Why TNT should give SouthLAnd a season 4

Readers of this blog will know how much I love SouthLAnd. A year or so ago, as TNT’s airing of the saved NBC season 2 episodes came to an end, I posted an article on why TNT needed to renew the show (here).

The time to call upon TNT to do the right thing has come around again.

TNT, you did an amazing thing rescuing the show from NBC and giving it a third season: please give SouthLAnd the season 4 it deserves, the season it has earned many times over through the extraordinary efforts and dedication of its entire cast and crew.

With Season 3 so far, SouthLAnd has exceeded what even its most loyal fans could have expected. Eight episodes into its ten episode arc, the show has handled with impossible ease its complex storylines, emotionally devastating arcs, biting humor, and desperate tragedy. All these elements are blended together in a light-on-its-feet but brutal style, shot with versatile RED One cameras and the incredible eye of DP Jimmy Muro, who has shown us a new Los Angeles, a city of bright glare, unforgiving streets, and the darkest shadows.

SouthLAnd is one of the WB’s finest ever shows, and this is due to the deep roll-call of high-caliber talent used in every aspect of the show. Creator Ann Biderman and showrunners John Wells and Chris Chulack (also a primary director) have done a fine job in selecting their creative line-up. There’s the extraordinary writing team of Jonathan Lisco, Cheo Hodari Coker, Will Rokos and Heather Zulhke. The brilliant regular directors Nelson McCormick, Felix Alcala, along with guest director Allison Anders, who did such a beautiful job with her episode “Sideways,” all of them ably assisted by the aforementioned Director of Photography Jimmy Muro, who himself directed Cheo Coker’s excellently written “Cop Or Not” episode.

Simply put, SouthLAnd has one of the greatest crews in television. And then there is the cast.

Initially, the show was understandably promoted around Ben McKenzie, fresh off his acclaimed role as troubled teen Ryan Atwood in The O.C. This was no disrespect to the other actors in the show, merely a useful way in the harsh economic reality of prime time TV to capitalize on McKenzie’s high profile. But as great an actor as McKenzie is (just watch his final scene in “Discretion”), this is an ensemble cast in the greatest sense of the word. In fact, as time has gone by, it has become clear that the entire roster of actors on the show are essentially the Yankees of one hour drama. Although TNT featured McKenzie in some of the season 3 promos with The O.C.‘s effective house band Death Cab For Cutie on the soundtrack, they have focused recent promos on the others in the show, primarily Michael Cudlitz, Regina King and Shawn Hatosy.

These three have torn apart the scenery this season, in the best possible way. While the sustained intensity of Hatosy’s raw, heartbreaking performance leads the pack in terms of likely Emmy or Golden Globe recognition, the incredible Regina King has proved herself to be the beating heart and powerful soul of the show, and Cudlitz has carved out one of the most iconic, complex and indelible cops in TV history.

With the budgetary restrictions of the move from NBC to TNT, SouthLAnd necessarily had to focus in on that smaller core cast. However, if you watch the show, you will see that every single person who shows up on screen has authenticity and compelling believability. It’s one of the show’s trademarks. It’s gritty and it’s real, and every moment counts.

The show’s more supporting roles are beautifully played (although every moment of this show plays like the A-story, and every player is treated like a lead actor). Michael McGrady delivers gravitas with routine ease as Hatosy’s boss. C. Thomas Howell is by turns hilarious and jaw-droppingly insane as perpetually troubled patrol officer Dewey. His beleaguered partner Chickie is played to perfection by Arija Bareikis. Jenny Gago has also been a great antagonist as Lydia’s new partner. There are many other fine actors and crew members, sadly too many to name here, but each and every one of them works incredibly hard to make this show as great as it is.

What all this translates to is a show that delivers devastating stories with absolute consistency week after week, while making you laugh, jump up from the edge of your seat, and, yes, cry. The cast and crew know exactly what they are doing: it’s no coincidence that the show’s most heartbreaking episode “Code 4,” the episode in which we lost the soulfully engaging Kevin Alejandro, was also its funniest. The blistering humor made the tragedy so much more difficult to handle. What we see with SouthLAnd is an extraordinary level of storytelling and directorial intelligence.

It’s rare to see this kind of perfect storm of network, cast, crew, locations and fans in television. We can only hope that TNT feels the same way, and gives SouthLAnd another full season with which to devastate and entertain us.

Call to arms: saving the Fringe universe

It’s time for a rallying cry to save one of the most inventive, emotionally rich, beautifully geeky and intensely genre-busting shows on TV right now: Fringe.

