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Tag: WandaVision

Watchable the week of January 18, 2021

SHOW OF THE WEEK: Flack (Jan. 22, Amazon Prime Video)

From left, Anna Paquin, Rebecca Benson and Lydia Wilson in “Flack.”
PHOTO CREDIT: Courtesy of Amazon Prime Video

This show seems like a throwback to the days when television was ruled by anti-heroes, except it’s women instead of men who are breaking bad.

Robyn (Anna Paquin) is a highly skilled fixer who cleans up messes for various celebrities in London, England. When we meet her she’s in a hotel room with two naked men, one of whom is closeted and famous, and the other of whom isn’t breathing. 

Naturally Robyn saves the day, but it should come as no surprise that, like any good anti-hero, her savvy as a troubleshooter doesn’t extend to her personal life.

Robyn can’t stop lying, either to herself or to the people she’s closest to, including her sister Ruth (Genevieve Angelson), a stay-at-home mom whom Robyn followed from New York to London after their mother died, and her devoted boyfriend Sam (Arinze Kene).

Robyn’s best friend is her co-worker Eve (Lydia Wilson), who uses cynicism and snobbery to keep people from getting too close. Rebecca Benson is wet-behind-the-ears intern Melody, who idolizes Robyn, and Sophie Okonedo is their fearsome boss Caroline, sort of a PR version of Miranda in “The Devil Wears Prada.” Marc Warren is Tom, who is drawn into Robyn’s orbit after meeting her at a Narcotics Anonymous meeting. 

The series overall is quite cynical. Some of the fixes that Robyn and the team concoct are preposterous, whether it’s a natural skin care purveyor falsely accusing her husband of abuse to explain the bruises from a facelift or a failing footballer pretending to be gay to get attention and sponsorships, but the underlying message is that everyone can be bought.

Paquin has received lots of attention for the show, her first lead role since the one-season “Bellevue” and “True Blood” before that, but over the first season’s six episodes we merely skim the surface of Robyn’s dysfunction.

The dialogue, written by creator Oliver Lansley and his team, is snappy and sometimes funny. Okonedo, who I’m used to seeing in dramatic roles, gets all the best lines: “It’s like being slowly stung to death by incompetent wasps,” she tells her employees when they’re having trouble closing a case. 

Of course, no one really talks like that. But if you can suspend your disbelief, excuse the moments that are too on the nose and lean into the characters’ naughtiness, “Flack” can be fun. 

Painting With John (Jan. 22, 11 p.m., HBO, Crave)

John Lurie shares his painting and his life in “Painting With John.” PHOTO CREDIT: Courtesy of HBO

“Painting With John” was in the works long before the pandemic turned those of us who can work from home into hermits, but it seems fortuitously prescient. It’s just John Lurie — artist, musician, actor, Grammy-nominated composer, cult TV show maker (“Fishing With John”), former New York scenester — painting and talking from his home on a Caribbean island.

We catch glimpses of his assistant, Nesrin Wolf, and his cook, Ann Mary Gludd James, but this is essentially a one-man show. Lurie wrote and directed the series, and we hear his music on the soundtrack along with his voice.

It’s by turns soothing, funny, interesting and weird. Lurie is a compelling storyteller, whether he’s recounting how he almost blew himself up trying to reheat a curry and sat naked, applying aloe vera to his burns, as a shocked neighbour drove by; the lengths he went to, while living in Manhattan, to get a live eel to photograph for the “Voice of Chunk” album cover; or the hideousness and side effects of cancer treatment.

And he deftly wields his wit against others (“Talking into a camera is just wrong and people who can actually do it well, they’re probably sociopaths”) and himself (“I don’t even know what the fuck I’m doing”).

“I will teach you things I learned from life as I go,” he says.

It seems a fair bargain.

The episodes are short, the natural scenery is beautiful, watching Lurie paint is almost hypnotic and he’s got lots of life to share.

HBO also has Season 3 of “C.B. Strike,” subtitled “Lethal White,” Jan. 20 at 10 p.m.

If You Missed It … WandaVision (Disney Plus)

Elizabeth Olsen as Wanda Maximoff and Paul Bettany as Vision in “WandaVision.”
PHOTO CREDIT: Disney Plus

The appeal of this series for me was more in its imitation of the classic sitcoms I grew up with than its connection to the Marvel Universe, into which I have only occasionally dipped a toe.

But the first episode, a riff on “The Dick Van Dyke Show,” left me a little disappointed. Wanda (Elizabeth Olsen) and Vision (Paul Bettany) make a charming pair of suburban newlyweds, but I found it all rather corny and clunky.

It got better in the second and third episodes — reminiscent of “Bewitched,” “The Brady Bunch” and a titch of “The Partridge Family” — as Wanda and Vision began to interact more with their neighbours (including Kathryn Hahn as the brassy Agnes) in an effort to fit in. There’s a nice bit of comedy involving android Vision, his works jammed up by an accidentally swallowed piece of gum, doing a magic show at the town fundraiser and forgetting to hide his superpowers, with witch Wanda having to improvise to make the tricks seem fake.

