Autumn 2015 TV - Part One

We're a few months into the 2015/16 television season, so I just wanted to run down all the shows I'm watching, how I think they're getting on, and my degrees of continued interest in them.

'Agents of SHIELD' (season 3) - ABC.
Season 1 became good halfway through. Season 2 turned bad halfway through. Season 3's proving to be a real bore from the start. It seems someone decided what we really want from AoS is lots of people with superpowers, so they're going big on the whole Inhumans angle. I just wish the show didn't feel like a live-action X-Men more than a spy-fi show that could tackle a lot of different subjects and ideas. Unsurprisingly, the best episode (so far) concerned an hourlong flashback to Simmons stranded on an alien planet, having to survive until rescue arrived. While it was probably inspired by The Martian novel, or knowledge of the film adaptation, it was something you don't see TV do very often.

Dan's 10 Favourite TV Shows of 2014

It's that time of the year again. I know the internet's full of top 10 lists, but mine's less about what was "the best" and more what became "a favourite". Sometimes, show X is objectively better than show Y, but X has something about it that just makes it more entertaining—for me. Basically, here are the TV shows that most captivated me during their runs, and I looked forward to sitting down to watch every week.

Isn't that all that matters, really?

Mini-Reviews: THE AFFAIR, AHS, CONSTANTINE, THE FLASH, SLEEPY HOLLOW, WALKING DEAD, etc.

Reviews of television shows have been sparse over the past few weeks (apologies), so this little batch of mini-reviews will have to suffice...

THE AFFAIR (season 1). I fell behind the U.S airings on Showtime, so I'm playing catch-up now. I'm still enjoying this relationship drama a great deal, although a part of me's beginning to wonder if the narrative gimmick's more trouble than it's worth. It was a fun idea to split each episode into two halves (each from the perspective of Dominic West or Ruth Wilson's character), but I find myself more invested in West's "angle"... and yet it could be the "wrong one". But is there a singular truth? Maybe both versions of the story works of fiction and the truth's an amalgamation? Sometimes there are differences in the story that make me scratch my head, because there's no point in either character intentionally lying about certain things (like whether their interviewing cop's married or separated). And the cop stuff's happening in the present, so it's not even a case of the characters remembering the past wrongly, which I thought was partly accounting for the differences in their recollections... so the show itself has two separate outlooks. Weird. ★★★☆

TV I've been watching lately...

We're fast approaching November and most of the new autumn shows have begun, plenty of old favourites are back, and the summer shows are a memory. But what am I enjoying watching every week, finding time to write about, or have given up on completely? Read on!

THE AFFAIR (Showtime, season 1). It's been a great two-episode start to this new Showtime drama starring Dominic West and Ruth Wilson as extra-marital lovers, with a unique flashback format that also bisects each episode into opposing perspectives on the same events. Even without those narrative devices, I'd like this The Affair in terms of the basic story and performances, but the twists are what makes this feel so compelling. And I was pleased the second episode didn't beat around the bush, so we already have an idea about why the main characters are being interviewed by cops a year after their affair began. My only vague concern is that it's hard to really side with West or Wilson's character, as each "part" of the tale casts one or t'other as the more dominant, mildly unlikeable one. Not knowing who to believe or trust is part of the show's mystery, of course, but it does mean the viewer's constantly unsure about anything... which makes it hard to settle into. ★★★☆

HOMELAND; that's all folks!

While I'm likely to review a noteworthy episode, and will probably write about the fourth season in general once the finale airs, my weekly reviews of HOMELAND are done. This isn't a strict reflection of Homeland's quality just now (I'm quite enjoying it), just the fact older shows lose that indefinable quality that makes one eager to write about them. And I don't want to sit down and force myself to write hundreds of words about TV episodes I don't feel passionate about.

HOMELAND, 4.3 – 'Shalwar Kameez' • are you in or out?

★★☆☆

From the start, HOMELAND has been a show that likes to have a 'male mirror' for its heroine, Carrie Mathison (Claire Danes). That role was filled by Brody for three seasons, and now Quinn (Rupert Friend) appears to have assumed that mantle. This third episode split its time between Carrie embracing her new CIA role, while Quinn tried to leave the CIA. It won't come as a surprise to find that Quinn was ultimately drawn back into the spy game, because of his feelings for Carrie.

