Feelin’ TV: November 27-December 3, 2017

Don’t be sad that it’s over, be thankful that it happened. The week of the Arrowverse’s annual crossover event is now over. And although my heart is a little sad that we won’t see these heroes all working together for another year, what we got in Crisis on Earth X was a wildly entertaining four hour block of television.

In the past, the crossover has been much like similar comic book scenarios where a three or four hour story is broken down to three or four different portions that take place from the lens of the show they’re on, for example, during Supergirl, Supergirl takes center stage, and so on and so forth. It worked pretty well last year, my only real squabble was that while we were promised a four-part crossover, Supergirl’s (the show, not the character) connection was only tangential as the connection to the rest of the universe came in the closing moments of what had been a standard episode of the show. This year, though, they went all in, even going so far to eschew the normal opening credits of each program for the crossover specific Crisis on Earth X name.  The result was a more unified story with a singular vision where every character was given the opportunity to shine. Even non-super characters like Felicity and Iris, normally regulated to speaking into the ears of Green Arrow and the Flash, respectively, had much of the resolution of the plot on their shoulders as the story went on. After doing this for the past couple of years, you can also sense there’s a comfortability with the casts of all four shows, which only added to the enjoy-ability of the event.

The plot of the crossover is simple. Oliver Queen crosses dimensions to steal the heart of Supergirl. Unfortunately, we’re not talking about romance here. In this scenario, the Oliver in question is a Nazi führer from Earth X who actually needs to steal the beating heart of Supergirl to save his wife, also Kara, known on their earth as Overgirl. It’s a fairly straight forward plan, which works in the crossover’s favor as it gives us a chance to get to the action. And the action is a real treat. By the time everyone in the Arrowverse is suited up in battle, I’ll admit to having goosebumps and a tear in my eye. It was a feeling similar to the ones I had when I first watched Avengers or a few weeks ago when I saw Justice League. The event built to its climax perfectly and the payoff was spectacular. Sure, it was cheesy and some of the CGI was poor, but I honestly can’t imagine it being pulled off any better.

I believe what put the event over the top, and I’ve talked about this before, was that the crossover had real stakes. That’s something I wasn’t expecting. When I began watching Supergirl on Tuesday, I had the thought, “This is going to be fun but ultimately the TV equivalent of empty calories because they surely won’t do anything to throw off the status quo of any of these four shows.” I’m happy to report that I was completely wrong. Before Crisis on Earth X was over we had not one, but two couples get married and one main character was dead. On that latter point, I was completely stunned. I expected someone good to die, but I expected it to be someone on the periphery to give the event the appearance of stakes without actually giving it any. Besides adding emotional depth to the entire undertaking, it also made the danger that our heroes were facing feel real. It was a brave choice, and while I’m sad to see the character go, it raised Crisis on Earth X from good to great. I totally can’t wait until next year! The Crisis on Earth X four-part event can be streamed on The CW app.

Channel Surfing:

  • Agents of SHIELD is BACK! And it was great! The two part season premiere of AoS aired this Friday with an opening act straight out of the Twilight Zone and a mystery that has the potential to really carry the season. The thing that impressed me the most about Agents of SHIELD this week was its production value. As I watched the cold open, I couldn’t help but think that it felt like I was watching a movie, not a network TV show. AoS gets a bad rap from a lot of people who never watched past the first season. Over the past few years it has matured into a pretty darn great show that deserves your attention if you’re into the drama. The new season of Agents of SHIELD can be viewed on Hulu.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Programming note: I’m going to be taking a break from Feelin’ TV for the next 4-6 weeks while most shows are on break for the holidays and my wife and I prepare for the birth of our child. I appreciate you reading and look forward to returning in a few weeks. Happy Holidays, and I’ll see you next year!


Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: November 20-26, 2017

Whenever a new movie/TV show is released based on a comic book property, the conversation about super hero fatigue begins. It gets louder every time, especially in months like this where the discussion around Thor: Ragnarok had barely died down before Justice League arrived in theaters. It’s completely understandable. A lot of people are burned out on the genre.
I do not suffer from that affliction. Give me more. I love the oversaturation. There is enough room in my heart for all of it. When I hear of something new, I’m all over it like white on rice in a glass of milk on a paper plate in a snow storm. I may not keep watching (Inhumans), I may quit watching and go back later because I have nothing else to do (Gotham), I may even hate watch (The Walking Dead) but more often than not, I watch and enjoy and put it securely in my regular rotation. It should be no surprise then, that I took the opportunity this week to check out (and fall in love with) Hulu’s new comic book series, Runaways.
Runaways is based on the Marvel comic of the same name. It’s set in the MCU along with the popular films and shows like Agents of S.H.I.E.L.D., Inhumans, Daredevil, etc. It’s about six teenagers who find out that their parents are super villains who make up a team called Pride and begin to work together to thwart their plans. Along this journey of discovery, they also begin to develop powers of their own. I haven’t read the comic, so if you have, you probably have a better handle on what’s going on than I do at this point. From what I’ve read, fans of the print version have been pleased with the way the show has remained faithful to the source material. In the three episodes that have been released, creators Joshua Schwartz and Stephanie Savage have succeeded in crafting solid characters, both in the teens and their parents, not sacrificing the development of the villains in favor of the heroes. They’ve done so by taking their time to introduce characters and the world that they live in.
Hulu has been putting out some solid programming over the last few years. They seem to be a bit more concerned with quality over quantity in contrast to fellow streaming service Netflix. Thus far, Runaways continues that trend. It feels like more than an attempt to capitalize on the superhero craze. They’re laying the groundwork for a pretty intriguing story that I’m excited to add to the queue moving forward. Runaways is available on Hulu.