It becomes clear that Wanda is exerting some type of control over their small-town existence and trying desperately to keep an alternate reality from seeping in, presumably a reality in which Vision is dead, as per “Avengers: Infinity War.”

That’s all likely all old hat for Marvel fans who — if they’ve read the comics and seen the movies — will have an inkling of where the story is going. 

For non-Marvel fans, the fun of “WandaVision” lies in its retro trappings and the performances of Olsen and Bettany.

Odds and Ends

From left, Hannah van der Westhuysen, Eliot Salt, Abigail Cowen, Elisha Applebaum and Precious Mustapha in “Fate: The Winx Saga.” PHOTO CREDIT: Jonathan Hession/Netflix

Mean girls, bad boys, outcasts and misunderstood loners: “Fate: The Winx Saga” (Jan. 22, Netflix) has all the usual tropes of angsty high school drama, except the hormones are mixed with magic powers, plus there’s a monster out in the deep, dark woods. Welcome to the Alfea College for Fairies and Magic, the setting for this drama based on Nickelodeon’s “Winx Club” animated series. Abigail Cowen (“Chilling Adventures of Sabrina”) stars as first-year student Bloom and the grown-up cast includes Robert James-Collier of “Downton Abbey.” Netflix also debuts Season 2 of made-in-Canada glass-blowing competition series “Blown Away” and film “The White Tiger,” based on the Booker Prize-winning novel by Aravind Adiga, on Jan. 22.

“Political Blind Date” (Jan. 19, 9 p.m., TVO) begins its fourth season of pairing politicians who hold opposing viewpoints to hash out issues of interest to Canadians and, at least while they’re shooting the show, move beyond partisanship. Episode 1 features NDP MPP Sara Singh and Conservative MPP Natalia Kusendova hanging out to discuss hospital overcrowding, health cuts and “hallway medicine,” a topic of even more interest in these COVID-19 times. Future episodes cross party, provincial and even national lines with the mayor of Flint, Mich., meeting the mayor of Huron-Kinloss, Ont., to talk clean water; and an Ontario MPP tete-a-teteing with a Quebec MLA about religious symbols.

If, like me, you’ve watched and rewatched all your British detective favourites in lockdown you’ll be glad to know that Season 2 of “The Bay” is coming to BritBox on Jan. 20. DS Lisa Armstrong (Morven Christie, “Grantchester”) is back with a new murder to solve and a new family to get entangled with.

Watchable the week of January 11, 2021

SHOW OF THE WEEK: Tiger (Part 1, Crave; Part 2, Jan. 17, 9 p.m., HBO)

Cover image for the HBO documentary “Tiger,” about golfer Tiger Woods. PHOTO CREDIT: HBO

I’m cheating a bit here, because the Watchable list usually includes only releases from Monday to the following Sunday and “Tiger” debuted last night on HBO. But I overlooked it in my virtual pile of screeners last week so I’m correcting my oversight.

If you missed Part 1 you can catch it on Crave ahead of Part 2 on Sunday. 

Truth be told, anything involving sports usually isn’t my thing, but there’s more to this documentary than Tiger Woods’ golf triumphs, although those are certainly represented and might give you a new appreciation for just how great a player he truly is (it certainly did for me).

There’s much here that’s human and relatable, whether it’s how a father relentlessly moulded his son to match the dreams he’d had for him since he was old enough to walk; the enormous pressure on an athlete who not only achieved worldwide fame at a young age but was expected to be a spokesman for Black America; and what happens when the pressure becomes too much and a hero falls from grace.

Part 1, through interviews with everyone from Tiger’s former caddie to his first girlfriend to close family friends, golf rivals and sports journalists, covers the years from when Tiger was a 2-year-old curiosity, appearing on TV in 1978 with Bob Hope, to his 2006 British Open win, shortly after father Earl Woods’ death.

The appearance of Rachel Uchitel at the end of Part 1 — the woman whose affair with Tiger helped topple his squeaky clean public image — lets us know what’s in store in Part 2: the dalliances, the divorce, the drug issues, the 2017 arrest, the injuries, the 11-year drought in majors championship wins up until his surprise victory at the 2019 Masters.

For filmmakers Matthew Heineman and Matthew Hamachek, who did not get their subject on camera, Tiger is neither the “messiah” his father wanted him to be, nor the villain the tabloids painted him as, but a human being who was extraordinarily good at one thing and not so good at others. But the doc, which ends with Tiger hugging his own son after his Masters win as he once did his father, suggests there’s hope this particular human has finally found a balance between golf and life.

Night Stalker: The Hunt for a Serial Killer (Jan. 13, Netflix)

Frank Salerno in 1985 in “Night Stalker: The Hunt for a Serial Killer.” PHOTO CREDIT: Netflix

Netflix, already an old hand at true crime with shows like “Making a Murderer” and “The Keepers,” gives us a worthy addition to the genre with “Night Stalker.”

The series sets the scene: Los Angeles in the 1980s, a place known for glamour and celebrities but with a dark, dangerous side well known to cops like Gil Carrillo and Frank Salerno.