HOMELAND, 4.1 & 4.2 - 'The Drone Queen' & 'Trylon and Perisphere'

★★☆☆

I haven't been as negative about HOMELAND as many have been post-season 1, but agree it stopped hitting the highs of that inaugural year, to become a more levelheaded 24 (which many of the writer-producers worked on previously). The fact of the matter is that Damian Lewis' character was allowed to exist beyond his usefulness, purely because the writers were delighted by his on-screen chemistry with Claire Danes, and viewed it as integral to Homeland's longterm future. Consequently, many of second and third season storylines became too soapy or ridiculous. Season 4 (which opens with a drone strike and a besieged Embassy, drawing comparisons to 24: Live Another Day's opening) intends to hit a reset button, of sorts, with Brody six feet under and Carrie Mathison (Danes) now protecting her homeland from overseas...

October 2014 Highlights - ARROW • CONSTANTINE • THE FLASH • GRACEPOINT • HOMELAND • THE WALKING DEAD • more!

It's October. Officially autumn. So what treats does the television have in store for UK and U.S viewers from now until Halloween? Let's look at the most notable highlights...

Digital Spy: 12 Fantasy Television Crossovers

Over at Digital Spy today, it's my latest article. This one fantasises about 12 "crossover" episodes of past and present TV shows, that would be extremely unlikely but incredibly fun to watch. Dexter meets Hannibal? Sherlock travels to Fargo? Justified visits True Blood? Click through to read more, and remember to share if you enjoy it!

Trailer: HOMELAND – Season 4

Showtime have released a "first look" at the fourth season of their acclaimed drama HOMELAND. This year promises to deliver a big revamp of the show, in the wake of the Nicholas Brody narrative being brought to an end in season 3.

HOMELAND, 3.12 – 'The Star'

written by Alex Gansa & Meredith Stiehm | directed by Lesli Linka Glatter

The third season of Homeland ends in a largely satisfying way; particularly if you'd grown bored of Nicholas Brody (Damien Lewis) and think the show desperately needs to find a new direction. For a show that was once highly respected because it was plausible (allowing for dramatic license, of course), it's a shame this season has been characterised by questionable developments, but thankfully it's always been an entertaining ride.

HOMELAND, 3.10 – 'Good Night'

written by Alexander Cary & Charlotte Stoudt | directed by Keith Gordon

One of the things that most appealed about Homeland when it started, and has stayed largely true ever since, is that it always eschewed the temptation to become a big action thriller. It plays in the same sandpit as predecessors like 24 and The Unit, but rarely indulges high-octane action dramatics—usually saving explosive moments for finales. So, three episodes before the finale, it was fun to see Homeland indulge itself with a whole hour dedicated to Brody's (Damien Lewis) attempt to get from Iraq to Iran and claim asylum—which was all part of the CIA plan, masterminded by Saul (Mandy Patinkin), to have him infiltrate the Iranian government and assassinate a bigwig.

HOMELAND, 3.9 – 'One Last Time'

written by Barbara Hall | directed by Jeffrey Reiner

We're approaching the end of this third season, which has seen opinion split rather harshly, but I still maintain that Homeland's an entertaining drama that's only suffered because it chose to continue story elements that had a natural end long ago. That said, episodes have slowly started to spin some magic on me, and I must say I found "One Last Time" to be one of my favourite hours of the show this year. Is that saying much at this moment in time? That's up to you to decide, but this episode brought Saul's (Mandy Patinkin) masterplan out of the shadows and brought Brody (Damien Lewis) back into the crux of the story very effectively.

HOMELAND, 3.8 – 'A Red Wheelbarrow'

written by Alex Gansa & James Yoshimura | directed by Seith Mann

I'm not as down on Homeland as many critics seem to be this year, but I must admit it's becoming less attractive to write about every week. So for that reason, I'm going to be very brief about "A Red Wheelbarrow."

