Chuck Todd interviews me about alternate histories
Showing posts with label Sonya Walger. Show all posts
Showing posts with label Sonya Walger. Show all posts

Saturday, May 21, 2022

Night Sky: Down Home Portal Done Up Memorably



Just finished binging Night Sky on Amazon Prime Video, another travel to other worlds narrative that does it not through space ships or time machines, but some kind of conduits or portals built by some interstellar or intertemporal civilization.   Outer Range did a good job of this with a time-travel hole out on the range.  Night Sky does this with a portal to another world in a shack in the backyard.  And it's lifted immensely by two peerless lead performances by J. K. Simmons as Franklin York and Sissy Spacek as Irene York, an aging married couple in the fictitious town of Farnsworth, Illinois.

[Spoilers ahead ... ]

Let's start at the end of the eight-episode season to see what I think we know:  As Irene demonstrated pretty early on, the alien world outside their window comes packed with oxygen.  Which is why she and Franklin survived at the end, and their neighbor Byron likely did, too.  The body that we saw with the knife sticking out of him was likely the guardian Jude killed in his escape to our planet, and why he was all bloodied with someone else's blood when Irene first saw him and took him into her and Frank's home.

Ok, what else do we know?  There are "apostates" who escape "guardian" control.  Jude is an apostate, Stella and Nick are guardians.  And there are also guardians who have left that role, and help apostates or at very least don't hunt them.   Hannah (played Sonya Walger from Lost, Flashforward, For All Mankind, and many more) refers to this third group, of which she is a member, as the "fallen".   So that's a nice set-up of characters and allegiances. 

Back to the portals:  they connect different parts of the Earth -- characters use them to travel instantly from Mexico to Newark, NJ, and from Farnsworth to Bangkok -- and Earth to at least one other planet, the one that has oxygen, and some kind of little city not far from its side of the portal.   Whoever built them did that as long as several hundred years ago -- there's a sketch of a door to a portal in Argentina in the early 1700s.

The personal story of the Yorks is touching and  powerful, all the more because it is brought to life by such brilliant acting.  The other characters range from interesting to compelling, which is a good range for a series like this.  Denise, the granddaughter (well played by Kiah McKirnan), was especially effective in her story, starting to go down the same troubled path as her father, rescued by Jude, her knight in shining armor.

Questions remain.  What happened to Byron?  Where is Jude's father?  This all adds up to a memorable series -- creds to creator Holden Miller -- which would be well served by a sequel, which I'd binge a day or two after it was released, as I did with this first season.  My wife, not generally a fan of science fiction, enjoyed it, too.







Saturday, February 20, 2021

For All Mankind: Season 1 and Episode 2.1: Alternate Space Race Reality



Ronald D. Moore is best known for his creation of the Battlestar Galactica reboot and Outlander, two very different TV series which were (BSG) and are (Outlander) justly lauded masterpieces of science fiction (maybe Outlander is science fantasy, but the point still holds).  Moore had a lot riding on For All Mankind, another, very different kind of science fiction series.  I just saw the entire first season (which began to air on Apple TV in November 2019) and the first episode of the second season (which started airing yesterday).   It's at least as good as Battlestar Galactica and a little better than Outlander.  In my never humble opinion.

The series rests on a bold premise:  had the Soviets beaten the US to the Moon by just a slight margin in 1969 -- one month -- the result would have been much better for getting humans out into space because the competition between the two superpowers would have continued and intensified.  In literary terms, it would have set in motion an alternate reality in which the two superpowers continued vying to be the lead and dominant humans beyond our planet.

As far as our reality or real history, it's entirely plausible that the Soviet Union could have pulled a fast one and beaten us to the Moon by a month.  It's not really clear, to this day, why the Soviets after the mid-1960s fell so far behind the US, after being first to get a satellite (Sputnik), then a satellite with a dog (Laika), and then a satellite with a human being (Yuri Gagarin) off of this planet into space.  Indeed, the best explanation I've read of why the Soviet Union fell behind the U.S. in the space race comes from a little-known science fiction novel published in 2000, Red Moon, which was also the title of the first episode of For All Mankind.

