BLINDSPOT: Terrorism and Tattoos Make Terrific TV

NBC CAN CLAIM BRAGGING RIGHTS TO THE BEST NEW DRAMA ON ANY BROADCAST NETWORK THIS FALL

AIRS MONDAYS AT 10PM E/P ON NBC (NEXT-DAY STREAMING ON HULU)

Over the course of the past few seasons, Comcast-owned NBC has amassed a spotty track record when it comes to scripted drama. In addition to the last vestiges of the venerable LAW & ORDER franchise, there have been numerous high profile flops like SMASH, ALLEGIANCE, CONSTANTINE and THE SLAP. The network is also home to inexplicably popular junk like THE BLACKLIST and inexplicably renewed howlers like MYSTERIES OF LAURA. That’s why my expectations for BLINDSPOT were set pretty low. Boy, was I wrong. This cracker jack thriller starts out firing on all cylinders and never stops.

What makes BLINDSPOT such a pleasant surprise is how deftly each episode navigates a potential minefield of pitfalls and face plants. In less capable hands, this is one of those “high concept” hours that could have flown off the rails. Instead, creator Martin Gero has crafted a near-perfect balance of big action, great acting and eye-popping boom boom. Each episode plays out on a cinematic canvas that feels ambitious because it is. BLINDSPOT isn’t just set in New York, it works the city like no one’s business.

Much has been made about the opening set-piece, a taut and terrific scene that more than lives up to the hype. A cop spots a duffel bag sitting unattended smack in the middle of Times Square. In short order, the area is evacuated and the bomb squad is on the scene. Before anyone has a chance to size up the mysterious package, a naked, tattooed woman emerges from inside. This “Jane Doe” (Jaimie Alexander) has no idea who she is or how she ended up stuffed in a gym bag. Her body art is also a mystery and one that is central to each twist and turn of the plot. On paper, it all sounds gimmicky and trite but the final product is riveting stuff. If you think this is just PRISON BREAK with a hot chick, think again.

Jane is hustled off to FBI headquarters, where she’s placed in the care of Special Agent Kurt Weller (Sullivan Stapleton). This is no random assignment; Weller’s name is front (or back, in this case) and center in the aforementioned tattoo. Much to his surprise, he is drawn to Jane almost immediately. It’s a vibe that goes much deeper than sympathy or professional curiosity. By the end of episode two, their connection comes more into focus as does the method to the madness of Jane’s elaborate ink job. Each piece of the tattoo unlocks a clue to a crime or terrorist act that has not yet been perpetrated. It’s up to Jane, Weller and his team to figure out the “whos and whens” in order to prevent death and destruction from raining down on NYC.

Action fans will be happy as piggies in a mud wallow with BLINDSPOT. There’s plenty of car chases, pyro and combat. In a refreshing twist, much of the really juicy mano a mano comes courtesy of Jane. It seems our mystery woman has extensive training that may (or may not) have come courtesy of a stint in Navy Seal Special Ops. Without doubt, she is not a woman to be tangled with. There’s a rollicking, balls-out beat-down in the pilot that will have you out of your seat cheering. Let’s just say, you don’t want to get caught abusing your old lady if Jane is within earshot. Other highlights in the opener include a runaway MTA subway train rigged with plastic explosives and a climatic shoot-out in the head of the Statue of Liberty. It will rock your socks.

Pulling off Jane is a difficult balancing act and Alexender is more than up to the task. She’s capable and complex, with gorgeous eyes that convey a world of hurt and desperate confusion. Still, as FBI psychologist Dr. Borden (nicely played by Ukweli Roach) reminds her, she is not helpless. We haven’t seen a female action hero this well realized on the small screen since Jennifer Garner was knocking heads as Sydney Bristow in ALIAS.

