11.22.63

I've been lazy. And distracted. But mostly lazy. You've probably noticed the lack of updates, and that's the unfortunate result of my laziness. The fortunate answer is that I have awesome friends who are also awesome writers and who love to watch television. So please enjoy this beautifully written guest-post from Trisha, covering the mini-series, 11.22.63, based on the Stephen King novel and brought to you by executive producer, J.J. Abrams. --Maggie Cats

There is nothing like the fixation of a kid.  I think parents today can agree with that when they are watching Frozen for the n-teenth time, or trying to wash an article of clothing that has been worn every day for a month.  This graduates into boy bands, which for my generation meant head-sized buttons of various members of New Kids on the Block pinned all over jean jackets and vests.  I think my parents could have only dreamed of something so normal, but instead they got me.

My childhood obsession was the Kennedy assassination.  I was a weird kid.

Those who know me as a weird adult are probably not that surprised.  My dad was a bit of an enabler for this, talking theories, letting me stay up past my bedtime to finish cable channel documentaries, buying me books, planning a family trip to Dallas; my mom spent a few years perpetually rolling her eyes, which she still does every time I bring it up.  So when it comes to Kennedy assassination fiction and non-fiction, books, TV shows, movies (JFK twice in the theatre), I am fairly well versed in the genre, and always excited to add to my random “expertise.”

Full disclosure: if I had known 11.22.63 was a book, I would have read it first.  I missed that memo though, so here I go, even though the book is always, always better (except for 50 Shades of Grey).

In 2016, in Lisbon, Maine, Jake Epping (James Franco) enters a TARDIS in the closet of his friend’s diner that transports him back to October 21, 1960.  The episode is called Rabbit Hole, but I prefer thinking that the Doctor and the TARDIS are somehow camping in the diner closet as opposed to a late white rabbit. Call it a personal preference.

Jake's friend, the always brilliant Chris Cooper, explains the rules: no matter how much time you spend in the past, only two minutes pass in 2016.  And every time you enter the TARDIS you go back to October 21, 1960, and everything you did during the prior visit resets.  Chris Cooper wanted to stop the Kennedy assassination, which would somehow butterfly to no Vietnam War and a more perfect union today.
This explanation was a little tenuous to me, but I do not have the personal demons of a Vietnam veteran.

For spoilery reasons Chris Cooper cannot complete this mission, and implores Jake to continue on with all of the information he gathered during his prior visits to the past.  Jake, fresh off signing his divorce papers and burying his dad, acquiesces.

The past brings us James Franco sans scruffy goatee, so I already like it.  The first few scenes were so typically Franco that I had flashbacks to Never Been Kissed and Whatever It Takes (holy crap, James Franco was in Never Been Kissed!--MC), and not in a good way. Jake makes his way to Dallas to start positioning for changing the future/past, but as Chris Cooper warned, the past doesn’t like to be changed.  It strikes back in minor, and then major ways, and a shattered Jake finds himself reassessing his mission, and the potential tragedies of the next three years as he works towards this end.

I love the ambiance of Stephen King’s writing, and that shows like Haven (a personal favorite) and 11.22.63 work to bring that slight, surreal tinge to the screen, the not-quite-normal undercurrent that keeps you fully concentrating on the minute details, because who knows when they may reappear.  This isn’t an on-in-the-background show, especially in the first two episodes, which detour away from the plot that the previews promote.

In the second episode Jake finds himself positioned to right a wrong from his 2016 life, and his interactions surrounding this decision drive his character forward, but not the Kennedy story.  James Franco gives an amazing performance, especially when he is listening to others.  I am not a huge Franco fan, but in this setting his perfectly practiced micro-expressions are spot on.  At first during this episode I was tempted to call it a throwaway, and if I wasn’t so excited about Dallas, November 1963, I might have turned it off.

But the supporting cast performances are worth the entire watch, and the ending reveals a Jake much better equipped to move forward; even though it might not be his decision alone to do so.

