This was a struggle. You want to give it points for quasi-creativity (is it though?), but how you manage to take such a talented cast and put nothing in their mouths to work with is beyond me. There's just nothing else to say about it. People gotta work I guess.
It just sunk in why this is so bad! You know the phrase, "Good artists copy. Great artist steal."? You feel like the people who created this had that in the back of their head with no greater vision or capacity to make it into something better, individual, or worthwhile. They just steal, maybe thinking their idea is great, but end up not even good because it's just a laziest copy you've seen in some time.
On top of that, why hire a bunch of comedians to play in an uninspired drama? It's insult to injury. You spend so much time waiting for the joke or thinking about the funny thing you've seen someone in that you're stuck in a constant reminder that they went out of their way to pack it full of funny people to half-ass do drama? The more I think about this series the more it upsets me.
Elizabeth Perkins playing it straight during her feature is the only time I felt a genuine laugh, so, go her.
The setting is contemporary, judging by the automobiles, but the ambience is decidedly 1950's era spy film noir. As for genre, I'm forced to call Counterpart science fiction, in that it involves parallel universes, but it's really like nothing else within that genre.
The general scenario is this: 30 years ago, for reasons unknown, reality split into two bifurcating, independent time lines. Until that point, all was unified, meaning that every character alive at that point shared identical histories. Now, things have begun to diverge. But there is a doorway between the universes in a building in Berlin.
Again, for reasons unknown, the two sides have been both communicating with, and spying on, one another through this doorway, and this is where our protagonist Howard Silk (J.K. Simmons) comes in. "Our" Howard is a low level functionary in this spy agency who hasn't a clue as to what is really going on until, one day, his counterpart arrives with news that a woman from "their" side has been sent over to assassinate people on "our" side, including Howard's comatose wife. No one knows why, which is the prevailing state of awareness in this decidedly curious story. "Other" Howard decides that "our" Howard is critical to his investigation and, thus, the strange alliance begins.
J.K. Simmons is a phenomenal actor, despite often being cast in secondary roles, and Counterpart is truly his opportunity to shine. He plays a single character, but one with two separate backgrounds despite shared childhoods, a role requiring some subtlety and nuance. He plays both characters to perfection as the similarities and differences between the two create something of a broader character that calls into question our notions of identity.
In a way, Counterpart is an examination of the concept of self, or soul, but it is also an engaging mystery/thriller. Like its main character, the sum is both greater than, and equal to, its parts.
Season One thoughts :
The Good - Decent special effects . Some CGI looks fine , other shots look like they were rendered on a Commodore Amiga .
The Bad - Terrible acting abounds , especially Katee Sackhoff . In this , she plays a poor man's Ripley (Aliens) . Her character Niko certainly didn't fall far from the Starbuck tree . The difference from Starbuck here is that Niko has more than three emotions . Unfortunately , Sackhoff's acting style doesn't support such range , her facial expressions and movements all are so contrived and fast changing I can't take my eyes off of her for the wrong reasons , it's too distracting . It's similar to watching Jim Carrey's exaggerated expressions as Ace Ventura , though Ace was always meant to be over the top funny and not dramatic . Niko and her husband have zero chemistry , he acts like somebody who's uncomfortable around children and gives off a weird uncomfortable vibe in scenes with his daughter . None of the characters are likable except William/Samuel Anderson who , as always , is a pleasure to watch .
The Ugly - The cinematography is dated , circa 2004 . Identical to Battlestar Galactica with loads of shaky-cam and awkward excessive snap zooming . The cinematographer from Another Life also worked on Battlestar Galactica so that explains that .
The music is amateur hour . Every time the cheesy music starts playing , it signals the viewer that something juvenile is coming .
I like just about anything Sci-Fi , I was a fan of the Battlestar Galactica reboot , but it's going to be a chore to watch any more of this mess . I'm hoping the aliens end humanity swiftly so that Netflix can spend the money on something more deserving .