Channel Surfing:

  • The Arrowverse has a pretty big week coming up with their annual week of crossover episodes, so I had assumed that this week would mostly be table setting for that event. I was wrong. Supergirl saw the bittersweet return of Mon-El, The Flash came face to face with this season’s big bad The Thinker, Legends of Tomorrow had maybe the best Mick centered episode of the series and Oliver got arrested and vigilantes were made illegal in Star City on Arrow. But all of that will be on hold this week when all of the gang gets together for Barry and Iris’ wedding. Will everything run smoothly? Given that the whole ordeal is called Crisis on Earth-X, I’m guessing it won’t. It’s a tough thing to balance 4 shows into one storyline, but last season it was the best week of the year. Hopefully they can keep it up. Arrowverse shows can be seen on The CW.
  • This Is Us made me cry again this week. Chrissy Metz and Mandy Moore (Kate and Rebecca, respectively) play the two characters that get under my skin the most on that show (in a good way, like how members of your own family get under your skin). This week though, the story gave them both a chance to absolutely shine and they knocked it out of the park. I’ve heard people say that maybe the show leans a bit too heavy into sadness territory, and I think that’s a valid criticism, but I think the way it was portrayed this week was sensitive, thoughtful and accurate. Also, I’m going to start a petition to get NBC to give Toby his own show. I don’t care what it’s about. I just want more Toby. This Is Us airs weekly on NBC and past episodes can be seen on Hulu.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Next week, we’re going to spend the bulk of our time talking about the Arrowverse crossover event and I’ll probably have a thing or two to say about the season premiere of the new season of Agents of SHIELD as well.


Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: October 30-November 5, 2017

I think that a mark of a good show is its re-watchability. Sometimes I’ll love something the first time, but when I have a chance to watch it over again, I have little to no interest. Some shows, like The Office, Parks and Recreation or 30 Rock for example, are shows that I can watch and enjoy, start to finish, over and over again. Then, there’s the rarest of rare shows that get better every time you watch. I’m talking about Arrested Development.

I watched AD for at least the 5th or 6th time this week and I’m still blown away by it. There are set ups in season one that aren’t paid off until season three. There are gags that run further than any other gags in television history. There are things that make me laugh that I can’t even tell if its intentional or not (is it weird to anyone else that they refer to jelly beans as “candy beans”?) In previous viewings, I’ve been blown away by the intricacy of the story, enamored with the ability of Will Arnett and Jessica Walter to take over every scene they’re in as Gob and Lucile, the awkward existence of Michael Cera as George Michael and the creepy energy of David Cross as Tobias. This time though, I couldn’t stop admiring the straight man, Jason Bateman’s Michael Bluth.

The Bluth’s are wildly un-relatable. They’re rich, oblivious, and as characters, they’re ridiculously broad. I love each and every one of them, but I don’t think I would have been able to put up with them for more than an episode or two without Michael Bluth there to keep the show grounded…sort of. Through 3 seasons and 53 episodes (the Netflix season doesn’t count), whenever the rest of the Bluths threatened to take the show too far over the line into Crazy Town, Michael was there with a look or a perfectly timed quip to bring us right back down to earth. One of the biggest failings in Netflix’s attempt to bring the show back for a season four in my opinion is that Michael was as nuts as the rest of his family, losing its tether to normal people altogether. In a show full of perfectly cast characters, there may have been no one more perfectly suited to the show than Jason Bateman. If you haven’t seen it, I encourage you to give it a shot. If you have seen it, watch it again to rediscover its brilliance. Season five is coming in 2015 with a promise of episodes in the vein of seasons 1-3 and less season 4. Here’s hoping that’s the case. Arrested Development is available to stream on Netflix.

Channel Surfing:

  • The Arrowverse had a great week with a crazy fun episode of Supergirl involving Kara and Jonn flying a convertible to Mars, a Legends of Tomorrow that wrapped a tale about Ray Palmer’s childhood into an homage to ET and The Flash introduced Elongated Man into its universe. The best news this week though? MICHAEL EMERSON IS A BAD GUY ON ARROW! His character at this point seems to be the master of manipulation that we saw in Lost’s Ben Linus combined with the tech savy expertise of Person of Interest’s Mr. Finch. There may have been an audible squeal of glee in my living room when he showed up. This has been a stellar season all-around for the Arrowverse, and with Emerson around, it looks like it will continue trending up. The current season of Arrow, Supergirl, The Flash, and Legends of Tomorrow can be viewed on The CW app.
  • Thursday night NFL football is the worst. The games are always subpar because of the quick turnaround and the matchups are typically pretty lame. The worst part though, is that because of NBC’s commitment to Thursday Night Football, we don’t get to see any new episodes of The Good Place or Great News until the new year. Maybe it’s just sour grapes, but I hate TNF. Well, unless the Chiefs are playing. If you’re like me and you can see The Good Place withdrawals in your future, check out this video taken by Kristen Bell of the rest of the cast finding out about season one’s epic twist (spoilers, obvs).
  • I was remarking to a friend this week that out of all of my friends with kids, I don’t know anyone who has ever had a baby without making it to the hospital first (not counting my slightly crazy friends who have had their kids at home on purpose). But if my calculations are correct, roughly 90% of TV children are born that way. A This Is Us flashback added Randall’s oldest child to that statistic this week. It’s a pretty worn out trope, but overall, it was a strong episode that made me cry so I’ll forgive them for going to that well.
  • Oh, and The Walking Dead was awful. I’m going to need someone to spend some time in the Facebook group telling me why I should still be interested in this show.

That’s all for this week. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. Happy viewing!


Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.

Feelin’ TV: October 9-15, 2017

The biggest news in my TV watching world this week is that the CW’s Arrowverse kicked back into action after the summer layoff. These aren’t the best shows that I watch every week, but they’re probably the ones that I most look forward to. Each of them went through spells where they were uninspired and drab, but they’ve also had some impressively high highs. If you haven’t watched before and you like properties based on comic books, I’d suggest giving them a shot. But if you just want to jump right in, the next few paragraphs will give you a bit of where we’ve been and a quick note or two on where the season premieres seem to say that we’re going.