Since Jake is in the past, Chris Cooper is confined to flash-backs (flash-forwards?).  He is so good that I always want more, and to see him outside of his tour guide role.  Josh Duhamel is more successful than Franco at ditching his high school hunk past and is genuinely creepy, albeit with perfect hair.  Credits list T.R. Knight who has not appeared yet, but I’m hopeful and eager for a Franco interaction.  Franco is best in this series when he is confronted with people whose motivations he is trying to process.

I’m writing this while starting Episode 3, which is still set in 1960.  I’m waiting for the time jump which I assume is coming, as there are only 8 episodes.  I’m waiting for the introduction of the historical characters that I know, and the conspiracy theories I love to debate.  I’m waiting for Chris Cooper to reappear in the past, though that is completely against the rules of the TARDIS.  I will keep watching until the end, and right now it is for more than just seeing Stephen King’s take on Oswald, the grassy knoll, and the assassination conspiracies, though that definitely helps.  Right now I’m eager for more interaction with new characters, and hopefully old ones, and a main character whose decisions surprise me.  That doesn’t happen often.

The first five episodes of 11.22.63 are streaming on Hulu.  A new episode is available every Monday.

Bloated. Just Like Pregnancy!

It’s a familiar story.  Once upon a time, a young princess met a handsome price, got married, and moved into a fantasy castle.  Life was wonderful for the princess, but the handsome prince wanted more, so he arranged for his wife to be clandestinely raped by the devil in order to produce the antichrist.  I’ll grant you, this fairy tale may not have the same familiarity of a Cinderella or a Snow White, but after watching NBC’s remake of the 1968 horror movie Rosemary’s Baby, you’d be forgiven for wondering exactly how many of the tropes are continued from one story’s iteration to another, just like a fairy tale. 

This time around, Rosemary’s Baby is a miniseries starring Zoe Saldana in the title role made famous by Mia Farrow.  The miniseries expands significantly on the original film and Ira Levin’s original novel in an attempt to ratchet up the dread and paranoia that Rosemary feels over the course of her pregnancy.  Unfortunately, like an expectant mother well into her third trimester, the end result is a kind of bloating that makes the entire experience uncomfortable, rather than beautiful.

Demon baby.  Svelte pregnancy figure sold separately. 

The plot is familiar to anyone who remembers the movie or the book: Saldana plays Rosemary, a young woman who moves with her struggling creative husband from her familiar environment into a band new city.  (Originally New York, in this version Paris.  More on that in second.)  Elevated to living in a grand apartment far outside their normal standard of living by an eerily kind and giving older couple that establish themselves as mentors, confidantes, and sort of keepers of the young couple, Rosemary soon finds herself pregnant with the child she’s always wanted.  As her pregnancy progresses, Rosemary begins to sense that something is wrong and that her neighbors are far too invested in her unborn child.  Eventually coming to believe that the building’s residents are actually cultists who are planning to use her child as a sacrifice to the Devil, Rosemary falls into a web of paranoia and suspicion as everyone seems to be against her.  Or are they?  (Spoiler alert: they are.)

This is all a fairly simple story, which makes the decision to stretch that story into double its original length a confusing one. It’s frankly the hallmark of this version of the story: it’s at turns bad and good, boring and thrilling, atmospheric and dull.  Several changes were made, some for better and others for worse.  Fair warning: from here on out there may be spoilers.  I hesitate to say that, since I think the statute of limitations on a story that was filmed in the 1960s has passed, but just in case you’re not the classic horror movie kind and want to keep yourself pure for your eventual Halloween movie marathon, you’ve been warned.

Stop acting shocked, Mia. The movie is 46 years old.  This isn't a Game of Thrones post. 

Whereas the original film depicted Rosemary conceiving her child fairly early on, that event doesn’t happen here until the end of the first episode of the two-part series, effectively almost two hours into the action.  That split generates a bloated first half that attempts to establish the creepiness and dread that the second half will need to capitalize on, but more frequently feels boring and resorts to mini storylines that are added and dropped in order to keep the viewers waiting for the conception scene.  Zoe Saldana does an admirable job carrying the first boring half, but there’s only so many times she can have a sickly sweet conversation with her new benefactors, Margaux and Roman Castevet, as they pour her another special herbal shake that they insist will help her get pregnant before the audience is like, “they’re clearly evil – get a new apartment.”   The conception scene comes as a relief, mostly because so much has been built up about the Castavets that we no longer have any doubt that they’re Satanists and just want to get to the demon lovemaking already.  Thankfully, the second half proves to be a fairly tense and nerve-wracking 90 plus minutes, once Rosemary is actually pregnant and we can return to the original plot.