Edit I managed to finish the series . The Earth story line is boring and illogical . The space story line is only slightly watchable with at least some action here and there . Both are filled with stupid actions and WTF moments . The writers should all be fired . I couldn't possibly nitpick everything wrong with the writing , there's simply too much going on here to even start . This show is second rate in every possible way .
Season One thoughts :
The Good - Decent special effects . Some CGI looks fine , other shots look like they were rendered on a Commodore Amiga .
The Bad - Terrible acting abounds , especially Katee Sackhoff . In this , she plays a poor man's Ripley (Aliens) . Her character Niko certainly didn't fall far from the Starbuck tree . The difference from Starbuck here is that Niko has more than three emotions . Unfortunately , Sackhoff's acting style doesn't support such range , her facial expressions and movements all are so contrived and fast changing I can't take my eyes off of her for the wrong reasons , it's too distracting . It's similar to watching Jim Carrey's exaggerated expressions as Ace Ventura , though Ace was always meant to be over the top funny and not dramatic . Niko and her husband have zero chemistry , he acts like somebody who's uncomfortable around children and gives off a weird uncomfortable vibe in scenes with his daughter . None of the characters are likable except William/Samuel Anderson who , as always , is a pleasure to watch .
The Ugly - The cinematography is dated , circa 2004 . Identical to Battlestar Galactica with loads of shaky-cam and awkward excessive snap zooming . The cinematographer from Another Life also worked on Battlestar Galactica so that explains that .
The music is amateur hour . Every time the cheesy music starts playing , it signals the viewer that something juvenile is coming .
I like just about anything Sci-Fi , I was a fan of the Battlestar Galactica reboot , but it's going to be a chore to watch any more of this mess . I'm hoping the aliens end humanity swiftly so that Netflix can spend the money on something more deserving .
Edit I managed to finish the series . The Earth story line is boring and illogical . The space story line is only slightly watchable with at least some action here and there . Both are filled with stupid actions and WTF moments . The writers should all be fired . I couldn't possibly nitpick everything wrong with the writing , there's simply too much going on here to even start . This show is second rate in every possible way .
[Initial Impression] In this opening salvo for Apple TV+, M. Night Shyamalan gives us a slow reveal on a bizarre situation. Immediately, we discover the foibles of this couple making them not very likeable. I found the obscured camera angles, that I assume were done so to tell their own stories, to be distracting rather than facilitating the story telling. The pace teeters between boring and suspense. And even the suspense lead to a predictable outcome, but the set up for what will happen next and what is the real mystery behind this Servant, promises an underlying greatness to this series. Let's see if it pays off. I give the opening episode an 8 (potentially great) out of 10.
[Season One Verdict] That was disappointing. We put up with a lot, in hope of a season finale payoff: unlikeable characters, distracting camera angles, a preoccupation with culinary gore, all on the promise of unravelling the bizarre mystery. I think it is a crime to renew a series without fulfilling a seasonal arch. It was a waste of effort. No hidden depths here, just false teases. I won't be watching the second season and wish I hadn't watched the first. I give this series a 5 (disappointing) out of 10. [Mystery Thriller]
If I have to describe The Serpent in one sentence, it would be – a mess of casting and accents:
- The casting - Charles Sobhraj is Frenchman of Indian and Vietnamese parentage but Tahar Rahim is a French actor of Algerian descent. Close enough for BBC, I guess. :laughing: Several times in the series Sobhraj refer to himself as an ‘Asian’ and I was like, where is this ‘Asian’ he was talking about?!
- The accents – At first, I was very confused why all these British diplomats are concerned about two Dutch backpackers. Colonizers support colonizers? :thinking: Turns out they are supposed to be Dutch, German, Belgian. Oh! :open_mouth: Their terrible accents come and go, so you can easily tell they are all English actors. I hate when USA/UK make movies set in foreign countries but everyone conveniently speaks English instead of their native languages. :rolling_eyes:
Other problems I have with this show:
This series did not portray Charles Sobhraj accurately. In real life he was a mystique and captivating, but this is lacking in Rahim's portrayal. He plays Sobhraj in a very flat and dull manner. The constant blank stare into the distance wasn't enough to convince me he had any charisma.