Supergirl ended its second season overall (and first season in the Arrowverse on The CW) in gut-wrenching fashion. In order to save National City and the world from the invasion of the Daxamites, Team Supergirl was forced to take measures that meant the love of Kara’s life, Mon-El the Daxamite, wouldn’t be able to live in the earth’s atmosphere anymore. Our season premiere picks up a few months after that decision with Kara still unable to handle her feelings. She throws herself into her life as Supergirl and neglects her responsibilities as Kara like her job, to her friends and her family. She’s facing an interesting question: If she’s going to continue to have to give up the things that make Kara happy for the greater good, then what is the point of the altar-ego in the first place. It isn’t the first time this line of thinking has been explored in the superhero genre, but it’s handled well because of a predictably great performance by Melissa Benoist. She has the ability to give Supergirl vulnerability without it coming off as weakness that is just a joy to watch every week. Season three brings a few new faces that will be familiar to longtime fans of super-hero TV about as well.  Adrian Pasdar (of Heroes and Agents of SHIELD fame) appears to be taking up the mantle as this season’s baddie Morgan Edge and Erica Durance (Smallville’s Lois Lane, taking Laura Benanti’s role) slides in to a supporting role as Supergirl’s Kryptonian mother, alive only in dreams and holograms, Alura Zor-El. If there’s one thing I didn’t love about the episode, its’s the way that everything gets set back to the status quo by the end of the premiere rather than letting things linger. These are complex issues that Kara is dealing with, so it would be nice to see it take a bit of time to resolve. It’s something that the Arrowverse does pretty often, and this season appears to be no different. It will be a recurring theme this week.

Speaking of a refusal to let things linger, The Flash returned this week as well. At the end of last season, Barry successfully thwarted Zoom’s plot to kill Iris West, but had to exile himself to the Speed Force Prison to keep the universe from being destroyed (it was a whole thing, I’m not sure I could explain it). If I’m being honest, it was kind of a dumb way to get Barry removed from the equation, but I was looking forward to seeing Team Flash in action for a few episodes this season until Barry’s inevitable return, provided the writers had the guts to keep him away for a while. But they did not.  Of course a villain came to town that promised to destroy Central City unless the real Flash faced him. Of course Sisco had been working on a way to bring him back that was just about done (it’s as if the writers totally forgot that the show tried to sell Barry’s banishment as permanent). Of course it worked, admittedly with some side effects. And of course, the side effects were a-okay by the end of the episode. It was an unfortunate development even though I’m a big fan of Grant Gustin’s Barry Allen and I like having him around. But when the consequences of a character’s decisions last for less than an hour in TV runtime, it’s pretty hard to believe that any of the stakes are very high. All of that being said, most of last season (and the season before that) was pretty mediocre to poor, so if hitting the reset button a little too quickly gets us to the fun Flash of season one as the writers are promising, then I’ll eat crow. We’ll need some more context to see if that’s the case.

At least The Flash took a whole episode to press reset. Legends of Tomorrow did it before the first commercial break. When we last left the Legends, they had returned to the present day only to see that time had gone crazy. There were dinosaurs in the streets for crying out loud! But not a minute after the “Previously on” segment, Rip Hunter shows up with his new team of time fixers, who take care of everything effectively and efficiently, and disbands the Legends. Each of our heroes find themselves in the middle of a mundane existence that they can hardly stand (one that looks a lot like yours and mine), but they’re given a reason to regroup when Mick Rory runs into Julius Caesar on his vacation in Aruba. The group proceeds to attempt to take him back to his time, make a mess of things, and then clean it up again. Legends is one show where I don’t mind the quick reset. Each season so far has seemed like its own thing to the show’s credit. It isn’t a show that asks the deep questions. It’s a show about a bunch of heroes that travel through time and screw stuff up. It’s not going to win any Emmy’s, but it might just be the most enjoyable show that I watch every week. Having a season by season arc rather than carrying past seasons worth of baggage keeps the show light and fun.

Arrow returned after an explosive (pun intended because, let’s admit it, all puns are intended) finale that saw Oliver watching in horror as an island with all of Team Arrow blew up before his very eyes. The finale gave us little in the way of hope that anyone other than Ollie survived. But, hey, this is Arrow not Game of Thrones, so season three quickly assures us that everyone is okay (well, Oliver’s son William’s mom died, but we didn’t know her really and Thea is in a coma, but still). That didn’t make me upset because there’s no one on Team Arrow that I don’t like, but again, like The Flash, it keeps the stakes pretty low. The rest of the episode was really solid though with Bad Laurel back from the dead to wreak havoc on Star City’s police department and someone finally outs Oliver as Green Arrow on the news for all to see. Now unless the Legends of Tomorrow show up and use their Men In Black style flashy-thingy on the whole city, things are going to get pretty difficult for Ollie. Throw on the added difficulty that he’s experiencing as a new single father, and you have the makings of a pretty good arc for Arrow’s sixth season. While Arrow has had its issues, I believe that season five really put the show back on track. The biggest difference has been Oliver Queen’s growth as a character. He seems to be in a position to grow even further this year.

Previous seasons for all four shows in the Arrow universe can be streamed on Netflix. Episodes from the current season can be found on The CW app. 

