Bringing new ideas within certain conventions becomes the challenge of originality versus a notion of comfort. Whether new perceptions of law-based inventiveness, a conspiracy-fueled mythic series, a remake or a good old fashioned spy romp, the catch becomes exciting the audience with fresh enough characters to give the series stamina.
Outlaw Within the ideal of a show revolving in the law, the concept, in its dexterious evolution, needs to involve a hidden motive. While this new Jimmy Smits-led ensemble places that in context, it does not give enough motivation to make it undeniable. The strength here lies in Smits not letting his character take himself too seriously (like a “House” structure to the law profession). What keeps his brevity moving is the throttling between his younger and more visceral underlings (specifically in the tension between Jesse Bradford’s straight laced Eddie and Carly Pope’s saucy Lucinda). The key becomes how far one can bend the rules without losing the structure of loyalty and decency within the moral foreground.
The Event Creating a mystery-throttled mythology series and calling it by a name like this is pretty forward. Considering the similarly based “Flash Forward” couldn’t maintain the status quo that “Lost” had undeniably filled is based purely on character. The set up of this series and its multi-episode narrative placement requires attention to detail despite the fact that the characters, though defined, suffer from a lack of depth. Jason Ritter’s character Sean provides the catalyst while Blair Underwood’s President Martinez gives the conflict a global platform. The key character which the series seems to most likely rest on gives it hope in the form of Ian Anthony Dale’s Simon Lee who holds the morality and intelligence-based key to the entire infrastructure in is hands. The question becomes how interesting can the intensity get and will the audience care?
Hawaii Five-O In resurrecting a perception of new blood within a Hawaiian tropic, the idea is to make it specific without being too broad. The integration tends to work because of the characters involved with some doing more than others as the episodes progress. The idea of different smuggling and different barrier-based operations speaks well, especially with the island chain being the first line of defense in the Pacific against attacks. The idea of insiders and outsiders within the first couple episodes seems to speak to a darker underworld without damaging the tourism angle of the show which definitely speaks through. Alex O’Loughlin plays McGarrett with a little more coldness than some of his previous characters but this tends to create decent machismo in respect to Scott Caan’s Danny. Caan brings street cred in terms of indie edge to the series. His lines are written fast and furious giving a sense of improv to the proceedings. Rounding out the team is Daniel Dae Kim and Grace Park, both genre veterans with intensity and previous shows which allowed them to truly shine. Unfortunately so far, besides some texturing of past daliances, there hasn’t been a veracity of distinctive storylines to truly give the series edge while maintaining its stand-alone episode progression.
Undercovers Using the elements of “True Lies” within a structure of “Mr. & Mrs. Smith” dynamics, “Undercovers” works because it is made with lush texture that dictates that its ideas are being portrayed seriously. In returning to this high octane personification (ala “My Own Worst Enemy”), the question becomes keeping the characters engaged enough that the mythology will work in tandem. While different backstories within the first four episodes reveal themselves, the balance relies on the fact of the two leads, who operate and live as a husband-and-wife catering team, have to be constantly jumping to conclusions to keep the audience on its feet. Saving the world and doing it as off-the-books black ops means restriction of identity and a need for progressive storytelling which seems unbalanced at best.
As the new fall season enters in texture, the returning shows entering display a differential that plays the same with an added sense of knowing. With the cable networks still outpacing in general story, the writers on all sides are keeping their intensity at a high level which shows in the first inferences of the new.
Mad Men The key with this show is allowing the characters to breathe with finesse. The greatness of the show lies in its ability to let you watch the characters’ thoughts unfold with the knowledge that it might not work for them in the end. Don Draper continues to move in mysterious ways and his interaction with the would-be Conrad Hilton sends him on a disnomer of emotional proportions just when he seems to be finally bringing things under control. Don’s by-the-wayside Rockwell type moment with his daughter and newborn son show both the inevitability but also the paradox of the American Dream. As his relationship disentegrates with Roger over what should be a tryst and Cooper pulls a dark card to make him sign a contract, the walls seemingly are starting to close in again. Don is a MacGuffin more than ever. Add to this a rich surrounding of women between his wife (played with just the right amount of knowing by January Jones) who is looking for life extension especially after the death of her father to Peggy (played by an increasingly aware Elizabeth Moss) who continues to rise up the corporate ladder acting like one of the boys and finding her true rhythm in business deals. Also one must not forget Joan (played with distinctive knowing by Christina Hendricks), an exceptional shark in her own right who makes a decision based on traditional values that is inevitably biting back at her. There are also so many other characters that are secondary that are simply being ignored at times because the main proponents are so engaging and allowed to develop organically. This is the show’s great gift: its ability to create the essence of time while seemingly moving the story along without being rushed.