Stapleton is also strong here, with a sly, nuanced take on the stock “tough guy” character. He’s handsome and rugged, to be sure, but there’s genuine heart and soul in his portrayal of Agent Weller. It’s a nice touch that makes scenes with Jane work especially well and keeps the audience firmly in his corner. He’s got the acting chops to anchor a show this frenetic and hold his own with veteran thesp Marianne Jean-Baptiste (playing Bethany Mayfair, Assistant Director of the FBI field office in NYC). That’s no mean feat as Jean-Baptiste is a talent to be reckoned with. Like almost everything in BLINDSPOT, her character also has a dark past that is only hinted at in the first couple of episodes.

Rounding out a nicely gender balanced (and effortlessly diverse) cast are Audrey Esparza, Rob Brown and Ashley Johnson (yes, Chrissy Seaver from GROWING PAINS, all growed up). Each is a key player on Weller’s crack team of FBI agents. Brown and Esparza have small roles thus far but the former does manage to toss off some pointed one liners that inject a nice dose of humor into the proceedings. Esparza, however, barely registers. She looms in the background and glowers a lot but we have no idea why. Bad fish perhaps? Who knows? Maybe we’ll find out more in later episodes…unless she’s BLINDSPOT’s redshirt.

Faring infinitely better is Johnson, bright and engaging as Patterson, the resident forensic science expert. She nails every scene by not overplaying the part. Big props to her and the writers for creating a fully fleshed-out character; a welcome change from those asinine, loopy/quirky “tech geek” caricatures seen in CBS dreck like NCIS, CRIMINAL MINDS and SCORPION. Yeah, I know a lot of people watch those shows but that doesn’t mean they don’t suck.

BLINDSPOT is so good, it’s almost a pleasure to overlook the occasional plot holes and lapses in logic. You won’t care that sometimes the FBI is chock-full o’ agents and other times, for no good reason, it’s grossly understaffed. It won’t bug you at all when a major landmark or public transit system is targeted by a terrorist, Feds are on the scene but the NYPD is nowhere to be found. Seriously, Mayfair couldn’t dig up even one cop to back up Weller at the Statue of Liberty? Silly rabbit, these tricks aren’t for kids and asking a question like that of a show like this is a buzz kill.

If you’re looking for a series that’s not stingy with satisfying answers to intriguing questions and one that’s got plenty of meat to go with the hooks, then BLINDSPOT is definitely “must see” TV. Don’t miss it.

EDITOR’S NOTE 10/6/2015: Just finished screening episode three on Hulu and I have to say, BLINDSPOT keeps topping itself. The opening ten minutes alone is wall-to-wall action (plus one very messy head shot during a robbery gone wrong). Love this show. Big plus: the ratings continue to stay strong!

STREAM: Add Some Drama To Your Netflix Queue

EDITOR’S NOTE: THIS POST WAS UPDATED ON OCTOBER 31, 2015

HOUSE OF CARDS might get all the attention, but it’s only the tip of the iceberg when it comes to the variety of scripted drama series available on Netflix. We selected six of our favorites, each one a worthy addition to your streaming queue. It’s a mix of past hits you may have missed, previous seasons of current favorites and lesser known titles that deserve the spotlight. When you see the following icons in each series write-up, you can:

CLICK TO WATCH ON NETFLIX

CLICK TO BUY FROM AMAZON INSTANT VIDEO

 

BEING MARY JANE

Gabrielle Union is always a bright spot in any film or TV show she appears in, even if the vehicle itself isn’t top flight. With BEING MARY JANE, she’s finally found a series worthy of her considerable talent. Never heard of it? Well, it’s on BET, the black entertainment network most black people don’t watch. That might explain how this gem flew below your radar were it not for the fact that season one averaged more than 3 million viewers each week. Contrast those impressive numbers with the limp digits GIRLS scrapes together for HBO. It’s a show no one watches (seriously, no one) but everyone is forced to hear about. Perhaps if BEING MARY JANE was whiter, helmed by a completely self-absorbed celebrity or on the “cool kids” network, the entertainment elite would be buzzing. That’s really too bad because anyone not watching is missing one of the finest hours of scripted drama an any network, broadcast or cable. It’s ridiculously good from the get-go and keeps getting better.