The alternate history and the real history in For All Mankind was handled plausibly and provocatively, no easy task to pull off smoothly, as the first season and the beginning of the second season did.  My favorite alternate history gambit in the first season is Ted Kennedy cancels his trip to Chappaquiddick, to focus on why the US space program fell behind the Soviets, and is elected President in 1972.  Walter Cronkite and Barbara Walters deliver the news without being named via actors who look and sound like them.  Nixon, Teddy, and (at the end of Season 1 and the beginning of Season 2) Reagan are presented in real footage and photographs, via voices that deliver alternate-history speech via impersonators or who knows how they got those voices, but it worked. The second season starts with a nice handful of alternate history touches, including John Lennon surviving the attempt on his life but the Pope not.

Other major changes in the history of For All Mankind include women achieving importance as astronauts and in flight control long before they did in our reality.  Permanent bases are established on the Moon by the U.S. and the Soviets in the 1970s.  By the 1980s, the science of space travel has led to electric cars on Planet Earth.   But the human success in space has by no means wiped away all the inequities we have suffered from in this reality.   Prejudice against gays warp the personal life of at least one astronaut, and immigrants are treated badly by the FBI obsessed with rooting out Soviet spies.

The personal lives of the astronauts of course play a major and tempestuous role in the narrative.   Ed Baldwin (played by Joel Kinnaman who never misses), Tracy Stevens (Sarah Jones), and Molly Cobb (Sonya Walger) are my favorites, but all the characters are memorable and well acted.   And the lives portrayed are realistic.   Death always lurks near life, ready to rear its head, and this is more so when that life is in space.  Just as in our own reality, not everything goes right or as expected in the grand endeavor to get us off this planet, and you'll be on the edge of your seat for just about every episode in this remarkable series.

For All Mankind picked a good time to debut its second season, the day after the NASA Rover landed on Mars in our reality.  I'm hoping that the series continues long enough to show us astronauts arriving on Mars -- I'll be reviewing every episode from now on -- and that this alternate reality converges with our reality, in which we send people to Mars, too.

Further on why our own space program stalled after Moon landingThe Missing Orientation

And here's an alternate-history space-race novel:



*** Note added 27 October 2023:  Check out my review of Jack Dann's new book, The Fiction Writer's Guide to Alternate History

Friday, October 29, 2010

Back In Treatment 3.1.1-2: Bengali Candy, Twitter, and Superb

In Treatment's back on HBO for its third season - and, significantly, its first with totally new stories (the first two seasons were American adaptations of Be'Tipul, the Hebrew name of the series that originated in Israel and played there for just two years).  So, when I say the first two episodes were superb, that's high praise indeed, because an original story is always more of a challenge than an adaptation of a proven winner, though that's no piece of cake, either.

And the first two episodes were fine, indeed - the same deep, cool, drink of the human intellect and our undeniable capacity for rationality, the same mix of emotion and warmth and heartfelt soul, the same welcome respite from all the smack in your face violence of most other shows on television (which I admit I like a lot of, see what else I review here) - in other words, the same unique, narrative power  of the past two years.   And as in the last two seasons, the acting in these first two episodes was outstanding.

Sunil in the first episode is an appealing, original character, an Indian man living with his son and unhappy daughter-in-law and their children in New York.  Sonya Walger plays the daughter-in-law, down to just one major role in a television series after her double billing last year in Lost (Penny!) and Flashforward.   Irrfan Khan (he played the cop in Slumdog Millionaire) looks a bit too young for the part of Sunil, but gives a quiet, convincing portrayal, replete with deftly unwrapping and putting in his mouth "his favorite Bengali candy" (as his son tells us) and deftly wrapping and putting in his mouth some kind of cigarette.  Paul lets him smoke - daughter-in-law hates it but she's left the office - because Paul wants to make Sunil comfortable, and Paul still enjoys the smell of tobacco.

Debra Winger as Frances in the second episode is just great, as good or better than her fine recent work in the movies.   Her facial expressions are as good and multifaceted as her dialogue, which runs from challenging Paul (as his attractive female patients always do) to complaining about social media and her daughter "blasting evil shit on Twitter" about her.  (Paul sympathizes and admits to still having "a problem with email";  see my New New Media for more about Twitter and social media.)  And Debra's character is perfectly cast - an actress her age, worried about forgetting her lines.

But the deeper story of Frances intersects with Paul's personal life and history, and could be the real payoff this season:  Frances' sister Patricia was Paul's patient 18 years ago, and she now has Stage 4 breast cancer.   This of course is having profound impact on Frances, but it also deeply affects Paul - whether out of feeling he still has for an early patient, or of feeling he had especially for Patricia, is not clear - which makes for an intriguing story.

