Comic-Con Preview Night Thoughts:
(yeah I’m like a week behind but seeing as Pennyworth debuts tonight, it seemed like a good time to chime in)
Batwoman (CW, airs in October, I think?): Wow. They went like...gay-gay. Not like gay, like gayyyyyy-gay. Here for it. Sadly that's about all I'm here for. Heavy-handed dialogue and establishment of character relationships (expositional dialogue is so 2000-never, please stop this travesty today), possibly some of the worst fight choreography and filming I have ever seen (hard to explain succinctly but fight choreography elements need exposition when new elements are added, and need a variety of wide shots, close ups, and specials/inserts, and this was ALL wide shots sans necessary establishing elements), and super angsty lesbian drama worthy of The L Word. It's like they knew they would get fans simply for having Ruby Rose and wlw content and didn't attempt anything more. A bit insulting, really.
If I watched this show, it would be purely to see Rachel Skarsten’s performance as Alice. In a role that could easily devolve into caricature or simply a regurgitation of any version of the Joker or the Riddler, Skarsten found a way to walk the line between “outright mad” and “playing at being mad because it’s her aesthetic”. Her Alice definitely has a wink-wink nudge-nudge air that keeps her lines (most notably the infamous “why is a raven like a writing desk?” riddle) from being too forced. She’s working deftly with what little she’s been given. Kudos, girl.
My genuine hope is that CW sees how badly Batwoman did at SDCC and reshoots a few scenes (god please reshoot the unbelievably creepy “rescue” scene because that was like...uncomfortable to watch. please don’t make batwoman a creeper.). I would love for this series to be good, right from the start. None of this Breaking Bad “oh you just have to get through the first three seasons and then it’s great” bullshit.
Pennyworth (Epix, airs July 28): Oh my god. Oh. My. Gaaaawd. First, stellar opening credits (JauraProps and I have A Thing™ about credit sequences). Second, beautiful cinematography and a colorist who knows their stuff. Third, nice bit of wink-wink nudge-nudge foreshadowing in regards to Alfred Pennyworth’s future. Fourth, PALOMA FAITH IS KILLING IT, Y'ALL. I haven't really seen her stretch her legs, acting wise (granted I haven't seen her in anything else besides St. Trinian’s, but love her music!), but she's already proving delightfully deranged in her role. Fifth, I'mma be real here: I have less than pure levels of admiration for Dorothy Atkinson, particularly when she gets to be just a little bit vicious. I love her in Harlots, I adore her in Mum. I would probably watch this show just for her face. At the start, I was afraid she was going to be put in a flatter, quieter version of her turn as Jane in Call the Midwife, stuck playing a sighing and beleaguered housewife--but without spoiling too much, let’s just say she ends her part of the episode with a kick. Then entire ballroom erupted into cheers and laughter at her moment of victory. I can’t wait to see where her character goes in this series, as well as the rest.
All in all, this is a story that makes you lean in. Even secondary and tertiary characters have distinct voices and enough of a backstory to make you want to know more. Stellar crew, adept and well-matched cast with a Peaky Blinders vibe.
Prodigal Son (Fox, airs Sept 23): I’m gonna be a bit petty here: Tom Payne legit has one of the most unsettling faces I have ever seen. I was shocked to realize he played Paul “Jesus” Rovia on The Walking Dead--because in this role, he looks nothing like the laid back dude from the zombie apocalypse. He’s lost weight, his hair style is...not flattering, and the whole unshaven thing definitely gives credence to the idea of a character who’s coming unhinged from insomnia and debilitating nightmares. If he showed up at my police station to help find a serial killer, my first question would be: “yo, bro, you sure it ain’t you? because you look like someone who makes human skin lamps in your free time.”
The story follows a young man (Payne) who happens to be the child of a prolific serial killer (played by the incomparable Michael Sheen). In fact, the son was the one who found his father’s last victim and called the cops. For years, he met with his father in a high security asylum as they attempted to “crack the code” of psychopathy and serial killers. However, at this point, it’s been a decade since he’s seen his father--and now he’s a profiler for the FBI. His ability to think like a killer makes him a prime candidate for solving murders...and yet it’s also what has him living in fear of his self.Â
Michael Sheen is the reason to watch. Who else could instill such genuine sweetness into a performance that actually has you looking at a horrific serial murderer and going “ah, he’s not so bad”?! And by sheer witchcraft, ineffable holy miracle talent, Sheen is able to give warm smiles that seem truly deep and genuine at a glance, while maintaining a cold calculating deadness in his eyes. He’s the kind of guy you want to believe, the guy you want to trust, even when you know that perhaps you shouldn’t. Every Sheen scene is a masterclass in acting. If nothing else, literally fast forward through everything else and simply watch his scenes.
My one issue: these bitches have freaking BELLAMY YOUNG playing Payne’s mother. Like she ain’t legit barely 13 years older than him. I’m assuming they’re going to address how youthful she looks eventually (at least give us a throwaway line about botox or something) because it literally kills the whole “suspended disbelief” vibe. Though Sheen is also only 14 yrs older than his “son”, at least he was able to grow out his beard, the added silvers giving a little more credence to a wider age gap, whilst Bellamy is looking dewy as always. Also that reminds me: note to self, stalk Bellamy Young’s skincare regimen.Â