Channel Surfing:

  • Riverdale also returned to The CW this week in a premiere that picks up literally minutes after the finale left off. Riverdale was last season’s most surprising show in that from the outside looking in it appeared to be just another CW drama in a long line of CW dramas that I had no interest in. But by grounding the story in the rich world of the Archie comics and presenting a solid mystery with great performances from a young cast, it completely surpassed my expectations. I’m interested to see if the tension can be sustained now that last season’s arc is complete. The questions about the identity of Fred Andrews’ killer and whether or not Jughead joins the Serpents don’t grab me nearly as much as the mystery surrounding the disappearance and death of Jason Blossom. We’ll see if they can bring in a little more intrigue here in the next few weeks. Mark Consuelos’ addition to the cast as the slimy Hiram Lodge is a good start. The first season of Riverdale can be found streaming on Netflix and the season premiere is now available on the CW app.
  • Halt and Catch Fire ended this past weekend with a solid 2 hour finale. I hesitated to mention it here because I plan on writing more on it later, but it was too perfect not to mention. In the beginning of the episode, Lee Pace’s Joe McMillan recalls a time when he told Scoot McNairy’s now deceased Gordon Clark that the advent of the personal computer wasn’t “the thing” but that it was “the thing that gets you to the thing.” In the context of his speech, “the thing” is the internet. But the finale shows how that idea of “the thing that gets you to the thing” has been weaved throughout the tapestry of the show from the very beginning. In the end we see that the thing at the end isn’t nearly as satisfying as the thing that got you there. In the case of Halt and Catch Fire, that thing is the relationships between the five core characters. While Joe, Cam, Donna, Gordon and Boz have experienced love and hate and everything in between over the course of almost 15 years, they’ve also been constant in each others’ lives, spurring each other on towards growth and maturity. The characters in the finale would be nearly unrecognizable to the characters in the series premiere. But that isn’t the case because of poor writing that isn’t true to the characters, it’s the case because each of them has experienced tremendous growth. It’s not often that I get sad when a show ends because there are so many out there that I keep up with, but I’m going to miss Halt and Catch Fire. Seasons 1-3 of Halt and Catch Fire can be viewed on Netflix and season 4 can be streamed on the AMC app with your cable subscription.

That’s all for this week. That was a long one! Next week, The Walking Dead is back and we’re less than two weeks away from Stranger Things 2! If you’re an Arrowverse fan, come talk about the shows in our weekly Facebook Arrowverse thread. As always, if there’s anything you’d like me to check out that we haven’t covered, let me know in the comments or in the Facebook group. I really do listen! I didn’t start watching Halt and Catch Fire until I heard about it from someone in the group, so keep those suggestions coming.

Feelin’ TV: July 17-23

Season seven of Game of Thrones has been a lot of talking bookended by two scenes of pretty intense action. While I didn’t enjoy the action at the end of Sunday’s episode, I really enjoyed all of the talking. I don’t know how to describe why I didn’t enjoy the naval battle that ended the episode other than to say the whole thing felt small. It reminded me of something you might see in a well-produced stage play. That’s fine for a show on The CW or ABC Family (I refuse to call it Freeform), but HBO has shown us some epic, sweeping battles in the past and this one was subpar. If, however, it turns out that this was the end of hearing about Dorn though, I’ll retroactively refer to it as the greatest moment in GoT history. The decimation of the iron fleet was the second thing about the episode that greatly surprised me. I wasn’t completely disappointed in the result of that battle, as it seems like it will propel Daenerys to take Grandma Tyrell’s advice and act like the dragon she claims to be.

The first surprise and the one that I found disappointing is the enthusiasm Jamie showed in recruiting people to Cersei’s cause. I thought that he seemed to be growing weary of his power hungry sister last week. It’s still entirely possible that he’s doing this out of self-preservation rather than sincerity as he awaits his opportunity to leave Cersei in his past, and I hope that is where his story is headed. There isn’t always a lot of redemption to be had in the world of Game of Thrones, but Jamie’s journey from a guy who we first met as he was pushing a pre-teen out of the window of a tower into a sympathetic character has been a high point in the series for me.

The other parts of the episode that really stuck with me were Littlefinger and Varys both being put in their place. Jon holding Littlefinger by the neck up against the wall in the crypt at Winterfell was pretty satisfying. Littlefinger is a snake, and I hope winter comes for him pretty soon. The scene where Varys is confronted by Daenerys served as a good history lesson about how far he, she and Tyrion have come in the last six seasons. When Varys talked to Ned way back in season one about his scheming being for the good of the realm and the people, I never bought it for a second. But now with the benefit of having spent time with Varys, I do. And I found myself wanting to speak on his behalf like Tyrion as the Breaker of Chains questioned his loyalty. Has he always had the best intentions? I don’t know. But I believe he does now. Daenerys’ reservations were valid, but I’m glad she chose to show him mercy both because I think he’s a good man and because selfishly, as a viewer, the scenes that feature Emilia Clarke, Peter Dinklage and Conleth Hill together really sing.

So Jon is on his way to meet his aunt, Good Queen Gravejoy has been captured by Uncle Gravejoy, and Theon is going swimming. What happens next is anyone’s guess. What did you think about the episode? Leave your thoughts in the comments or in the Facebook group. Game of Thrones can be streamed on the HBO NOW app or on HBO GO with an eligible cable subscription.

I didn’t watch anything else this weekend because it’s July and there aren’t a lot of things on. But thanks to San Diego Comic Con, there was lots of TV news to share and trailers galore. I thought I’d close out this week’s column with a few trailers for shows that will undoubtedly be covered on Feelin’ TV soon.

Netflix: Stranger Things and The Defenders

AMC: The Walking Dead

Disney: Ducktales and Inhumans

Fox: The Gifted

CW: Black Lightning, Supergirl, Arrow, Legends of Tomorrow and The Flash

For a comprehensive roundup of all the trailers to come out of San Diego over the weekend including movies and shows that I don’t cover or plan on covering, Screen Rant has you covered here. Thanks for reading, and don’t forget to chime in over on our Facebook group.

