Winter TV Roundup, Week 3

We're in the midst of January, and the flood of new shows is strong. This week alone there were eight new debuts, with more new coming starting tonight. As always, in these weekly posts I review the pilot and second episode of new scripted series this winter. Don't see a new show listed below? Check previous weeks.

Monday Nights:
The Alienist, Mondays at 9 p.m. on TNT (Premiered January 22)
About: This is the latest drama for TNT, set in 1896 and focused on a serial killer and those who hunt him. It's based on the 1994 novel by Caleb Carr of the same name, and it's a project that's been in development for quite a long time. Now it's finally out, but the marketplace is much different in 2018 than it was in 1994. In fact, quite a number of these kind of stories have been told, and as produced for TNT, it doesn't have some of the upper tier production values, either. The film centers on Dr. Lazlo Kreizler (Daniel Brühl), an Alienist (the term at the time for a psychologist), and his friend and partner, John Moore (Luke Evans), an illustrator for the New York Times. The two are quickly embroiled in the murder of a young boy, who was mutilated and displayed on a bridge. Moore and Kreizler use their connection to fellow Harvard alum Teddy Roosevelt (Brian Geraghty), then-Police Commissioner of New York City, to gain entry to the crime scene and other police resources. Also helpful in the journey is Sara Howard (Dakota Fanning), the first woman employed by the NYPD. In the pilot, we're introduced to the characters and world, and to the crime(s) that will become the basis of the hunt. Doubtless there are many fans of the novel that are thrilled to see it finally brought to life. And this is the kind of story that, back in the late 1990s, would probably have felt fresh and new. But the idea of a group using science to solve crimes isn't new. Nor is people examining bones to look for clues. TV series over the last 25 years have made that well-trod ground. In addition, the idea of brutal or ritualistic crimes in series is sadly not new, either, and many other cable series have done that in a more chilling way than what I saw in the pilot (which attempted to add a little more graphic violence to the crime scene than I thought was totally necessary). But for me, what was most striking is how much this felt like a poor man's take on Sherlock Holmes and John Watson. Perhaps that will change in subsequent episodes, but this felt very much like it was setting up that kind of dynamic with Moore and Kreizler, and given that we've seen that pairing on both the big and small screen a number of times over the last decade that aspect, too, felt stale. Overall, this show is fine. But it's hardly the original splash that TNT is looking for, especially from a series whose period setting and strong cast likely makes it a time-consuming and expensive endeavor. Sadly, I don't see this generating a strong return on investment.
Pilot Grade: C

The Resident, Mondays at 9 p.m. on FOX (Premiered January 21)
About: FOX has really launched into 2018 hard, re-making most of their prime time lineup. They added the new comedy "LA to Vegas," brought the return of "The X-Files," and launched the successful new series "9-1-1." On Sunday, following the NFC Championship Game and their final football broadcast of the NFL season, the network launched another series with broad appeal, "The Resident," its latest medical drama. After a premier on Sunday night, the series slipped into its regular time slot on Monday night at 9 p.m. last night. The series was co-created by a pair of staff writers from "Code Black" and Amy Holden Jones ("Mystic Pizza," "Indecent Proposal"), and offered a quick hook in its opening frame and a drastically different take on the genre in its pilot episode. That take would best be described as abrasive. If "ER," which recently had its entire catalog of 331 episodes added to Hulu, was a hopeful and idealistic take on the genre, "The Resident" is clearly the most cynical. In fact, I thought the pilot's story and characters were off-putting in how abrasive they were. And this is despite a decent cast, led by Matt Czuchry, Emily Van Camp, and Bruce Greenwood. There was plenty in the set up. The pilot begins with a savage, and bloody, medical mistake made in surgery by Chief Randolph Bell (Greenwood), who is revered as a legend but has been slipping. And his colleagues all know it. But Bell is too arrogant and proud to ever take a step back or acknowledge that his skills have slipped. Then we shift the focus to brash resident Conrad Hawkins (Czuchry), nurse Nicolette (Van Camp) and his new intern Devon Pravesh (Manish Dayal). The action of the pilot followed that of the opening, creating a dark and cynical take on health care in America, and those who practice it. I'm sure the creators would argue it's just more honest, which is possibly true but honesty about our world isn't the kind of escape most of us are looking for in scripted dramas we watch during our leisure time. I thought the pilot really ramped up the action and seemed to be writing itself into corners with some of the story and characters. It was too in-your-face, and I wasn't sure I could envision it as a series. The second episode, by comparison, was slightly better. I still think there are flaws in the characters and story, and I still think it's an incredibly cynical take on the genre, but I could more easily see the format moving forward. The second episode also introduced a key character, Dr. Lane Hunter (Melina Kanakaredes), someone not in the pilot and a character that felt like was added to balance the show when it was picked up to series. That might help going forward. I still like the cast, and the idea of a hospital show is a welcome one, but so far I'm not taken with the way the formula is being put into practice with "The Resident," and I'll be curious to see where the audience number settles.
Pilot Grade: C-
Second Episode: C