Creator and executive producer Mara Brock Akil (who also created the excellent and underrated GIRLFRIENDS) does a remarkable job keeping a lot of balls in the air simultaneously. It’s an elegant and deceptively effortless juggling act. Akil manages to craft compelling and coherent storylines from a bumper crop of issues, drama and moral dilemmas. There’s a lot at play in any given moment but the pacing is consistently spot on. Akil has that rare combination of creative confidence and artistic alchemy. It’s what gives BEING MARY JANE clarity of vision, organic unpredictability and a connection to the little things that make scenes feel lived in. Even the music is well chosen. It’s rarely obvious but always just right.

Union plays Mary Jane Paul, a successful broadcast journalist and high-functioning hot mess. She’s a woman of considerable substance with a bad habit of leaping before she looks. Like the time Mary Jane strolls into a pet store to confess her affair to the wife of the guy she’s been sleeping with. It’s a cringe-worthy encounter even though Mary Jane meant no harm. Of course, there’s no malice of forethought if you skip the forethought.

In some ways, Mary Jane is like an earth-bound Olivia Pope; stunning, whip smart and driven but without the fate of the Republic keeping her up at night. Mary Jane might not be bonking the President or dodging a murderous mama, but she has been with a married man and her family offers more take than give. One episode in, and you’ll gird your loins right along with MJ every time her mother Helen (a flawless Margaret Avery) calls. Something as ordinary as a ring tone adds a resonance and immediacy that creates a visceral connection to the moment. In later episodes Miss Helen proves herself to be a force of nature mere mortals (and duplicitous friends of her daughter) should never trifle with.

Union hits all the right notes here, creating a character both familiar and refreshing. She’s not just good, she’s damn good. Mary Jane is complex in very real ways that make her wholly relatable. Union skillfully tempers the sharp edges with a mix of charm, warmth and vulnerability. It’s a study in colliding contrasts that she spins into something quite wonderful. Pay special attention to the little flutters and flourishes Union plays with. These tidbits of character “business” give Mary Jane her heart and humanity.

The rest of the large cast is an embarrassment of riches. It’s an engaging mix of veterans, top flight character actors and promising new faces. What other show can claim bragging rights to award winning talent like Margaret Avery, Richard Brooks and Richard Roundtree as series regulars? Also in the mix are Lisa Vidal, Raven Goodwin, B.J. Britt, Latarsha Rose and Aaron D. Spears.

Vidal is a stand-out as Kara, MJ’s best friend and producer. She’s also a Latina who refuses to march in PC lock-step with “her people.”  Goodwin (pictured here) does break-out work here, playing Mary Jane’s less than perfect niece, Niecy. Her journey, complicated by unplanned pregnancy and a battle royale with body image, is both heartbreaking and profound. Spears plays Mark Bradley, a close friend and colleague of Mary Jane’s. He’s also a closeted gay man dealing with a thicket of self-hate, legitimate fear and professional insecurity. The scene where he is outed by his own mother will go down in TV history as one of the best written and most achingly uncomfortable of its kind. It’s a train wreck, wrapped in a dressing down inside a heartbreaking moment.

Watching BEING MARY JANE isn’t your typical passive viewing experience. It feels more like a ride-along on a bumpy road with a good friend. Season two delves even deeper into the dark side of Mary Jane, disturbing media trends and the often harrowing balancing act women are forced to engage in on a daily basis. The writing grows more rich and thorny as secondary characters become central to the evolving storylines. BEING MARY JANE is unapologetically black but it isn’t a “black show” or a “chick show” or anything else that might make it easy to dismiss by those who would try to pigeonhole it. It’s as good as it is addictive. Besides, most of us know a Mary Jane or see shades of one when we look in the mirror.

Season three of BEING MARY JANE kicked off October 20th at 9pm E/P on BET. Seasons one and two are available for streaming on Netflix. Before you dive in, start with the stand-alone movie pilot. It will set up the ensuing drama for you.

 

 

 

 

ALIAS

When ALIAS debuted on ABC in 2001, the network was in rough shape and had little experience handling a violent spy thriller with an ass-kicking female lead. Despite the odds stacked against it, ALIAS ran for five seasons. Though never a Nielsen powerhouse, the series was a critical darling and fanboy favorite that put creator JJ Abrams on the A-list.