 

 

Feelin’ TV: May 22-28

Traditionally, Americans aren’t fond of waiting. As a group, we’re always looking for faster ways to do the things we need to do each day. In a country where everyone has an app for that, the one area where I don’t believe that this is always the case is in the world of the television drama. Prestige dramas of the 21st century have helped extend our patience as viewers. Shows like Mad Men, The Wire, and The Sopranos allowed fans the opportunity to experience its setting while diving deep into rich, fully realized characters as the plot slowly worked its way toward where it needed to go. The creators of these programs feel no pressure to have an episode stand out on its own but rather have season long stories with episodes that start in the middle and end without resolution. The advent of original programming from streaming services has allowed even further proliferation of this slow burn programming. Over three seasons and 33 episodes, no show has burned slower than Netflix’s Bloodline.

Bloodline’s third and final season dropped on Netflix last Friday. While the first two seasons of the show arguably took too much time to tell their story, no one could argue with the quality on the screen. Kyle Chandler anchors the cast in a role that initially seemed like it might be another chance to play Eric Taylor (his role on the criminally under-watched Friday Night Lights) but this time as a detective in the Florida Keys. That type was turned on its head early on as Chandler’s John Rayburn showed a dark side never seen in Coach Taylor. Sissy Spacek, Sam Shephard and Linda Cardellini were as good as you’d expect them to be in supporting roles and Ben Mendelsohn, who was the breakout star of season one, won an Emmy for his limited role in season two. Almost as impressive as the cast is the setting. You can almost feel the hot southern Florida air while you sit in your living room. Everything about the show feels lived in. This includes the layers of family conflict and drama that feels as real as your own Thanksgiving last fall.  The first two seasons are very good television. Where the story was weak or became more convoluted, as layers of lies were piled on top of each other, the cast propped it up enough to keep me from losing interest.

Season three was a different story. While it’s officially one of the first shows that the service has ever cancelled, it was given the ax prior to filming so the writers had the opportunity to adapt and end the show on their own terms at the end of the season. The show’s creators have claimed that their story was five or six seasons long, so you might assume that this would mean that they move the story along at a quicker pace than seasons one and two. Your assumption would be incorrect. In a move that completely boggles the mind, the show moves along at just as deliberate of a pace as before, and even uses its entire penultimate episode for a disjointed and confusing dream sequence that lands with a resounding thud. Vast amounts of time are spent with an ancillary character (John Leguizamo, doing fine work) whose death is ultimately as confounding as his existence in the narrative in the first place. It isn’t all bad. Sissy Spacek does her best work as the matriarch of the Rayburn Family and Norbert Leo Butz adds layers to the youngest Rayburn son, Kevin, that weren’t there in seasons one and two. However, when it comes to this type of drama, there has to be some sort of a payoff. The long and winding wick has to eventually hit the powder keg. The ending never ends up doing that. It barely ends at all. Unfortunately for Bloodline, its end feels like someone forgot to connect the wick to the payload.

This week in the Arrowverse:

*This week officially wrapped the first season of the full blown four show Arrowverse and you’d be hard pressed to call it anything but a rousing success. Earlier this year, Legends of Tomorrow rebounded from a subpar first season by embracing the cheese in its premise and leaning into the weirder characters and themes of the shared universe. Malcolm Merlyn and Damien Darhk hanging around to feast on the scenery didn’t hurt either. When you throw in the four-part crossover and the Supergirl/Flash musical episode, I’d have to give the universe an A overall for the 2016-2017 season.  With all of the momentum trending up, I’m excited to see that’s in store next season, especially after the season finales of this past week.

*Supergirl ended a stellar sophomore season with a bang. From the beginning fight with a brainwashed Superman through the emotional punch at the end, the final episode was everything a fan could have hoped it would be. Something that Supergirl is able to do better than her other superhero counterparts is to bear the weight of her responsibility without losing Kara’s joy and overall positive outlook on the world around her. If I had one concern heading into next season it’s that the weight of the decision she has to make to defeat Rhea at the end of this week’s episode would cause the writers to push Kara into a darker place. The tone of Supergirl is one of its greatest strengths. Here’s hoping that they can keep that going into season three.

*The Flash reached the finish line of its third season on Tuesday on a high note. While the end to the “Iris is going to die” saga was predictable and involved quite a bit of cheating, it was pulled off in a way that hit all of the necessary emotional beats. The rest of the episode involved tight storytelling and some pretty good action to go with it. My only gripe with the episode was the cliffhanger at the end. I don’t mind a good cliffhanger when it adds to the story. Unfortunately, as has too often been the case with cliffhangers from The Flash, it feels like a cliffhanger for the sake of having a cliffhanger. It’s ok to just let your characters enjoy a victory from time to time. The Flash’s biggest issue in its second and third seasons has been its overall tone. While the first season reveled in the camp and fun behind the characterization of the Flash in the comics, it has become quite dour since then. This show could have definitely benefited from an upbeat ending to carry it into next season.

*If The Flash wanted an example of how to properly execute the end of season cliffhanger, it need look no further than the season finale of its parent show, Arrow. The jaw dropping fade to black at the end of this episode was a perfect end to Adrian Chase’s time on the show while also making sure that his presence will be felt from here on out in the lives of Oliver Queen and his merry men (and women). From talking with other fans of shows like The Flash and Supergirl, it seems pretty common for people to have quit watching Arrow somewhere during seasons 3 and 4, and it’s hard to blame them. Much like The Flash, the show lost its focus during that time and got bogged down under the weight of its titular hero’s guilty conscience. But season five was a really solid rebound for the show overall. Prometheus provided the most formidable foe for Oliver and the gang that we had seen since Deathstroke in season two. Adrian Chase was constantly one step ahead of Oliver, almost to a fault, in his quest to make Oliver pay for the misdeeds of his younger days. The additions to the team added some much-needed levity to the proceedings as well as giving Oliver a larger foundation of people in his life to call him on his guilt and self-pity. I believe we saw more growth in Oliver Queen in season five than we’ve seen in the first four seasons combined. Not only was this hands down Arrow’s best season finale, it was one of the best episodes the show has ever produced. I really can’t take my mind of that last scene. Is it time for the season six premiere yet?