And Gabriel Byrne is as wonderful as ever as Paul, somehow managing to be strong, in command, vulnerable, and almost never petty.   And this season, in addition to everything else, he's worried that he may be experiencing early symptoms of Parkinson's, which his father had.    At the end of the Frances episode, Paul calls a doctor asks him for a "good neurologist"  (I've always found that usage amusing - who in their right mind would ask someone for a doctor who wasn't good?)

Off to an excellent start, and I'll be back here with another review after I've seen episodes 3 and 4.

See also Back in Treatment on HBO ... Back in Treatment: Three More Fine Times ... 2.1-2: Fathers and Daughters ...2.3-5: A Senior, A First Love, A Boy and His Turtle ... Sleep and Ethics ... In Treatment, In Retrospect

And Season One reviews: In Treatment on HBO ... 2. Scalding ... 3. Triangle ... 4. Love and Death ... 6. Paul's Greatest Strength ... 6. Paul's Boat ... 7. Alex in the Sky with Diamonds ... 8. A Princely Performance ... In Treatment Concludes (For Now)









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The Plot to Save Socrates






"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book





Wednesday, September 30, 2009

Oceanic Airlines as a Portal Between FlashForward and Lost

I mentioned in my review of the FlashForward’s fine premiere last week the Oceanic Airlines billboard that appeared in a Los Angeles scene. I said it was a nod to Lost. I think it’s worth another blog post to say it’s much more.

What that billboard does is proclaim that FlashForward and Lost are taking place in the same universe. It’s a universe alternate to ours in which there is no Oceanic Airlines. But it’s a universe in which all the strange phenomena of Lost – including Oceanic Airlines and an island and people that can jump through time – exist or existed.

Oceanic Airlines in FlashForward is in effect a portal that connects both ways between the people and events of Lost and the people and events of FlashForward. Since FlashForward takes place in the present and six months into future, and Lost takes place a little and much further back in the past, that can work.

The people part of the portal are especially significant to consider. Jack in Lost could end up in some episode of FlashForward – not just the actor Matthew Fox but the character Dr. Jack Shephard. Mark Benford from FlashForward could appear in Lost.

In some cases, though, it could get a little complicated. Olivia Benford in FlashForward is played by Sonya Walger, who also plays Penny in Lost. So the actress would pretty much always have to be Olivia in FlashForward, and Penny in Lost, lest the viewers get totally confused and crazy. If Simon, played by Dominic Monaghan in FlashForward (we haven’t really met him yet on the series), were to show up in Lost, viewers would have a hard time understanding why “Simon” looked just like the late Charlie Pace.

Fortunately, Robert J. Sawyer, the author of the FlashForward novel upon which the series is based, doesn’t look much like James Sawyer from Lost, so we would be ok on that score.

But whichever ways these two series go, we could be in for some fascinating crossovers, or, who knows, maybe none at all.

See also FlashForward Debuts

Listen to 40-minute interview with Robert J. Sawyer

review of Lost Season 5 finale, with links to reviews of earlier episodes


6-min podcast episode about Oceanic








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Thursday, September 24, 2009

FlashForward Debuts: Irresistible Human Stories and Science Fiction

Before I review the first episode of FlashForward - which I thought was splendid - I should tell you, in the spirit of full disclosure, that the novel FlashForward upon which this ABC-TV series is based was written by my good friend, Robert J. Sawyer. That said, I should add that I'm especially delighted that I enjoyed the premiere of this series so much, because I would have had no choice but to be honest with you if I did not, or I might not have reviewed the series at all. And I promise to give you my candid views of every episode that I review.

The second preambling point I should make is that the series story is different in many ways from the novel, and at the same time it draws upon many of its powerful themes, but I won't spend any time here at all with comparisons pro, con, or otherwise to the novel. Instead, as I have been doing with True Blood - based also on a series of novels - I'll be reviewing the television series FlashForward totally on its own terms.

So here goes ... (as with all of my reviews, expect spoilers) ...

Everyone in the world (or, as is revealed near the end of show, everyone other than at least one) blacks out for 2 minutes and 17 seventeen seconds. But it's not really a black out, because almost everyone (again, minus at least one, and not the one indicated above), has a vision of the future six months into the future.