Tuesday Nights:
Black Lightning, Tuesdays at 9 p.m. on The CW (Premiered January 16)
About: The CW is no stranger to Superhero shows. Already producer Greg Berlanti has brought the network "Arrow," "The Flash," "D.C's Legends of Tomorrow" and "Supergirl." In fact, those are some of its bed rock, most successful series. So it makes sense the network would be quick to add another one. But "Black Lightning" isn't like the current run of stories. First off, it's not part of the inter-connected world of the other series (yet). The series was originally developed for another network before finding a home on The CW. And for the time being, the titular hero is on his own. It also doesn't feel like those other series. This isn't about Jefferson Pierce (Cress Williams) discovering his power as Black Lightning. In fact, Pierce has had the power and been the titular hero for years. Or at least he was. When the series picks up, Black Lightning is retired and Pierce is a high school principal and father to a pair of young women. He's given up his mantle, at the urging of his ex-wife Lynn (Christine Adams) for the good of his family. But when Pierce sees the city in need, and when his own girls are threatened, he once again takes up the call. And, judging by the pilot, he might not be alone. I am the target audience for superhero shows. I watch the entire expanded universe on D.C. and even have stuck with "Gotham." And I was interested in this story because it was a little different, and because I like Williams in the lead role. And after watching the pilot, both those things are still true. And I think there's potential here for this show to take root and to offer something different than the glut of similar series on the air. But the pilot was a little uneven for me, and I wasn't totally taken with the characters, even if I liked the idea and style. This feels like a show that may need some time to find itself (similar to how I felt about "Legends of the Tomorrow," but for different reasons). For now, I like the cast and the concept, and I'm curious to see how a hero that many won't be familiar with is brought to life in a weekly series.
Pilot Grade: C+

Wednesday Nights:
Alone Together, Wednesdays at 8:30 p.m. on Freeform (Premiered January 10)
About: This series, about a pair of obnoxious Millenials who find connection in each other, is paired with the spin-off "Grown-ish" to make a Wednesday night comedy block for Freeform. On paper, this seems like a good idea. But while I didn't love "Grown-ish," I thought there was some potential in the cast, style, and structure. "Alone Together," which stars and was created by Esther Povitsky and Benji Aflalo, and is produced by the Lonely Island Team, offered a garish and abrasive pilot. It was a painful 30 minute watch for me, and I couldn't see it being much of a series. As the second episode bowed, I thought there was improvement and maybe something interesting. But it, too, devolved quickly. I didn't enjoy the characters, story, or structure here. I think the performances must be good because of how put off I was by the characters. There's nothing about this that would lead me to watch it on a weekly basis (or ever again), but perhaps I'm not the target demographic. If anyone knows who is, or finds a soft spot for this trainwreck, let me know.
Pilot Grade: D
Second Episode: D

Corporate, Wednesday at 10 p.m. on Comedy Central (Premiered January 17)
About: This latest series from Comedy Central is a crass workplace comedy about a couple mid-level managers (Matt Ingebretson and Jake Weisman) working for a large, impersonal corporation. They report to a couple of clueless managers (Anne Dudek and Adam Lustick) and a ruthless CEO (Lance Reddick). There are other colorful office characters along the way. This is the kind of show that might work better on a pay cable network. The first four episodes are available online and uncensored, and to be honest with the level of adult content and language they work better without the filters applied to shows airing on cable. In some ways, this reminds me of a modern take on "Office Space," the hilarious movie about the grind of working for a soul-less corporation. And I really enjoyed Reddick in his role as the CEO. The rest of the cast did a decent job, too. But given the current climate, the truth in this "comedy" is a bit of a bummer. And, as I said, this might have reaped the benefit of being on a network where it could air uncensored all the time. Still, for fans of this style of comedy, I thought this show was pretty well done. It just doesn't feel like something I feel like investing in every week.
Pilot Grade: C+
Second Episode: C+