Jennifer Garner leads a first-rate case that also includes Victor Garber, Michael Vartan, Bradley Cooper, Ron Rifkin, Carl Lumbly and Lena Olin (as one mother of a mother). Each episode in season one ends on a cliffhanger, something meddling network execs eventually pared down to season finales only. Be prepared: each of those is a mindbender.

ALIAS is packed with high drama, outrageous twists and some of the most complex action sequences ever seen on network television. The series will keep you on the edge of your seat right through the final episode (an emotionally satisfying tear-jerker). All five seasons are available for streaming on Netflix.

 

 

 

 

THE ASSETS

Based on insider accounts of the infamous Aldrich Ames espionage scandal, the first episode of this limited-run series has the dubious distinction of being the lowest rated drama premiere ever on one of the big three broadcast networks. When ABC decided to  launch a Cold-War thriller of its own in early 2014, network execs were probably hoping for a success similar to THE AMERICANS on FX . Instead, the ill-fated drama was cancelled after only two airings.

While the audience response was sub zero chilly, THE ASSETS is actually a pleasant surprise. The methodical pacing might annoy those with short attention spans but, if you like dense drama packed with rich period detail and traitorous nogoodniks, this will be right up your alley. The full eight episode mini-series is available for streaming on Netflix. A ninth “episode” is actually a bonus documentary that details the real story that inspired THE ASSETS.

 

 

 

 

BROADCHURCH

When it comes to really thorny murder mysteries, no one does it better than the Brits. They don’t gravitate to neatly wrapped plot packages full of clearly defined heroes and villains or share our sad fascination with endless variations on the “woman in peril” trope. We should thank them for all of that and then thank them again for BROADCHURCH, a towering masterpiece of gut-wrenching drama.

The central mystery begins when the body of an 11 year old boy is discovered on a desolate beach. The hunt for his killer plays out over eight gripping, tightly-paced episodes. Along the way, the ugly secrets and hidden truths of a small town are laid bare. BROADCHURCH quickly blossoms into an exquisitely crafted character study that gets under your skin in profound and unsettling ways.

Series two of BROADCHURCH has already aired in the UK. The entire first series is available for streaming on Netflix.

 

 

 

 

CROSSING LINES

This lavishly produced crime thriller stars William Fichtner as a former NYPD officer who has fallen on hard times thanks to a debilitating injury and an addiction to morphine. Nonetheless, he is recruited to join an elite special crimes unit under the auspices of the International Criminal Court. From their headquarters in The Hague, the team investigates high profile crimes that cross international borders. Donald Sutherland plays an ICC overlord who supervises the proceedings. He pops in and out of each episode in a role that amounts to a glorified cameo.

CROSSING LINES is often preposterous and overwrought but it’s also wildly entertaining. European locations (principally Nice, Paris and Prague) distinguish the visuals and add high-end gloss to elaborate action sequences. It’s not all fun and games, however. The murder and mayhem is usually visceral stuff with ruthless baddies generating high body counts. Principal character backstory and evolving interpersonal relationships round things out and provide continuity. As always, Fichtner shines. He’s a master at revitalizing hackneyed, stock characters.

Season one of CROSSING LINES was carried by NBC during the summer of 2013. A second season was produced but NBC did not air it. As a result, fans in the US never got to see these new episodes...until now. Both season one and two are available for streaming on NETFLIX.

 

 

 

THE FALL

One of the most addictive dramas of 2013, BBC Two original THE FALL is a Netflix exclusive in the U.S. Series two launched on the service in January of this year.

Gillian Anderson is at the top of her game  here, playing Detective Superintendent Stella Gibson. She’s sent to Belfast by the London Metropolitan Police to review how local authorities handled (or mishandled) the investigation into a string of murders. What she discovers is the diabolical handiwork of serial killer Paul Spector (Jamie Dornan, also doing exceptional work). Over the course of five fast-paced episodes, Gibson and Spector engage in an increasingly twisted game of cat and mouse.