Gil and Frank are our guides into the story. Even in a city with hundreds of murders a year, the so-called Night Stalker terrified Los Angelenos.

Gil was a young, green homicide detective in 1985 when he began investigating seemingly unrelated murders with his more experienced partner, already a legendary detective. But it was Gil who first deduced that the killings, as well as a series of beatings, rapes and child abductions, were the work of the same man.

Given the subject matter, and the use of witness testimonies and crime scene photos, some gore is unavoidable, but director Tiller Russell doesn’t glorify the crimes or the killer. Much of the focus is on the detectives, the survivors and the families of the victims.

Bling Empire (Jan. 15, Netflix)

Frenemies Anna Shay and Christine Chiu in “Bling Empire.” PHOTO CREDIT: Netflix

Reality TV has finally caught up to the hit 2018 movie “Crazy Rich Asians.” “House of Ho” launched last month (on Super Channel Fuse) chronicling a wealthy Vietnamese-American family. Now we have “Bling Empire,” which follows several super-rich Asians living in Los Angeles and their not so rich friend, model Kevin Kreider. Whether you enjoy this show will depend on your perspective. If you like living vicariously by watching extremely wealthy people spend their millions (or, in this case, billions) you’ll eat up scenes like Anna Shay flying her pal Kelly Mi Li to Paris for a birthday lunch and going shopping for diamond jewelry.

On the other hand, there’s something tacky about such conspicuous consumption when millions of people have lost their livelihoods during the COVID-19 pandemic. Anna has closets that are probably bigger than some people’s apartments.

In one particularly ridiculous plot twist, Anna and trophy wife Christine Chiu get into a “war” because Anna and Christine own the same pink sapphire and diamond necklace and Christine wears hers to Anna’s party. Anna retaliates by seating Christine at the far end of the table for dinner. I mean, seriously?

I did feel some sympathy for Kelly, who’s in a dysfunctional relationship with a needy actor with an explosive temper. No doubt his tantrums will be played up for drama as the series progresses, but I do hope she escapes that toxicity.

Miss Scarlet & the Duke (Jan. 17, 8 p.m., PBS)

Kate Phillips is Eliza Scarlet in “Miss Scarlet & The Duke.” PHOTO CREDIT: Courtesy of Masterpiece

“Bridgerton” gave us a period drama with a feminist bent set in Regency England; now “Miss Scarlet” gives us a woman circumventing Victorian restrictions to become a private detective.

If you’re a fan of “Peaky Blinders,” you’ll recognize Kate Phillips as the wife of one of the Shelby brothers (she also played Jane Seymour in “Wolf Hall”). As Miss Scarlet, she’s the quintessential plucky heroine, forced to fend for herself when her private detective father Henry dies (Kevin Doyle of “Downton Abbey”).

Eliza Scarlet isn’t marriage minded, generally the only option open to Victorian upper class ladies without means, but her father taught her the tricks of his trade. She gets some assistance but also resistance from her childhood friend William Wellington (Stuart Martin), a Scotland Yard detective (the Duke is his nickname, presumably because of his last name).

Eliza seems to have little trouble navigating the seamy underbelly of 1882 London, which does require some suspension of disbelief, but this is a pleasant enough way to eat up your lockdown hours.

Odds and Ends

Elizabeth Olsen and Paul Bettany in “WandaVision.” PHOTO CREDIT: Courtesy of Marvel Studios

I’m curious about “WandaVision” (Jan. 15, Disney Plus), which looks kind of trippy judging from the trailer. Elizabeth Olsen and Paul Bettany are Wanda Maximoff and android Vision, two Marvel superheroes living a suburban life in a series that is also an homage to old TV sitcoms like “The Dick Van Dyke Show.” 

CBC Gem has Season 2 of “Endlings” (Jan. 15), a kids’ sci-fi show that’s endearing without being cloying and carries lessons about endangered species without being preachy. The docuseries “Anyone’s Game,” about the Orangeville high school that’s churning out NBA players, gets its main network debut (Jan. 15, 8:30 p.m., CBC). And CBC Gem has the third season of “Fortitude” (Jan. 15), which takes this rather odd series about the inhabitants of an icy Norwegian outpost into even stranger territory. Dennis Quaid is the name star of the season, but Richard Dormer (“Game of Thrones”) really outdoes himself as unhinged sheriff Dan Anderson.

If Kyra Sedgwick playing an overprotective mother hen to her two adult children sounds like something you’d enjoy, Global TV has the new sitcom “Call Your Mother” (Jan. 14, 8 p.m.)

“Batwoman” returns for a second season (Jan. 17, 8 p.m., Showcase) with Javicia Leslie taking the lead from the departed Ruby Rose. Showcase also has Season 2 of Batman prequel “Pennyworth” (Jan. 17, 9 p.m.) and Season 3 of “AP Bio” (Jan. 17, 10 p.m.).

Apple TV Plus has Season 2 of M. Night Shyamalan’s horror series “Servant” (Jan. 15).

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