The constant jumping back and forth in time isn’t executed smoothly. I'm sure BBC thought this was a clever device to create excitement/dynamism, but in fact it’s simply lazy and cheap way of story telling. A sloppy way of creating the drama to avoid having to tell the story well in a single timeline.
The lack of dramatic tension. Only in episode 3 did I get excited about what might happen. The most moving scene of the series is Dominique getting home. No time was taken for the viewer to have any empathy with any of the characters/victims.
All the “Mary Sue/Marty Stu” characterization - from Knippenberg to Siemons, there are too many lazily written cartoon characters. Their sudden and unexpected outbursts of anger seemed way over the top. Next you have Nadine – too many scenes where she decided to scarify herself to help the investigation. It seemed way too exaggerated. Actually, the show focuses more on these characters instead of Charles Sobhraj, it should have been called, “The people who hunt the Serpent down”.
That leads to my next problem with the show. Since most of the show is for the “good” Westerners, there is no mention of all Westerners helping Sobhraj in his crimes. The French businessman named Jean Dhuisme was left out. Barbara Smith (Canadian), Mary Ellen Eather (Australian), Hugey Courage (Belgian) were shown in the last episode but for a very brief moment, and no mention how Sobhraj recruited them. For some reason BBC didn’t want to focus on them, probably not to show colonizers in bad light. Westerns that aren’t rich enough to be rich in their ‘first world countries’ love to move to poor countries to live out their millionaire fantasies. No mention of another Western criminal - Jacqueline Kuster (German), she met Charles while they were both in prison, she was 34, while he was 51 years old. They wanted to get married. Speaking of which, why was Nihita Biswas left out as well? It would have been interesting to see more about Sobhraj‘s life after he was sentenced to life imprisonment.
The show is just facts of what Charles did only from the Wikipedia article about him, one would expect the writers to do more research.
One last thing - I do realize that people in the 70s smoked more, but still it is repellent to watch every character smoking heavily in almost every scene.
It's definitely a batshit-crazy story for our times, and I enjoyed the mad ride. However, the producers really had an agenda going into this, and I find myself resentful of their overall editorial approach. A few points:
Joe Exotic is a bad guy. He's charismatic and fascinating to watch, but the show does a lot to gloss over his actions. The series does its best to gloss over what he did and let him express his own side of the story, but come on. The guy was being harassed by Carole Baskin for legitimate reasons (exploiting and breeding exotic animals) and reacted in the most insane way. This is a guy who manipulated straight guys into marrying him in exchange for a steady supply of drugs.
The series does a huge disservice to Carole Baskin. Is she insane? Hell yeah she is. But crazy isn't a reason to send someone to prison. Yeah, she's as obsessed with big cats as the rest of the cast of crazies, but the huge difference is that she RESCUES exploited animals. She doesn't breed them. She doesn't sell them for profit. That the big takeaway of the series is "Well, she is as insane as the rest of them" really does a huge disservice to a significant difference between Baskin and the exotic pet breeders.
The series really overplays the "Baskin killed her husband" angle to prop up Joe Exotic and for the shock of it. It presents a lot of "facts" as-is to support this without exploring the arguments against them. For instance, Don's Power of Attorney included the activation clause for disappearance because Don Baskin was legitimately concerned he might disappear without a trace in Costa Rica.
So. A cool story, overall, and a crazy cast of characters, but it's unfortunate that people are taking this series as definitive documentary truth when it's a well-spun fiction with amplified craziness for the sake of shock value.
I do like the show, but it's not Star Trek. If this was just a new sci-fi show that existed in its own universe, it would be incredible. However, the fact that they've tried to pass this off as Star Trek when it's clearly not sullies the experience.