Sons Of Anarchy This story operates in an antithetical way because it is about instinctual, visceral and primal elements not shrouded by stiff suits (although Adam Arkin is giving it a run for its money). Last season, the culimation of Jax’s perception of Clay as a divisive change in the rule of the club made him a bit of a tragic hero. Kurt Sutter, who also worked on “Deadwood”, has created a modern family story shrouded in love, death, crime and brotherhood within a story about a biker club with killer follow through. He had the series run at an incessant pace with an almost “Godfather” exit in the finale last season. The thing about Sutter is that he doesn’t pull the punches. Gemma, played by Katey Sagal (who is also Kurt’s real life wife), is put through the wringer in the first episode that completely changes the dynamic of the season in an instant. Sagal takes on a whole different dimension in a sharp turn in terms of the choices she needs to make. This directly affects her life with Clay, who has secrets of his own, not the least of which is that he ordered the botched murder of an innocent woman in trying to kill one of his own men. Ron Perlman told me at TCAs that playing the role of Clay can be very uncomfortable. He likes Charlie [Hunnam] who plays Jax like a son so he says it is hard for them to go at each other with such thinly veiled hate. That for him is the challenge. People are pushing themselves on the show. Even in the first four episodes of this season, you can see Charlie Hunnam simply melding into the role but the fact of how he can modulate between the life of the club and the life at home with his re-united childhood sweetheart as well as his new son comes off as heartbreaking because you know something bad is going to happen as time goes on. This show has Emmy written on it simply because of the performances, especially Charlie. Even the way his girlfriend in the series has to assert herself in the politics and alpha female intensity of the club’s dealings to retain her man is great. The power here lies in the women which is a phenomenally underlying truth. This to me in a plethora of good TV is one of the most cutting edge shows out there because it doesn’t need a high concept to make exceptionally riveting. And where it is going is ratcheting up.
Fringe At the end of last season, a new world unfolded before the eyes of the audience and of agent Olivia Dunham (played by Anna Torv). As the new mythology evolved, the story aimed to jump start the stakes. Whereas Jared Harris (who is also on “Mad Men”) led her to a bit of ruin last season, the key here is unfolding a showing an intensity of will, which seems to come to fruition when Anna emerges from nowhere into the world almost dead in the opening moments of the season opener. It is Peter Bishop (played with restrained authorship by Joshua Jackson) that takes control and finds a way to make the division work under threat of shutdown. The relationship between Peter and his father Walter (played with delicious inventiveness by John Noble) is really starting to anchor the series. There is a degree of connection that is starting to be apparent and the humor definitely is getting a following. At one point Walter is doing an autopsy but is having his assistant help him make pudding at the same time. There is just something in that paradox that makes it work. The cornerstone in terms of the drama does revolve around Dunham but a smile or two (like in “Castle”) works miracles. The crux with her that keeps developing is her relationship with men and the betrayal of her trust (which continues to happen). Her relationship with her former partner now dead motivated her last season. This year, the problem rests in her close friend inside at FBI who is not who she believes him to be. The shake up of this structure will continue to affect her both personally and professionally. In terms of mythology versus stand alone, the alternation continues. The second episode actually includes a Gollum-like creature as if something out of “Children Of The Corn”. “Fringe” shows that it is mixing it up but the ultimate personification of William Bell is still the focal point with [Leonard] Nimoy nowhere in sight yet with his presence still lingering. It is just a matter where this story leads since the danger is of the mythology becoming too intrinsic. The show has infinitely more potential than “Warehouse 13” yet that show already has distinct control over its trajectory which in turn creates the effectiveness and clarity in ways of its storylines. “Fringe” needs to simply optimize its machine which it has the power to do.
Parks & Recreation At the end of the abbreviated last spring introduction of this “Office” type mockumentary, its charm had not yet settled in. It was seemingly trying a little harder than it should have. However, the texture has seemed to relaxed heading into its fall progression. Having not watched “The Office” at its inset, the ability to see this show from inception focalizes that the inherent nature of it rests in creating the situation in an offset manner to the character development. The relationships in last season seemed to be more of a focal point whereas the starting point of this new season works because it makes use of events in each of the episodes to motivate the characters which inevitably works much better in terms of structure. The first episode has Amy Poehler’s character mistakenly marrying two male penguins at a function at a zoo seemingly creating a gay rights issue. The trouble that she and her Indian Carolina-born associate get into trying to live it down ends up involving a party where she is heralded as Queen. Another subsequent episode has Poehler discovering what is supposedly “marijuana” growing in the community garden she planted. While she is cultivating the garden, her associate is getting a suntan on a reclining chair nearby. It is just a perfect balance of earnestness and sheer ridiculous humor perpetrated by these two lead characters. There are couple more characters establishing themselves slightly but with the exception of Poehler’s boss pulling something in the most recent episode, there hasn’t been anything to truly diversify the rest of the cast in true form yet. But according to most, it took “The Office” in the US a couple seasons to get in stride. The question becomes will the ratings here be good enough in general to allow for that kind of possible success. Poehler fuels the show and the writing is starting to know what it needs to be so there is possibility but not quite yet.
The key with these first 4 returning shows is their different levels of intention and acceptance and how each is purveying its individual trajectory. “Mad Men” can make its story work while looking effortless in terms of character and interweaving storylines which has caused it to hit a stride of sorts in its third season after two exceptional seasons before. “Sons Of Anarchy”, in terms of energy, burns brighter with a sense of Shakespearean tragedy but rivals “Men” at times in terms of mythic perception even though it has not gotten anywhere near the kudos of the former. It however seems very steady in its identity and knowing what it needs to be. “Fringe” is a good show that is still very much finding its focus while discerning its balance between mythology and stand alone and between drama and biting humor leading towards the direction it is choosing. “Parks & Recreation” is a much simpler creature but, in the beginning of its second season, is realizing the the story/situation must take precedence and the character arcs will naturally follow. However, all in all, positive progressions for all involved, some more than others, but all showing a tightening of ranks.