The first important point in the plot, confirmed in a variety of effective, emotionally compelling ways, is that the vision is proven as in some sense real, not a mass hallucination. An FBI guy in Los Angeles recalls being in a meeting with his counterpart in New Scotland Yard six months from now, and she confirms it, too, down to the detail of a bird flying into a window.

The most compelling confirmation comes from Mark Benford (well played by Joseph Fiennes), an FBI agent married to a doctor, Olivia. She's played by Sonya Walger, who is always a pleasure to see in any role on the screen, including The Sarah Connor Chronicles, Tell Me You Love Me, and, of course, as Penny in Lost. Mark's vision provides the foundation of the investigative part of this story - he sees himself in the future looking at names on a board as part of a case, and this gets the case started in our present (more on this in the next two paragraphs). Olivia's vision sees her happy and in love with another man - a vision which upsets her, to say the least, since she is very happily married to Mark, and this in effect sets her and Mark on a path of making sure the future she saw does not come into being, even if it might have benefits for other people. A part of Mark is hoping that the vision may somehow not be real - but the hope is dashed when his young daughter asks him in a quietly wrenching last scene to put on a friendship bracelet she made for him. Mark has seen this on his hand in the future.

The issue of pre-determination versus free-will is always on the table when people see the future, either by traveling to it, or somehow viewing it, in science fiction. Indeed, one of the reasons I think time travel is impossible, though I love to write and read and see it, is that I believe in free will. If you know the future, and that has any meaning, that must mean you have no free will - you cannot change what you saw or otherwise know about the future.

An appealing intellectual game for people who like time travel is a future, which hasn't happened yet, causing itself to happen by influencing the past. FlashForward has this intriguing reversal of cause and effect, in Mark's investigation in the present ignited by what he saw in the future, and that in itself makes it exceptional television.

Lost has some of this, too, and there are some similarities - for the good, I'd say - between the two series (as well as a billboard for Oceanic Airlines in an early FlashForward scene). A kangaroo running through Los Angeles, a mysterious hooded figure who did not black out (he's caught on a video taken at a stadium - I suspect he's the character played by Dominic Monaghan, by the way, but that's just a guess), and of course people who know what's going to happen (obviously just about everyone in FlashForward) all have echoes of Lost.

But FlashForward has a multiplicity of powerful stories all its own, including one character, Mark's partner Demetri (John Choe), who has no vision of the future at all. Does that mean he's bound to die? The answer will no doubt not be even close to that simple, but the tableau of conflicting interests, ranging from wanting to ensure to wanting to prevent the glimpsed future, makes for an irresistible story.

The premiere of FlashForward will be on ABC again tomorrow evening - well worth seeing if you missed or didn't TiVo or DVR it. I'll be back here next week and every week it's on - which I suspect will be years - with a review of FlashForward.

You might enjoy my in-depth interview with Robert J. Sawyer from last week.






10-min podcast review of FlashForward 1.1




 
another kind of time bending

#SFWApro

Tuesday, September 23, 2008

The Sarah Connor Chronicles 2.3: Who Truly is Agent Ellison?

An excellent Sarah Connor Chronicles last night - Episode 3 of Season 2 - with the power that comes from the death of an important character.

I've really enjoyed Sonya Walger's work as Penny in Lost, Carolyn in Tell Me You Love Me, and Michelle Dixon in The Sarah Connor Chronicles. But Tell Me You Love Me is no more, and now we'll have to wait for Penny to turn up again in Lost. Michelle got killed by the Terminator Cromartie last night, in a taut kidnap plot that came perilously close to getting John, and had some of the best action so far in the series. Indeed, only the Terminator incapacity to swim saved John. Not that Cromartie drowned - he just eventually walked up to shore out of the water. But when he and John were in the water, and John pulled broke away, John was able to swim to safety.

Long range, however, I thought the most interesting part of 2.3 was the conversation between Agent Ellison and Catherine Weaver in her office. Catherine apparently is a shimmering T-1001 - so, what does she really want from Ellison? This plays into the question of why Cromartie spared him.

The obvious answer that Ellison can lead the Terminators to John doesn't seem sufficient - they don't seem to have too much trouble finding John on their own. Ellison may play some role in the creation of Skynet - but, that would be nothing so earthshaking, either.