The show has risen mightily from its X-Files-esque beginnings, with an unorthodox FBI team working on strange phenomenon-based cases of the week. It has built a beautifully detailed, richly atmospheric and resonant architecture for itself as it heads towards the end of its third season. However, with Fox having moved Fringe to the “Firefly” slot on Fridays, and ratings slipping, the outlook for the Fringe-iverse may not be so positive: cracks may be appearing in the future of the show, just as reality is starting to fragment within the show itself.

The show has a core team of three, serving in the FBI’s “Fringe Division.” Special Agent Olivia Dunham (played by Anna Torv), the uptight, fiercely intelligent and emotionally unflinching leader. Peter Bishop (Joshua Jackson), the man who was a boy from another universe and is now a troubled but fundamentally sincere and decent “special consultant.” He happens to be the son of the team’s resident genius, Walter Bishop (the legendary John Noble), a Harvard-based scientist who devised countless reality-defying experiments, spent 20 years in an asylum, and now struggles to connect his genius to the real world. These three, with the assistance of agent Astrid Farnsworth (Jasika Nicole), report to Phillip Broyles (Lance Reddick), the enigmatic senior agent with mysterious connections.

Fringe has grown in scale and ambition since those early days investigating unexplained and terrifying creatures and occurrences. Now, it deals with nothing less than the fate of our world, and that of the Other Side, the alternate version of our world, intimately tied to ours as the fabric of both begins to rupture and come apart. The details of that off-kilter alternate world are perfectly drawn, creating the same-but-different feel: for example, there is no such thing as coffee there, the Statue Of Liberty is cast in bronze, and airships float through the high-tech skies. With the conflict between the worlds played out like a war in the making, the show has built a powerful narrative momentum as the stakes are driven higher, and the emotional impact gets deeper, and more intense.

The show is geek heaven, with its critical recurring role for Leonard Nimoy as William Bell, Walter Bishop’s former partner (and founder of Massive Dynamic), and its immaculately chosen guest stars, including Back To The Future‘s Christopher Lloyd, and Robocop‘s Peter Weller. The stories themselves have become more resonant, more richly emotional — feelings play an intense and devastating role in this show. It’s not just abstract science that fuels the tales of the two universes, it’s deeply powerful stories that tear at you with their implications. They are primal human stories: a father losing a son in one world, and stealing his alternate version from another; a love triangle between a man, and the two identical women from each side, told in the most emotionally devastating and real way possible; experiments on children to develop and enhance special abilities, dealt with through the lens of the disturbed, haunted adults they become.

But it isn’t all about darkness and fear. Fringe is one of the funniest and wittiest one hour dramas currently on the air. It’s a true stablemate to other such intense yet bitingly funny shows produced by Warner Bros. Television, including True Blood, SouthLAnd and The Vampire Diaries. They all share deep and compelling traits: they approach emotion, drama and humor with equally savage and sustained enthusiasm and energy. They are all derived from the minds of some of TV’s finest showrunners: J.J. Abrams, Alex Kurtzman and Roberto Orci, Jeff Pinkner & Joel Wyman (Fringe), John Wells, Ann Biderman & Christopher Chulack (SouthLAnd), Kevin Williams and Julie Plec (The Vampire Diaries), and of course, Alan Ball (True Blood).

These shows share an emotional intensity, the furious whipping up of wild and hard-hitting narrative arcs, a beautiful awareness of genre and how to play with it, honor it, and transcend it. They all build worlds real and imagined, and they all push the boundaries of their creations.

Now one of them is in trouble. Maybe two, but SouthLAnd is discussed in other posts on this blog. This post is for Fringe. Because quality storytelling is important. Writing of this caliber must be supported. Great acting needs to be cherished. With its ability to filter emotional stories through “strange science”, alternate universes, and complex relationships, by playing with the tropes of TV sci-fi, Fringe is truly unique in its genre, and in the world of TV drama. It has a powerful engine driving its ideas, and its cast and crew is populated with artists and visionaries, beautifully executing the ideas in a manner that is always highly entertaining, intense, gory sometimes, emotionally powerful all the time.

John Noble, Anna Torv and Pacey himself, Joshua Jackson, do a tremendous job as the heart and soul of the show. They portray heartbreaking, hilarious, darkly complex characters: they have the richness of Shakespearean creations, filtered through the fast-moving, wisecracking lens of 21st century TV. Noble, Torv and Jackson are an essential, compelling team, with truly fantastic chemistry and comic timing, and dramatic, heartbreaking depth.

As they fight to save our world and the alternate world that threatens it, so the fans of Fringe must also mobilize to save the universes. Without regular live viewings, the show will slip through the cracks in the TV drama universe and disappear forever. Watch it, and it will endure.