*A couple of shows that, like Bloodline, have mastered the art of the slow burn are AMC’s Better Call Saul and FX’s The Americans. I plan to spend some more time talking about these two shows in the future now that the Arrowverse has begun its summer hiatus. Next week we’ll also talk about the end of HBO’s The Leftovers and season five of Netflix’s House of Cards. If there are other shows that you enjoy that you’d like to see us cover on Feelin’ TV, I’d love to hear your suggestions. There’s a good chance I watch it already and we just haven’t gotten to it yet. If it’s not something I watch, I’ll give you a chance to convince me to give it a shot. Leave some comments below or start a thread on our Facebook page.

Feelin’ TV: May 15-21

Let me lay this premise on you. What if 24 and West Wing had a baby and on that show, Jack Bauer was played by Maggie Q and President Bartlett was played by Jack Bauer? Does that sound like a show you’d like to watch? Of course it does! I was looking forward to checking out Designated Survivor from the first time I saw a commercial for its premiere. I did not expect the show to be good but I thought it would probably be fun. My expectation was that it would be predictable with a high cheese factor but worth watching because, you know, Kiefer Sutherland. Predictably, it won’t ever be mistaken for prestige TV drama. It has been cheesy, overly preachy, President Kirkman’s (Sutherland) chief rival has been a little too much of a mustache twirler for my liking and one of our main characters is really only alive because the plot needs them to be. Furthermore, the first half of the season was quite a bit stronger than the second, due to, in my opinion, the premature disposal of the show’s chief adversary which left it with a bit of a villain problem. When your antagonist is a large group of anonymous people, the truth is, you really don’t have an antagonist. That isn’t to say that I haven’t enjoyed it. On the contrary, it has been what I thought it would be and at times, a whole lot more. At its best, the show has been intriguing, exciting, funny and full of heart. The performances are great all around. Maggie Q is someone whose presence I always welcome on my TV. Kiefer Sutherland has been solid in a much different role than we’ve seen him in recently. Kal Penn and Virgina Madsen have stood out in their supporting roles. Although I’m not sure the high point that this week’s finale ends on is entirely earned, I’m excited to see where the show goes next season, especially now that it seems to have put a face on its bad guy heading into the fall.

Designated Survivor stands in stark contrast to other current shows that use a fictional White House as their setting. HBO’s Veep may just be the funniest show on TV. Unfortunately, the fact that the culture the show portrays of conviction-less and image obsessed men and women in power represents the “most realistic show about politics” on TV tends to bum me out. Netflix’s House of Cards shows a much darker and more nihilistic view of American politics. President Frank Underwood shows us what a man consumed by a lust for power looks like within the confines of our system of government. While I find these shows to be entertaining for different reasons, I very much enjoy the outlook of Designated Survivor. President Kirkman’s politics can seem naive and Pollyannaish to my cynical side, but there currently aren’t many other places in entertainment that express a general sense of optimism about the people who make our laws. Sure, there’s a good chance that pessimism is more than earned, but it has been nice to escape from it for an hour a week during Designated Survivor.

  • Brooklyn Nine-Nine is quietly having one of its best seasons. The show has a nice combination of workplace comedy mixed and case of the week situations that add depth to relationships while also being funny send ups of common cop show and movie tropes. This week’s episodes were delightful as we got to see Boyle, Terry and Diaz tap into their love for remodeling shows as they overhaul the break room while Perralta got to solve a mystery that involved Holt’s mom. Fox didn’t do the show many favors this season as it only aired two episodes between December 13 and April 11. The airing of the show has been so disjointed that I’m planning to watch it all over again over the summer because I think it very well could be the best season the show has put together. But I can’t really remember the first half at all other than that I recall enjoying them quite a bit. The last two episodes air this Tuesday.

 

  • New to stream this week on Netflix is season three of Unbreakable Kimmy Schmidt from the minds of Tina Fey and Robert Carlock. For fans of the show who loved the first season and were somewhat underwhelmed by season two, I believe you’ll be pleasantly surprised upon viewing season 3. While it never reaches the heights of its freshman season, it strikes a great balance between the innocent naivete of Ellie Kemper’s titular Kimmy and biting humor about the world she inhabits. Because Kemper plays Kimmy with such earnestness and irresistible charm, the edgier social commentary never comes off as preachy. Episode six, “Kimmy is a Feminist,” stands out in my mind as one that highlights both Kemper’s performance and the writer’s critique of the current social climate.  Co-stars Carol Kane and Jane Krakowski are a lot of fun. I’ve heard complaints that Krakowski’s Jacqueline is a bit too derivative of her 30 Rock character, Jenna Maroney, and I couldn’t argue with that assertion. But I love me some Jenna Maroney so I don’t really mind. Titus Burress gets a chance to shine in episode two in what will be a special treat for fans of Beyonce’s Lemonade.  If you’ve never seen the show, I’d highly recommend it, especially if you’re a fan of Fey’s 30 Rock.

 

  • Next week, I plan to talk a bit about HBO’s The Leftovers which turned out one of its best episodes ever on Sunday, only a week after airing its most bizarre. This doesn’t get the publicity of other HBO dramas, but it deserves to. There are only two episodes left and there are only 28 episodes altogether. If you haven’t started, you still have the time to get it all watched by the time the finale airs!

 

  • And this week in the Arrowverse:
    Arrow
    had a few fun guest appearances, but this week’s episode is the epitome of a table setter to get things in place for this week’s finale. Malcolm Merlyn! Nyssa! Slade Wilson! They’re all back! Can they stop Vigilante? I have a guess! Arrow is going to go through a bit of a transition between this week’s finale and next season’s premiere. The flashbacks that have been a large part of the story, at their best they’ve added depth but at their worst they’ve been dead weight, will finally catch up with where the series began. I’m interested to see how the show adjusts without these context adding vignettes.