I'm thinking Ellison must play some role that we haven't figured out as yet. Or, perhaps Ellison is himself a Terminator - one which, like the unrevealed Cylons in Battlestar Galactica, doesn't know his true identity just yet....

There probably are lots of reasons we've seen in the last season which don't support this hypothesis. But I figured I'd just put it out there...



See also 2.1 Cameron's Back ... 2.2 Firing on All Cylinders ... 2.4: Meet Allison ... 2.5: Unpacking the Future ... 2.6: Terminator Mom, Human Daughter, Questions






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


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Tuesday, September 16, 2008

The Sarah Connor Chronicles 2.2: Firing on All Cylinders

Excellent second episode of second season of The Sarah Connor Chronicles tonight - with action in all areas of thought, emotion, and, of course, action...

Among the highlights -

1. I really like Cameron this year - more multi-dimensional. Although she's recovered from the exploding car, and gotten back her override, there's more to her than the lingering suspicion that she could go bad at any instant. Her brush with death has made her more human.

2. John is starting to hook up with a girl at school. Don't tell me she's a Terminator, I won't believe it, and I'll be disappointed. It would be far more interesting to see them have some kind of relationship, with Cameron jealous, Sarah concerned, etc.

3. Sonya Walger's back as Charley Dixon's wife. Now, if they could bring on Charlie Pace and Desmond ... But, even so, it's always good to see Sonya/Penny.

4. Speaking of shoutouts, good to see Paul Schulze on the show tonight - aka Agent Richard Garrity on Journeyman, Ryan Chappelle on 24 and Father Phil on The Sopranos. Alas, Schulze's character on Sarah Connor had the same fate as Garrity on Journeyman and Chappelle on 24....

5. Back to Charley - good scene with him and Agent Ellison...

6. And Sarah gets exposed to radiation - which may or may not be what ultimately kills her. Nice can't avoid your fate touch there.

This season is off to a better than last year's, and is already firing on all cylinders.

See also 2.1: Cameron's Back ... 2.3 Who, Truly, Is Agent Ellison? ... 2.4: Meet Allison ... 2.5: Unpacking the Future ... 2.6: Terminator Mom, Human Daughter, Questions



See also 2.1 Cameron's Back






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


more about The Plot to Save Socrates...

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Monday, January 21, 2008

The Sarah Connor Chronicles: 1 and 2

Well, I wasn't going to watch and review it. I didn't want to disrupt my recollection and appreciation of Terminator 1 and 2, which I thought were superb, or even Terminator 3, which I also enjoyed. That, and I don't think movies shrink very well to the television screen. For every Stargate and Buffy, in which the television was far better than the movie, you have tens of Alien Nation, Blade, Animal House, Dirty Dancings.

On the other hand, the Terminator stories are about time travel. And that, as readers here know, is a pretty big hand, for me. And I heard some good things about The Chronicles...

So I saw the first two episodes on Fox's On Demand online website last night.

And I thought they were excellent. The pilot, in fact, is one of the best hours of television I've seen in the past few months - meaning, it's right up there with the best of Journeyman and The Wire. And the second episode was powerful and appealing, too.

The story in The Chronicles starts after T2. Sarah, played by Lena Headey (of 300 fame), is living quietly with her fiancé and son John in the midwest. One of the problems with any remake is new acting talent playing a character whose face and mannerisms belong to another. It's still hard to imagine anyone other than Linda Hamilton as Sarah, but Lena Headey's performance is strong and convincing.

The Sarah Connor Chronicles also has lots of nice attention to detail. Sarah's fiancé - Charley Dixon - is played by Dean Winters, who looks a lot like Kyle Reese/Michael Biehn. Makes sense that Sarah would be attracted to the same kind of man.

There are some fine jolts in the plot, which I won't give away in this review, except to say think more Terminator models and, of course, time travel - but done with surprise and panache.

And Lost fans - Penny (Sonya Walger) has a continuing role in the Chronicles! I hope she hasn't given up searching for Desmond, but she's certainly better off without that cold fish she was married to in Tell Me You Love Me.

I'll be watching The Sarah Connor Chronicles on Fox, reviewing them right here on Infinite Regress, and after giving you a chance to see the first two episodes (which play nicely on Fox's web site), I'll start discussing significant plot elements with spoilers in the reviews - that will be later tonight, after I see Episode 3 at 9pm.