What sets THE FALL apart is how enthusiastically it upends TV conventions and toys with the audience. Anderson is cast in a role that would typically be played by a male and it’s written exactly that way. Stella Gibson is fearless to a fault and has no problem using men for her own sexual gratification. Things are just as trippy on the dark side of the fence where it’s all too easy to fall for Spector’s deadly charms. In a wonderfully perverse twist, our serial killer is also a bereavement counselor with a wife and two young children at home.

THE FALL was renewed for a third series that will air sometime in 2016. The first and second series are available for streaming on Netflix.

NOTE: All titles were available on Netflix at the time this post was written. Some may become unavailable at a future date per the terms of carriage agreements between Netflix and content providers. Netflix has not paid any sponsorship or promotional fees for this post.

SUMMER TV 2014: WEDNESDAY BEST BETS

It’s Wednesday and we’ve got something for everyone tonight. Unscripted competition series? Check! Goofy sitcom? Check! Moody police drama? Check! Viva Hump Day!

In addition to this trio of Wednesday “best bets,” you can also check out new episodes of the hit ABC Family sitcoms MELISSA & JOEY and BABY DADDY. Both are holdovers from my 2013 “Summer TV Guilty Pleasures” list and make for a perfect hour of mindless fluff (add a glass or two of pinot to “enhance” the comedic experience).

SO YOU THINK YOU CAN DANCE (FOX)

WHY IT'S A BEST BET: Because in a sea of crappy, carbon copy reality shows, SO YOU THINK YOU CAN DANCE is one of the few that consistently delivers the goods. The talent on display is off the charts and Cat Deeley remains one of the best hosts in the business. This is a show that celebrates dance, choreography and true artistic vision. It’s never a shoo-in for renewal year to year and, honestly, that’s a real shame.

WHO SHOULD WATCH: Anyone who loves a television experience that mixes heart-tugging personal stories, engaging competition and eye-popping dance moves. SYTYCD crosses all disciplines and is the perfect way to jump the midweek hump. Tonight is only audition week three so it’s still early enough to jump on the “Hot Tamale Train.”

SO YOU THINK YOU CAN DANCE airs Wednesdays at 8PM E/P on Fox.

HOT IN CLEVELAND (TV LAND)

WHY IT'S A BEST BET: Because the show is damn funny and Betty White continues to amaze with her razor sharp comic timing. This is that rare sitcom where you know everyone is having the time of their lives. Five seasons in, HOT IN CLEVELAND is still firing on all cylinders and rarely misses an opportunity to engage in some truly loopy fun.

WHO SHOULD WATCH: Anyone who likes the laugh out loud experience of a sitcom classic peppered with big dollops of wholly inappropriate dirty jokes. Each episodes spins a lot of simultaneous plates but somehow manages to bring home the comic bacon. If you’re a comedy snob or total tight ass, this won’t be your cup of yuk yuks.

HOT IN CLEVELAND airs Wednesdays at 10PM E/P on TV Land.

MOTIVE (ABC)

WHY IT'S A BEST BET: Because MOTIVE completes the trio of exceptional summer crime dramas that kicks off on Mondays with MAJOR CRIMES and new hit MURDER IN THE FIRST. The fun twist here is the structure of each episode. Within the first few minutes, the “killer” and “victim” are ID’d (with dramatic on=screen graphics, no less) and the rest of the hour is spent trying to figure out why the crime was committed. It’s a gimmick that works quite well because the conclusion is typically not telegraphed early on. Extra fun: trying to figure out where supporting player Lauren Holly ends and her plastic surgery begins.

WHO SHOULD WATCH: Anyone who likes their crime drama dark, twisty and morally ambiguous. Things are usually wrapped up nicely at the end but, you rarely feel sunshine and roses at the tragic outcome. This Canadian import is beautifully produced and well acted. Leads Kristin Lehman and Louis Ferreria look the part and do fantastic work every week. It’s also refreshing to watch a police drama that never plays the “woman in peril” card.

This is A-list, must-see stuff.