In that same vein, Roman Castevet’s characterization is given far too much weight.  Despite the fact that he’s played by Jason Isaacs, a man who I will watch be a villain in anything you care to put him in, the time and attention paid to his backstory is needless.  We certainly learn more about him here than we did in the original story; In this version, Rosemary discovers a series of murders of young women in the apartment, all of whom shared a connection to wealthy resident of the apartment luxury apartment building and whom the police pursued in connection to the murders before he died 30 years ago.  Surprising no one, the original suspect and Roman Castavet are the same person.  Because he’s the Devil.  Like, literally the Devil.  And he’s the one who had sex with Rosemary, not to raise a child to sacrifice to himself, but to have a son here on Earth.  While this gives some great opportunities for Isaacs be menacing, merging the character with the demon, a change from the original, feels too small.  One of the failings of modern suspense stories, likely the result of an audience grown far savvier over time, is that no character can just be himself – any villain must also really be someone else in disguise.  The irony is that attempt to hide the villain’s true nature has the opposite effect here.  Instead of wondering who’s behind it all, we instantly suspect the worst of Roman.

Wealthy, powerful, and handsome?  Yup, clearly evil.  

There are welcome changes to this version as well.  In the film, Rosemary and her husband are a small town couple moving to New York City.  The miniseries updates this, having the couple move from New York City following a miscarriage to Paris.  I could be cynical and say this change was made in an attempt to appear new and fresh, New York having lost some of its shine as an unconquerable city coupled with every young wannabe sophisticate in the United States insisting upon proving their bone fides by having lived abroad, but to be honest I liked the change.  The writers understood that viewers are no longer sympathetic to Mia Farrow’s willow-y, weepy heroine, so the modern day Rosemary has to appear competent and capable.  She may not be like other modern day heroines in a horror movie who will get into a fistfight with a monster, but we need to at least believe that she has some of the vim and vigor that she’ll need to have us on her side.  

Putting Rosemary into a setting where she knows no one and barely even knows the language is also a nice way of further isolating her.  The social constraints against a wife in the 1960s go a long way to explaining why Mia Farrow’s Rosemary doesn’t just leave the evil apartment building and go stay with her mom for a few months or something.  Given that this modern Rosemary would almost certainly have a Facebook page in addition to probably Twitter, Instagram and any other form social networking, it would be a harder sell to put in her New York and ask us to believe that she has no way of communicating with anyone.  Putting her in a place where she literally doesn’t speak the language and is separated by an ocean from her family back home is an example of how to properly update a story.

"Voulez-vou coucher avec moi et mon démon bébé-papa?"

The change of venue has an aesthetic appeal as well.  Paris is beautiful on film and has the benefit of undercutting all that beauty with a slice of darkness.  New York worked as a setting in the film because of the city’s stained and gritty feel in the 1960s.  It was all texture and shadow, like a dirty Baroque painting.  Watching Rosemary navigate her way through Paris’s gothic streets while getting steadily weaker as her pregnancy gets more and more frightening is a really fascinating image.  Likewise the final images of a suave and sophisticated looking Rosemary walking her infant demon baby in a pram down the banks of the Seine look utterly glamorous, even if Rosemary's sudden and uncharacteristic decision to go all evil at the last minute because WOMAN MUST DO EVERYTHING FOR THEIR BABIES is, at best, falsely nostalgic writing.  

Rosemary’s Baby works as a miniseries suitable for summer watching when there isn’t a lot of new content on TV and you don’t have much else to get invested in.  And while it is overstuffed, I’ll credit the miniseries for at least attempting to bring something new to the story rather than just release it in the theatres as a bankable property with new faces but old ideas.