    The Flash
    surprised me by quickly running (Ha! Pun!) through plot that I thought would be saved for this week. I have some crazy, spoiler-filled theories on what is going to happen during this week’s finale that a few of us have discussed in the Facebook group. Head over there if you’re caught up or don’t mind being (possibly) spoiled.

     

    The best Arrowverse episode of the week no doubt belonged to Supergirl. While it’s a testament to the ability of the writers and an expanded cast that the show has continued to produce high quality episodes despite the departure of last season’s MVP, Calista Flockhart, it feels really good to have Cat Grant back in National City for the last two episodes of the season. When you add other seasoned TV veterans Teri Hatcher and Linda Carter into the mix, there’s a serious amount of girl power on display this week. The title of next week’s episode is “Nevertheless, She Persisted,” which gives me goosebumps on its own. I can’t wait for the finale.

Feelin’ TV: May 15-21

Let me lay this premise on you. What if 24 and West Wing had a baby and on that show, Jack Bauer was played by Maggie Q and President Bartlett was played by Jack Bauer? Does that sound like a show you’d like to watch? Of course it does! I was looking forward to checking out Designated Survivor from the first time I saw a commercial for its premiere. I did not expect the show to be good but I thought it would probably be fun. My expectation was that it would be predictable with a high cheese factor but worth watching because, you know, Kiefer Sutherland. Predictably, it won’t ever be mistaken for prestige TV drama. It has been cheesy, overly preachy, President Kirkman’s (Sutherland) chief rival has been a little too much of a mustache twirler for my liking and one of our main characters is really only alive because the plot needs them to be. Furthermore, the first half of the season was quite a bit stronger than the second, due to, in my opinion, the premature disposal of the show’s chief adversary which left it with a bit of a villain problem. When your antagonist is a large group of anonymous people, the truth is, you really don’t have an antagonist. That isn’t to say that I haven’t enjoyed it. On the contrary, it has been what I thought it would be and at times, a whole lot more. At its best, the show has been intriguing, exciting, funny and full of heart. The performances are great all around. Maggie Q is someone whose presence I always welcome on my TV. Kiefer Sutherland has been solid in a much different role than we’ve seen him in recently. Kal Penn and Virgina Madsen have stood out in their supporting roles. Although I’m not sure the high point that this week’s finale ends on is entirely earned, I’m excited to see where the show goes next season, especially now that it seems to have put a face on its bad guy heading into the fall.

Designated Survivor stands in stark contrast to other current shows that use a fictional White House as their setting. HBO’s Veep may just be the funniest show on TV. Unfortunately, the fact that the culture the show portrays of conviction-less and image obsessed men and women in power represents the “most realistic show about politics” on TV tends to bum me out. Netflix’s House of Cards shows a much darker and more nihilistic view of American politics. President Frank Underwood shows us what a man consumed by a lust for power looks like within the confines of our system of government. While I find these shows to be entertaining for different reasons, I very much enjoy the outlook of Designated Survivor. President Kirkman’s politics can seem naive and Pollyannaish to my cynical side, but there currently aren’t many other places in entertainment that express a general sense of optimism about the people who make our laws. Sure, there’s a good chance that pessimism is more than earned, but it has been nice to escape from it for an hour a week during Designated Survivor.

  • Brooklyn Nine-Nine is quietly having one of its best seasons. The show has a nice combination of workplace comedy mixed and case of the week situations that add depth to relationships while also being funny send ups of common cop show and movie tropes. This week’s episodes were delightful as we got to see Boyle, Terry and Diaz tap into their love for remodeling shows as they overhaul the break room while Perralta got to solve a mystery that involved Holt’s mom. Fox didn’t do the show many favors this season as it only aired two episodes between December 13 and April 11. The airing of the show has been so disjointed that I’m planning to watch it all over again over the summer because I think it very well could be the best season the show has put together. But I can’t really remember the first half at all other than that I recall enjoying them quite a bit. The last two episodes air this Tuesday.

 

  • New to stream this week on Netflix is season three of Unbreakable Kimmy Schmidt from the minds of Tina Fey and Robert Carlock. For fans of the show who loved the first season and were somewhat underwhelmed by season two, I believe you’ll be pleasantly surprised upon viewing season 3. While it never reaches the heights of its freshman season, it strikes a great balance between the innocent naivete of Ellie Kemper’s titular Kimmy and biting humor about the world she inhabits. Because Kemper plays Kimmy with such earnestness and irresistible charm, the edgier social commentary never comes off as preachy. Episode six, “Kimmy is a Feminist,” stands out in my mind as one that highlights both Kemper’s performance and the writer’s critique of the current social climate.  Co-stars Carol Kane and Jane Krakowski are a lot of fun. I’ve heard complaints that Krakowski’s Jacqueline is a bit too derivative of her 30 Rock character, Jenna Maroney, and I couldn’t argue with that assertion. But I love me some Jenna Maroney so I don’t really mind. Titus Burress gets a chance to shine in episode two in what will be a special treat for fans of Beyonce’s Lemonade.  If you’ve never seen the show, I’d highly recommend it, especially if you’re a fan of Fey’s 30 Rock.

 

  • Next week, I plan to talk a bit about HBO’s The Leftovers which turned out one of its best episodes ever on Sunday, only a week after airing its most bizarre. This doesn’t get the publicity of other HBO dramas, but it deserves to. There are only two episodes left and there are only 28 episodes altogether. If you haven’t started, you still have the time to get it all watched by the time the finale airs!

 

  • And this week in the Arrowverse:


    Arrow
    had a few fun guest appearances, but this week’s episode is the epitome of a table setter to get things in place for this week’s finale. Malcolm Merlyn! Nyssa! Slade Wilson! They’re all back! Can they stop Vigilante? I have a guess! Arrow is going to go through a bit of a transition between this week’s finale and next season’s premiere. The flashbacks that have been a large part of the story, at their best they’ve added depth but at their worst they’ve been dead weight, will finally catch up with where the series began. I’m interested to see how the show adjusts without these context adding vignettes.


