Emmett J. Scanlan

All posts tagged Emmett J. Scanlan

Courtesy of NBC

Courtesy of NBC

We here at NotJustAnotherTVSite.com judge all major decisions on one primary criteria. Does it measure up to our expectation of quality? It seems simple enough. If it’s a show that we’ve decided to preview, promote, and cover episode to episode, you can rest assured the particular show in question maintains a certain level of quality. For the record, there have been shows that we have been over-the-moon excited for and ultimately decided that it’s time to walk away. Why? Because those shows failed to meet our quality expectation. NBC’s Constantine, is absolutely NOT one of those.

NBC’s choice to produce Constantine, and more importantly, this vision of Constantine was brave. NBC should be celebrated for that by the way. Like so many comic book adaptations pre-Marvel Cinematic Universe, were ‘adequate’. They were entertaining, but they were also made with the understanding that they had to be workable for most audiences, not just the comic book underworld. Spawn, Daredevil (2003), etc as comic book adapted movies were nice, but compared to today’s expectations would have fallen flat on their face. The comic book television landscape was even worse.

The point is that today’s audience does not need their show dumbed down or made palatable for all time zones. Constantine has done that. Constantine is born from the same genesis as Marvel’s MCU and recent successes as Netflix’s Daredevil. Do yourself a favor. Google Netflix Daredevil and read just some of the feedback. You’d think it was the highest rated show of the calendar year. The showrunners at NBC working on Constantine kept one very important detail constant. Tell the story from an adapted version of the comic books, Hellblazer. The 2003 Keanu Reeves feature was the product of Hollywood changing all of the incredible details in order to make a production that appeals to as many people and demographics as possible.

Appealing to mass demographics is good. High ratings are good. They help sell ad revenue. When I was in the radio industry, one thing was always made clear. All of it is window dressing if the end product doesn’t bring in ad revenue. Ad revenue was literally what kept the lights on. Not to sound too idealistic, but NBC can make its money from their heavy hitters. I began this article by citing quality. Now anyone who knows anything about TV knows there is a direct and inverse relationship between numbers and quality more often than not. NBC is still going to make a killing from shows like Law and Order and Celebrity Apprentice. Every now and then the two powers of ‘quality’ and ‘are they watching’ converge perfectly. The Blacklist is a great example of that. The Blacklist is an incredible show and people are watching it. In the case of Constantine, it was playing against stacked odds from the beginning.

Courtesy of Vertigo/DC Comics

Courtesy of Vertigo/DC Comics

Let’s address the elephant in the room. Placing a comic book adaptation show that the vast majority of viewers are not familiar with late on a Friday night was borderline criminal. Comic book adaptations draw, period. Maybe this is a ‘strike while the iron’s hot’ situation, but it is true and really not up for debate. Next to no one watches television on a Friday night, and they definitely don’t do it live. Putting them on Friday nights, then graciously moving them up in the time slot but keeping them on Friday nights, put Constantine behind the eight ball and NBC knows that. This is 30 Rock vs Studio 60 all over again. Anyone with an objective eye could look at the first few episodes of Studio 60 and the first few episodes of 30 Rock and know without question, Studio 60 was the better show. Without a good time slot and promotion, better shows are going to continue to fall.

Promotion is another factor that had Constantine playing catch up. Before NBC rolled out The Blacklist, every American knew this show was going to be big. All because of promotion. There were promos and trailer for The Blacklist everywhere. On sports broadcasts, on shows that had no relation or connection at all. Spader was out there. The Blacklist was going to be successful because it had the full weight and support of the network. Constantine was never given that opportunity. You cannot produce a show based on a comic book very few people have any real familiarity with and just let people stumble upon it and hope it takes off. It doesn’t work that way.

The last detail I’ll get into before talking specifics about the show, is audience. Not everyone is going to “Get It”. If the aim is to maximize viewership by making something that will appeal to everyone in the same way, make nothing but what some call “Lowest Common Denominator” television. Keep cranking out Law and Order, Chicago Fire, Parks and Recreation. There is a large and growing audience that wants no part of L.C.D. programming. To some of us, procedural is a four letter word. And in this “DVR Era” we, the viewer, can afford to be more choosy of what we watch and we get to dictate when we watch it. Now I have no idea if the ratings system has accounted for the current television era where the DVR has completely changed the way we watch television. Side note to television networks. I watch and obscene amount of television. Yet, I have not watched a non-sporting event (or game broadcast) live in almost 7 years. I sincerely hope you are taking that into account. Especially when you put a great show on Friday nights.