If it wasn't already apparent, Paramount and CBS have no idea what made Star Trek great, and don't care either. The simple explanation is that the world of Star Trek is supposed to be optimistic; this is pessimistic. And I do enjoy pessimistic sci-fi, but there's so much of it, and to see one of the few optimistic sci-fi worlds turned into something pessimistic is a shame.
Fortunately, we now have The Orville, which is doing Star Trek better than anything has since Voyager ended in 2001.
The show is supposed to take place between Enterprise and TOS, but the technology is very different. For example, there are holograms everywhere. Why try to do a prequel again? Why not set this after Voyager? That would make a lot more sense, and they'd be able to add whatever technology they like, and not be constrained by existing continuity. Fortunately, it's not too late for the showrunners to say "hey, we made a mistake, this actually takes place X years after Voyager".
Last, they fucked up the Klingons. For almost 25 years, they had the look of the Klingons figured out perfectly. They're iconic. But this show (and the reboot movies) messed them up and made them look like generic sci-fi bad guys. What happened to their hair and beards? Also, the costumes are ridiculous, and their ship interiors look like they're made of coral. I do like the idea of having an albino Klingon though.
And I applaud their desire to use the Klingon language on the show, but it's pretty annoying having every Klingon scene subtitled. The previous shows used a common sci-fi conceit: the actors speak a language that the audience understands, but it's accepted that they're really speaking a different language. The viewer effectively has a universal translator so they can understand what's being said.
Also, it looks nothing like Star Trek. Once again, The Orville got that right, and this didn't.
All of that said, I do like the show. The characters are interesting (especially Doug Jones), I've enjoyed each episode, and I think the storyline is pretty interesting. But goddamn it, why did they have to try to make this Star Trek when it's not?
I'm someone who was loathe to use the Trump name when I heard the first pronouncements after the escalator introduction. I've adopted different monikers to try and stem the tide of his overwhelming influence. I'm more dead inside than the frothiest pundit attempting to explain the exponentially terrible and long term consequences of what his reign will bring. I felt obligated in a kind of cultural accounting to watch The President's Show, despite the sinking and desperate feeling of wishing for it to all be over. I never much cared for when the cartoon version showed up in The Late Show. I understand that there's a whopping mental discord that needs to be contended with even before we pretend we can piece together the extent of the destruction.
All that said, the case for this show is almost too explicit. They are cartoon characters. This could be a dozen different short-lived cartoon shows from MTV or Comedy Central over the years. What made them exist in the first place were chuckle moments or an exploration of a particular pathology. Here, because the cast of characters is so large, you get to see a slightly broader take on each person. It's one thing to hear a dozen renditions of the same joke from late night hosts, it's another to see it transposed into a light-hearted attempt to not choke to death on what all of the real world examples truly mean.
It's not a particularly good or intriguing show on it's own so far (2 eps). It's more of a therapy session and slightly cranked up mockery. But that's almost the point. Where do we go from here but into tyrannical ever-escalating death? If you can't imagine it as a cartoon, how can you much cope with anything coming out of this saga? Consider the wholly uninspired "Donald Trump is the President" end credits song; when you can't parody anymore, you just repeat it over and over in disbelief.
The main strength is that it doesn't solely rest on another 25 minutes of Trump-isms, but there's plenty. The whole party gets to be implicated and you get a sense of the collective absurd psychosis that has taken hold. This is a show that is looking for laughs after you've conceded you're broken and if life can't be a cartoon, at least this can be. I've been unable to find the funny in Trump from the beginning, which I think stems from a deep appreciation for consequences and historical understanding. His idiot cartoon sons or gonzo Ted Cruz don't feel as much an explicit betrayal to the idea of us ever pulling our shit together and taking responsibility for what's really happening, and were hence what got the chuckles from me. Is it also a cynical small-minded cash and attention grab attempt utilizing an ongoing disaster? Probably. Can it serve as a bridge between the monstrosity and one day feeling capable of cleaning it up? Hopefully.
I don't know man. I'd trade this for a second of hope for the future.