    The Flash
    surprised me by quickly running (Ha! Pun!) through plot that I thought would be saved for this week. I have some crazy, spoiler-filled theories on what is going to happen during this week’s finale that a few of us have discussed in the Facebook group. Head over there if you’re caught up or don’t mind being (possibly) spoiled.

    The best Arrowverse episode of the week no doubt belonged to Supergirl. While it’s a testament to the ability of the writers and an expanded cast that the show has continued to produce high quality episodes despite the departure of last season’s MVP, Calista Flockhart, it feels really good to have Cat Grant back in National City for the last two episodes of the season. When you add other seasoned TV veterans Teri Hatcher and Linda Carter into the mix, there’s a serious amount of girl power on display this week. The title of next week’s episode is “Nevertheless, She Persisted,” which gives me goosebumps on its own. I can’t wait for the finale.

Feelin’ TV: May 7-14

I’ve long been intrigued by the idea of high-concept movies. For the uninitiated, a high-concept movie is one that can be pitched in one sentence. The most famous semi-recent example is the doesn’t-even-need-a-sentence-to-be-pitched-just-listen-to-the-title movie from 2006, Snakes on a Plane. While some, if not most, films that fit into this subset are easily forgotten or are memorable only for the name and a few lines of dialogue, others like Jurassic Park (“What if dinosaurs were real…TODAY!”) find the legs to transcend the conceit and achieve staying-power. High-concept TV is trickier. While an interesting hook can get people to the pilot, it is character and story that will keep people coming back week after week. Eventually the show has to transcend the concept to survive. The way this has been done well in the past is by using the high concept as a hook and then over time turning the show into a low-concept vehicle that concentrates on character and story. Breaking Bad immediately comes to mind as a recent example (“What if a high school chemistry teacher got cancer and had to start selling meth to pay for his treatment!”) of a show that did just that. Recently, NBC premiered the sitcom Powerless (“What if there was a show about the people in the comics who don’t have powers and who are getting saved all the time!”) that failed to move past the original hook and thus, was quickly canceled. When people don’t have something to grab on to after you grab their attention, even the comedy stylings of people like Alan Tudyk, Danny Pudi and Ron Funchess can’t keep mediocrity at bay.

This brings me to my current favorite comedy on television, Last Man on Earth on Fox. You don’t have to be super creative to have an idea of what the pitch meeting for the show looked like. “Picture this: everyone on earth is dead except for one idiot played by Will Forte!” I don’t say that disparagingly. That’s all I knew about the show when I tuned in for the first episode in 2015. It was a good hook. But over the past 3 seasons, it has consistently risen above its concept and become a really solid look at what it means to be a survivor, forge community (Spoiler: while Forte’s Phil Miller is the titular “last man on earth,” he wasn’t actually the last man on earth) and rebuild after tragedy. The show could have been just a funny look at what it would be like to be able to do whatever you wanted simply because no one else was around, but instead it’s been tragic yet joyful, dark yet silly and always very funny. It has somehow found the perfect combination of lowest common denominator laughs, biting humor, subtle character development and heart. Season three wrapped this week with a bang as we saw a complication filled child birth, a nuclear meltdown, a change of location, a fire, the death of an old character and the introduction of a new character all in two 20 minute episodes. If you haven’t seen the show, I highly recommend it. If you quit watching because it didn’t transcend it’s high-concept conceit soon enough for your liking, I’d suggest you give it another try. All three seasons are currently streaming on Hulu.

  • Do you like high-concept shows that go deeper than their concept like LMoE? Does “Ok, Kristen Bell goes to heaven; only she’s not supposed to be there” sound funny to you? Give The Good Place a try. I can’t think of many shows I’ve watched that had a stronger first season than this comedy from one of the creators of Parks and Recreation and Brooklyn 99. You can catch up over the summer on Hulu.
  • New to stream this week on Netflix is season two of Aziz Ansari’s show Master of None. It picks up where season 2 left off with Ansari’s Dev pursuing culinary training in Italy. While the story arc of the season is nice, the stand out episodes take a detour into the lives of other friends of Dev and, in one stand out episode, the lives of random New Yorkers. The thing that makes Master of None stand out to me is that Ansari and co-creator Alan Yang could have simply created a standard sitcom based around Ansari’s comic persona, but instead they went deeper to create a show that, while funny, takes the time to examine tough issues about being an adult, falling in love, relating to your parents, etc. Season two wasn’t quite as strong for me as season one, but there are some stand-out episodes, including a season premiere that’s an amusing homage to the 1948 film Bicycle Thieves.
  • Did you binge Master of None, get sad and end up wanting to watch something similar? Does Master of None sound intriguing but you don’t like it’s TV-MA rating? I’d suggest giving TV Land’s Jim Gaffigan Show a try, also on Netflix. Like Master of None, it would have been really easy for Jim and his wife and co-creator Jeanne Gaffigan to create a standard sitcom about a husband and father of 5 who is a slob and eats all the time. Fortunately, they dive deeper and offer thoughtful reflection on celebrity, religion, fatherhood, friendship and being a husband in 2 seasons of great television. Sadly, the Gaffigan’s decided they didn’t have the time to put into making more TV, but instead of being sad that it’s over, I’d suggest being thankful that it happened by watching the show that they did have time to make.
  • This week in the Arrowverse: While Arrow and Supergirl focused mainly on table setting and moving the pieces into place for the last couple of the episodes of the season, The Flash pulled out one of its best episodes of the season. By using the old super hero standby of amnesia, the show was able to help us remember the earlier days of Barry Allen’s story where he was light-hearted and fun instead of the brooding hero we now see every week. Doing so allowed them to add some meta-commentary about why things have become so dour in Central City as opposed to the way things used to be. It was a lot of good fun.