, what?

Another big problem of Guilt is that it's also quite clearly a TV show, one in the vein of Pretty Little Liars, and it imposes soapy US TV ideas on the real world, as well as the UK. British cops all sit around in airy offices with magic flat screen computers, have underlit interrogation rooms that wouldn't pass the requirements of any of the Police and Criminal Evidence Acts, not even having voice recorders, and use magic computers to instantly take fingerprints. Tremaine, despite her supposed brilliance as an attorney, is actually stupendously awful even in the US, giving a closing summary in a murder trial that more or less consists of: "I bumped into a man this morning and spilt coffee. That was an accident. Murder isn't an accident. You need to send this man to prison."

When all of this intersects, it becomes disasterous. We have a strange sub-plot that implicates Head's flatmate (and perhaps Head) in an Eyes Wide Shut-style prostitution ring that looks to involve not only lesbians but 'Prince Theo', who's a bit into his bondage. Yes, of course the Royal Family are involved. Some things about US TV's ideas of the UK will never change, it seems. 

I found the first two episodes of Guilt almost unbearable to watch, not just because of the bad UK but simply because it's a bad, nay ridiculous drama. As well as the soapy flirting, sexiness, et al, the show's creators have made Head's character as transgressive as possible: she has an affair with her professor (apparently, you only get one of those at UK universities); slashes his car's tyres, causing his wife to have an accident; can't remember what happened the night of her flat-mate's murder because she was too coked up; is caught on video attacking her flat-mate; and more. While arguably it's an attempt to demonstrate that victim-blaming is wrong, you can't use someone's background as a reliable indicator of whether they've committed a crime and so on, it just means that she comes across as an astonishing idiot with whom it's very hard to sympathise. 

Freeform? Free-from intelligence.

June 19, 2016

What have you been watching? Including The Last Ship, Westside, Secret City and Cleverman

Posted on June 19, 2016 | comments | Bookmark and Share

It's "What have you been watching?", my chance to tell you what movies and TV I’ve been watching recently that I haven't already reviewed and your chance to recommend things to everyone else (and me) in case I've missed them.

The usual "TMINE recommends" page features links to reviews of all the shows I've ever recommended, and there's also the Reviews A-Z, for when you want to check more or less anything I've reviewed ever. 

You can tell the summer's season now fully under way, can't you? New shows everywhere, as well as returning shows, with more to come. But all is in hand. Elsewhere, you can find my reviews this week of the first episode or two of the following exciting new shows:

And after the jump, I'll be updating you on the latest episodes of Animal Kingdom, Cleverman, Feed The Beast, Outcast, Secret City, Uncle Buck and Silicon Valley, as well as the returning The Last Ship and Westside. Two of those shows are for the chop and one is being promoted to the recommended list - but which are which? There's also a whole bunch of potted third-episode verdicts, since I can't be bothered to do them all individually.

I've also been doing some more laggardly box-setting, so I'll be chatting about the final five episodes of Ófærð (Trapped) as well as the entire third series of Plebs, too. That's all after the jump. TTFN!

Continue reading "What have you been watching? Including The Last Ship, Westside, Secret City and Cleverman"

Read other posts about: , , ,

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431  

Featured Articles

American Gothic

What's the point?