HOMELAND, 3.7 – 'Gerontion'

written by Chip Johannessen | directed by Carl Franklin

Well, this third season has yet to explode, given we're seven episodes into events. There have been some significant developments along the way, sure, but The Twist caused more opposition from viewers than the writers likely anticipated. But I'm enjoying seeing Saul's (Mandy Patinkin) masterplan unfold with Carrie's (Claire Danes) dogged help, to turn Javadi (Shaun Toub) into an asset within the Iranian government; and aspects of Homeland continue to nicely explore things 24 did but from a semi-realistic angle. In "Gerontion", we see the repercussions of a top-secret CIA operation going awry on home turf, which brings a homicide investigation too close for comfort—with Quinn (Rupert Friend) now the prime suspect in Javadi's murder of his ex-wife. Jack Bauer used to avoid similar "civilian issues" all the time, so it's fun whenever Homeland addresses them.

HOMELAND, 3.6 – 'Still Positive'

written by Alexander Cary | directed by Lesli Linka Glatter

I think I'm ready to put the twist-related issues of season 3 aside now, because "Still Positive" was a really good episode—even if the show feels increasing like 24 after a valium. We can debate whether or not Homeland should have continued past season 1, or killed Brody two finales ago, or if it should really be tackling new angles every year with less season-to-season serialisation, but the fact of the matter is I still find Homeland an enjoyable series. It isn't perfect and it feels past its peak, but it's definitely still worth watching.

HOMELAND, 3.5 – 'The Yoga Play'

written by Patrick Harbinson | directed by Clark Johnson

Last week's twist certainly split audiences, but I wouldn't say down the middle. Some loved it for how unexpected it was and how it instantly improved Carrie (Claire Danes) and Saul's (Mandy Patinkin) relationship; others thought it was poorly conceived and didn't hold water when you re-watched key scenes from the previous episodes (mainly ones where Carrie was alone and still "in character" for the benefit of nobody but the audience at home). Most people, myself included, seem to have responded with mixed feelings—appreciative of a twist that largely worked, while aware it wasn't as convincing as perhaps intended.

HOMELAND, 3.4 – 'Game On'

written by James Yoshimura & Alex Gansa | directed by David Nutter

It's been an uninspired start to the third season of Homeland, so we perhaps should have guessed they'd pull a twist on us—and one that evoked memories of a similar one from 24's third season (a show many of Homeland's creative team worked on). "Game On" was tedious for about 90% of the time—with far too much emphasis on Carrie (Claire Danes) struggling to get out of the psychiatric ward, and Dana (Morgan Saylor) helping boyfriend Leo (Sam Underwood) break out of hospital for a date. The writers don't seem to realise Dana was only interesting in season 1 because of her relationship with her father, and that Carrie's struggle with mental health is an aspect of the show that stopped feeling dramatic a long time ago.

HOMELAND, 3.3 – 'Tower of David'

written by Henry Bromell & William Bromell | directed by Clark Johnson

After a disappointing start to season 3, things start to take shape with "Tower of David"--ironically, by re-introducing Nicholas Brody (Damien Lewis), whose continuing presence is many people's top reason Homeland struggled last year. It's not that Brody's a bad character or that Lewis is a poor actor (quite the opposite!), but Homeland put too much emphasis on the romantic entanglement of Brody and Carrie (Claire Danes), when it would have been better to have him succeed in his original suicide-bombing. However, this episode was a grim and fascinating look at what Brody's life has become now he's the most wanted man on the planet; his hellish existence nicely paralleled in Carrie's own struggle in a psychiatric ward.

HOMELAND, 3.2 – 'Uh... Oh... Ah...'

written by Chip Johannesen | directed by Lesli Linka Glatter

As usual, the performances are what help keep Homeland on-track, even if you find yourself doubting the direction the writing's taking. Claire Danes is so impressive whenever she's asked to show Carrie's descent into mental torment, and yet a part of me wonders if the writers regret giving her character bipolar disorder. It made it difficult to accept her ever being allowed back to the CIA last season, and given how Saul (Mandy Patinkin) is trying to discredit her publicly I fail to see how she'll ever get her job back. And as tremendous as Danes is in these scenes, and as unique as it feels to have a CIA agent fighting mental illness, I can't shake the feeling it's put Carrie Matheson in a corner too much. Hopefully there's some kind of breakthrough coming soon, but I predict it will stretch credibility if Carrie forgives and forgets, then returns to work alongside Saul to catch the real perpetrators of the CIA bombing.