It's good to have The Terminator story back on the screen. It always had a unique blend of mostly breathtaking action and a sprinkle of winning humor. The Chronicles has that, too.

In one telling scene, a bad Terminator is about to smash into a bank. He notices lots of police, bristling with weapons, out front. His screen quickly sizes them up, and we see a brief advisory - "no threat".

The police are no threat - that's the kind of thing I like to see in a story...

See also The Sarah Connor Chronicles 3 ... 4: A Robot Primer ... 5 ... 6 ... 7 ... 8-9: Terminate with Puzzles, Surprises, and Soul







The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book


more about The Plot to Save Socrates...

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Read the first chapter of The Plot to Save Socrates
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Monday, November 5, 2007

Tell Me You Love Me Concludes for First Season

A very satisfying finale to Tell Me You Love Me on HBO On Demand last night...

1. Jaime and Hugo's getting back together and married was entirely motivated. I also liked the realistic way this episode built up to their happy ending. They meet in a gas station mart. Next have dinner, but don't sleep together. Instead, they talk later that night on the phone... and seal the deal. There surely were more people with broken hearts in the world before Alexander Graham Bell.

2. Palek walks out, Carolyn loses their baby, Palek comes back. A harsh arc, but it's about the only way the couple could have proceeded. What's not entirely clear is whether Carolyn will ever completely forgive Palek (I would say not - but there was no clear indication one way or another on the show).

3. Katie and David come this close to splitting, but - at last - make passionate love. This was predictable - but nonetheless satisfying.

And let me say here that Ally Walker's acting as Katie was really exceptional - last night and on the entire series. She had just the right mix of vulnerability, hope, and fatigue. All the acting on the series was excellent - the women (Michelle Borth as Jaime and Sonya Walger as Carolyn) standing out maybe a little more than the men (Tim DeKay as David and Adam Scott as Palek) (and Ian Somerhalder as Nick and Luke Farrell Kirby as Hugo with less screen time as Jaime's guys) - but it was all fine, and Ally Walker was the best of the best.

Along with Jane Alexander, who was superb as Dr. May Foster, and as I've said before, has never put in anything less than a great performance in anything I've ever seen.

As I also said in my preview review of the first show, Tell Me You Love Me wasn't really about the nudity, though that certainly made for some nice scenes.

But the show was about relationships, and I'm looking forward to Season Two. Will we be seeing these three couples again? I'd say probably not, but I have no information about this. Surely May Foster will be back - with David Selby as her husband Arthur - and you can be sure I'll be posting reviews right here on Infinite Regress.

Hey, it's a tough job, but someone's gotta do it...

See also Tell Me You Love Me on HBO and Tell Me You Love Seven Times ... and Episode 8 ...







5-minute podcast about Tell Me You Love Me






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book

Monday, October 15, 2007

Tell Me You Love Me Seven Times

Well, I've now seen seven episodes of Tell Me You Love Me on HBO, and thought I'd report back to you, your dedicated correspondent, about how I think the series is progressing.

First, the sex continues to be explicit and good. Episode 7, still fresh in my mind, had some especially good scenes with Jamie and Hugo, and Carolyn and Palek (separately, that is).

And what about the four ongoing relationship stories? Let's take them in chronological order, starting with the youngest.

Jamie (Michelle Borth) and Hugo (Luke Farrell Kirby): are no longer a couple, even though they were together last night, and who knows what might happen next. Turns out that Jamie, who in the first episode was obsessing about Hugo's wandering eyes, has a history herself. This is one of the signatures of the series: With each couple, we start out thinking that just one of the partners is causing the problem. But we soon learn that both are responsible, in their own ways. Jamie has now slept with two other guys since Hugo left her, and may (though I doubt it) be falling in love with Nick (Ian Somerhalder - Lost's Boone! - he never met Penny on Lost, but it's good to see both of them on Tell Me You Love Me, anyway).

Carolyn (Sonya Walger - Lost's Penny) and Palek (Adam Scott): have for the most part been trying to have a baby (or, at least, Carolyn's been trying), and there are some good surprises in this story that I won't tell you about in case you haven't yet seen
them. I don't see much hope for this couple, mainly because Palek is, I don't know, such a pretty-boy cold fish.