American Crime Story: The Assassination of Gianni Versace, Wednesdays at 10 p.m. on FX (Premiered January 17)
About: It's been two years since the initial installment of "American Crime Story," "The People vs. O.J. Simpson," first aired. That 10-episode series was a masterpiece, and one of the best of 2016. As the first salvo in an anthology series, we knew whatever followed would be wholly different. And "The Assassination of Gianni Versace" is that, wholly different. The cast is different. The setting is different. And the tone and style are different. This also isn't a story that was as much a part of the cultural landscape as the O.J. Simpson Trial. As with many of Ryan Murphy's anthology series, your interest in it probably depends on how you feel about the subject. (For example, I've probably only watched half the seasons of "American Horror Story" because they don't always interest me.) And I don't know how I feel about this story or sticking with it every week, but I appreciate the craft here. This installment comes from writer Tom Robb Smith ("London Spy") and is based on the book by Maureen Orth. (There have already been high-profile complaints from the Versace family that this isn't an account authorized by, or featuring input from, the family.) So this is a fictionalized take that requires creating scenes and dialogue. But the premier episode featured the titular assassination, and subsequent episodes will show the aftermath and also what came before. The first episode wasn't my cup of tea from a story standpoint, but the look and style crafted by Murphy, who directed the pilot, was visually engaging. And the performances were quite good, especially the work of Darren Criss as the assassin Andrew Cunanan. For those who are fans of true crime stories, this will be a compelling watch. For the wider audience, this story doesn't have as much universal connection or appeal as the first installment, and it's style of storytelling is a radical departure. That is the beauty of the anthology format, but might also be a stumbling block for those expecting something similar to what they saw in 2016.
Pilot Grade: C+

Friday Nights:
The Paynes, Fridays at 8 p.m. on OWN (Premiered January 16)
About: This latest sitcom from Tyler Perry on OWN (Oprah's network), is a spin-off of his long-running TBS series "House of Payne." This one takes the action from Georgia to Florida and a new venture for Curtis (LaVan Davis) and Ella (Cassi Davis). I wasn't a dedicated "House of Payne" watcher, nor am I a big follower of Perry's catalog. But this new series seems to follow both those successful formulas. The first two episodes aired back-to-back on Tuesday night before slipping into its regular Friday night time slot. For those looking for this kind of big, broad comedy, this will be a welcome viewing option. I thought the style was a little stiff and slow for me, and the jokes were too obvious and telegraphed. But the episodes were put together well and will likely fill this kind of niche, especially for fans of the original series.
Pilot Grade: C-
Second Episode: C-

Sunday Nights:
Counterpart, Sundays at 8 p.m. on Starz (Premiered January 21)
About: Starz has been in the original content game for a while, but somehow they still end up a step behind other premium pay cable outlets like HBO and Showtime. "Outlander," the popular sci-fi, time travel, romance series has started to change that some, but it is their latest, "Counterpart," that feels like the biggest step forward for Starz. That's in part thanks to a high-concept story from writer/creator Justin Marks. But it's also largely thanks to star J.K. Simmons, who plays a duel role and is incredible. The story picks up with Howard (Simmons) a low-level employee in Berlin who doesn't really know what he does or why it is vital. He's been passed over for a promotion and his wife (Olivia Williams) is in a coma after an accident. He's a quiet and unimportant man. That is until he meets his double from a mirror world he didn't even know existed, and suddenly becomes vital to the security of both worlds. The story here is fascinating and pulls you in. The pilot establishes the world and some of the characters, and gives you a hook to want to see what comes next. But what's really great is the work of Simmons, an Academy Award winner, who manages to do some much to create unique characters with his facial expressions and vocal inflections. He imbues both Howards with completely different personalities and creates something engrossing. The pilot wasn't perfect, but I liked the story and performances and I'd be curious to see how it develops. It's the most interesting pilot I've seen from Starz so far.
Pilot Grade: C+

Mini-Series:
Mosaic, airing on HBO this Week (Premiered January 22)
About: "Mosaic" is the latest mini-series to debut on HBO. Part one aired on Monday, with the remaining five parts airing each night this week (two on Friday). But that's only one part of the story. The project, from writer Ed Solomon and director Steven Soderbergh, isn't unique because of its story and characters, but rather because of its ambition. You can watch it as a linear story on HBO this week, and that's fine. But it initially debuted in November 2017 on an app, which allowed users to build the experience of the narrative from different characters' perspectives in any fashion they chose. In that sense, it became like the Hollywood equivalent of a choose-your-own-adventure book. While the end users couldn't change the overall story arc, they could change the way they experienced the story. And that's fascinating. That's likely what drew Soderbergh to the project. But if we're just considering this as a mini-series, based on the pilot episode, it's simply OK. This is a murder mystery of sorts. It starts in the present and quickly jumps four years back to tell the tale of author Olivia Lake (Sharon Stone), the artist she allowed to live on her property (Garrett Hedlund) and the con-man (Frederick Weller) hired to woo her and convince her to sell, who is now in jail for her murder. But did he do it? Well, we haven't even gotten to the murder by the end of the debut episode, nor have we gotten to see his sister, Petra (Jennifer Ferrin), who is agitating to get to the truth. I'm sure that will come. But for now, the pilot was slowly paced and, despite some decent performances, wasn't that engaging. Again, perhaps this is a drawback of the format it finds itself in now to air on HBO. But only time and subsequent episodes will tell if this is fascinating as a linear story or will remain remarkable for its online format.
Pilot Grade: C