MOTIVE airs Wednesdays at 10PM on ABC

SUMMER TV 2014: MONDAY BEST BETS

Start your week off on a high note with four scripted dramas that will add some sex, humor and intelligent crime drama to your Monday nights. These quick hit reviews will give you the highlights you need to know and enough of a tease to match the right show with the right viewer. Fire up those DVRs and enjoy!

MAJOR CRIMES (TNT)

WHY IT'S A BEST BET: Not only is this spin-off from THE CLOSER a thousand times better than the show that birthed it, a first rate cast and smart writing keep the drama crackling. MAJOR CRIMES manages to mix hard-hitting police action with well-placed flourishes of humor and emotional drama. Veterans Mary McDonnell, Tony Denison, Michael Paul Chan and G.W. Baily anchor an exceptional cast that also includes fine work from Raymond Cruz, Phillip P Keene, Kearran Giovanni and Graham Patrick Martin (one of the best young actors on series television).

WHO SHOULD WATCH: Anyone who enjoys a crime drama that mixes the best elements of police procedurals with serialized storylines. Extra points if you don’t need a neat and tidy resolution at the end of every hour. Like a moral quandary? MAJOR CRIMES has you covered.

MAJOR CRIMES airs Mondays at 9PM E/P on TNT.

MURDER IN THE FIRST (TNT)

WHY IT'S A BEST BET: Two big reasons: Taye Diggs stars and Steven Bochco is one of the creators. The supporting players include James Cromwell, Steven Webber and Richard Schiff. Unlike typical police procedurals, newcomer MURDER IN THE FIRST will follow a single case across the entire season. Sound familiar? TV trivia points for you! This is the same format used in the 1995/96 first season of MURDER ONE, also from Bochco.

WHO SHOULD WATCH: Fans of Diggs who have their fingers crossed that he’ll finally take the lead in a series that lasts more than one season (and showcases his talent a bit better than the tepid PRIVATE PRACTICE). Also, if you are looking for a return to gritty form by Bochco, this could be just the fix you’ve been longing for.

MURDER IN THE FIRST airs Mondays at 10PM E/P on TNT.

LONGMIRE (A&E)

WHY IT'S A BEST BET: I hate westerns. Seriously, can’t stand them. Maybe that’s why it took Netflix to expose me to this excellent A&E original. Robert Taylor plays Walt Longmire, a weather-beaten Wyoming sheriff who is as moody as he earnest. The cast that also includes Lou Diamond Phillips and BATTLESTAR GALACTICA vet Katee Sackhoff, both doing some of the best work of their careers. LONGMIRE is first-class stuff.

WHO SHOULD WATCH: Anyone who makes public proclamations that they hate western-themed things as well as those who feel the exact opposite. Be warned: LONGMIRE has a unique pace and “feel” that might not work for those who require non-stop, in-your-face action. If you’re looking for intriguing police mystery with a side of thoughtful introspection, aim your long gun at LONGMIRE and tune in.

LONGMIRE airs Mondays at 10PM E/P on A&E.

MISTRESSES (ABC)

WHY IT'S A BEST BET: After three hours of crime time, check your brain at the door and fire up your libido! It’s time for the slutty antics of MISTRESSES. The catch here is an interesting yin/yang of tawdry soap opera storylines being interpreted by a genuinely talented quartet of lead actors. Alyssa Milano (who has never looked better), LOST alum Yunjin Kim (as the worst therapist…ever), Rochelle Aytes (who is so insanely beautiful you’ll get lost in her eyes) and Jes Macallan (a genuine find). This stateside re-make of a UK series made my “Summer Guilty Pleasures” list last year. Thus far, season two has not disappointed.

WHO SHOULD WATCH: Well, no one really but you shouldn’t suck down potato chips and hot fudge sundaes either. Yes, girls and gays are the core viewers here but I know more than a few straight guys who are rarely disappointed by the often eye-popping sexual escapades. Speaking of eye-popping, Justin Hartley drops in this season as does newcomer Ricky Whittle. Ricky who? See below and thank me later.

MISTRESSES airs Mondays at 10PM E/P on ABC.