David (Tim DeKay) and Katie (Ally Walker): As I mentioned in my review last month, I find this relationship the most far-fetched: a couple sleeping together in the same bed, but haven't had sex in a year. I mean ... sooner or later, they're close together, half asleep, something should lead to something more ... but, ok, leaving that aside and suspending my disbelief ... Theirs is indeed a complex story, and more than it seemed at first. Katie is contributing to the problem. She confided last night that, when she and David were having sex, she sometimes faked her orgasms... And maybe more than sometimes. I predict that by the end of this season, we'll see this couple making love again, but it will be interesting to see how they get there.

Dr. May Foster (Jane Alexander) and Arthur (David Selby): are clearly a fourth couple, which is a nice touch, since Dr. Foster is also the couples' therapist treating each of the other three couples. We see May and David having some pretty passionate sex - though not as explicit as the first two couples - and I give Tell Me You Love Me credit for going into that largely uncharted territory of hot sex in your seventies. (Hey, it's always good to see a rosy future.) Their problem as a couple is probably the most mundane - a lifelong love of May's, played by Ronnie Cox, comes back into her life when his wife dies. But the story is well rendered.

All said, then, Tell Me You Love Me is keeping the promise it made in the first episode: a portrayal of sex and relationships in diverse walks of life in the 21st century, with not much left covered. The acting is really excellent throughout, and if some of the stories seem a bit strained, the passion of the players more than makes up for it.







5-minute podcast of this review


See also Tell Me You Love Me on HBO and Tell Me You Love Me on Tell Me You Love Me: Episode 8






The Plot to Save Socrates


"challenging fun" - Entertainment Weekly

"a Da Vinci-esque thriller" - New York Daily News

"Sierra Waters is sexy as hell" - curled up with a good book

Wednesday, September 5, 2007

Tell Me You Love Me on HBO

I saw the first episode of Tell Me You Love Me on HBO On Demand last night.

It begins this Sunday, and I was going to wait until then to see it, like a normal person, but (a) who says I'm normal and (b) reporters from the Christian Science Monitor and the Baltimore Sun called in the past week to interview me about whether I thought Californication and Tell Me You Love Me represent a new leap forward in sexuality on television.

They do. Network television was and to some extent still is the old maid of media when it comes to sexuality. NYPD Blue made a little bit of progress in the 1990s, but it was HBO on cable which made the big breakthrough in the Bada Bing on The Sopranos, and went even further with Atia and Brutus (separately) in Rome.

Now even that has been surpassed by Hank and his continuous escapades in Californication, and the three couples we see in imperfect and intriguingly difficult relationships, in and out of beds and cars and clothes, in Tell Me You Love Me.

My favorite is the youngest couple - Hugo and Jamie, played very well by Luke Farrell Kirby and sizzling Michelle Borth. Their problem is the most common - they have great sex but Hugo has wandering eyes. Carolyn and Palek - also well played by Lost's Penny (Sonya Walger) (did she give up looking for Desmond?) and Adam Scott - are having trouble conceiving, which is making their sex into clinical baby making motions. And David and Katie - also well acted by Tim DeKay and Ally Walker - are in their 40s, and haven't had sex in a year.

All three couples are or will be headed to couples' therapist Dr. May Foster - Jane Alexander - who has been giving great performances since the Great White Hope in 1970. Dr. Foster may have the best sexual relationship, with her husband Arthur (David Selby), of any couple on the show, but you never know...

So ... three, actually, four couples, all trying to get the most of their physical and emotional relationships, with varying degrees of success. Lots of explicit sex, lots of nudity - yeah, front and back, women and men - and, yeah, if you must know, even more than in Californication.

There will be no doubt be lots of informed and uniformed discussions about whether what we're seeing is real or prosthetic.

Doesn't really matter, I'd say. The stories are real and captivating, even when a litte far-fetched (like David and Katie), and I'm looking forward to more Tell Me You Love Me.

Likely under the influence of the more libertine Internet, which is increasingly a form of television, the screens in our living rooms are growing up, and that's a good thing.

See also Tell You Love Me Seven Times and Tell Me You Love Me on Tell Me You Love Me: Episode 8






5-minute podcast about Tell Me You Love Me








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See also:

The Sopranos As A Nuts-And-Bolts Triumph of Non-Network TV

Good Sex on Rome, Bad FCC in Washington









The Plot to Save Socrates



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