At the end of the day, you have the audience that will watch Bones, Big Bang Theory, CSI: Whatever, Survivor, Glee, etc and you are going to have the audience that has no interest in predictable, safe television. Serialized, big story arcs, sympathetic characters facing unbelievable trials is just more compelling to some than others. That my friends, is the difference. Ratings can no longer be a race to first. These networks need to start evaluating success and failure by two different groups at the same time. Take a look around the television landscape. It is getting very competitive. We really are experiencing a television and cinematic renaissance. You just have to navigate through the mountains of garbage to find it. If networks like NBC are going to continue to grade shows like Constantine under the same criteria as The Voice or Bad Judge, then another elite show is going to fall by the wayside. It’s not the same type of television and they cannot continue to paint all of these shows with the same brush.

Constantine is great. End of discussion. For anyone who has not yet seen it, take my word for it, Constantine is one of the better shows of the calendar year, regardless of network or time slot. That said, it did not start out that way. A large component in that again goes back to promotion by NBC, or lack thereof. If NBC had titled the show “Hellblazer” or ran far more promotion illustrating that this show was not going to be the story released in 2003 starring Keanu Reeves, then expectation and therefore results might have been different. They made very few attempts to convey that. So, most people went in with a certain expectation, which was not met.

The pilot episode on its own merits is alright and had the show continued on that trajectory, I would not be writing this piece now. By my expectations, the pilot episode was bad. Bad as in significantly underwhelming. So much so (again just my opinion) that I actually called up a colleague at the website to inform him I would not be posting a recap, but a ‘here’s what’s wrong with it’ piece. Thankfully, the consensus was to do just that, but leave room just in case they right the ship. The second episode is 100% better. By the time we are introduced to Papa Midnite, we’re off to the races and the show is exactly what it was supposed to be. Dark, intriguing, compelling, ever-changing, straddling the line between angels and demons lore and the plot plausibility. This is the problem.

The pilot episode feels like it had NBC’s Standards and Practices grubby little hands all over it. The pilot was bright and warm by comparison to the later episodes. When doing a comic book adaptation, visual texture is key. There is a reason The Dark Knight and Arrow were so wildly successful. You cannot produce a show like Constantine with that bright, bubbly sort of way. Thankfully the showrunners for Constantine were able to come back to their base and it begins with texture. Visual interpretation. Again, never more clear than the first introduction to Papa Midnite. By episode four, Constantine was must see TV. However, not many were watching it because the show stumbled out of the gate. If they were to run the show we came to build a strong affection for and aired it on Monday, Tuesday, or Thursday in primetime the results would have absolutely been different.

Courtesy of NBC

Courtesy of NBC

Constantine may be a show or story about angels, demons, magic and one man in the middle of all of it, but it is very much character driven. Characters are the vehicle to success. Every single significant character is sympathetic and compelling. From there, all they have to do is tell the story. The story from the perspective of the comic book adaptation, not a major networks softer, lighter version of that story.

As it stands now, Constantine ended on a MASSIVE cliffhanger. Probably the biggest season finale reveal I’ve seen in a few years. I remember it clearly. Watching as the clock ticked down, I was certain I knew what would happen next and how the episode and season would conclude. When people say, “I had to pick my jaw up off the floor” it’s always blanketed in hyperbole. Now my jaw may not have been on the floor, but I easily could have caught a family of insects with how wide and long my mouth was open at the final moments of the season finale.

There are still very important details yet to be dealt with. Big, incredible, trajectory altering details. To drop this show now, simply put, would be irresponsible. Look, I understand that NBC is still a business that has to deem a certain show profitable. I don’t think anyone is naive to that concept, but there are three hugely important concepts that I fear NBC is not even considering. 1. They put Constantine in a position to fail before it even began-not the show’s fault, 2. The audience they are trying to reach is not the Law and Order crowd, and 3. Sometimes a show is just flat-out better than others that create more revenue. You could not pay me to watch Celebrity Apprentice or The Slap. Sometimes the better, higher quality show should just win the day. On the merits of quality. Not because it makes more money, but because it is just a better product.

Here’s the kicker. It is my opinion that Constantine has not developed a consistent form of high ratings…YET. Move the show to a more appealing time slot and let people figure it out. One of my favorite quotes in all of television history (ironically from a show cancelled way too soon) is:

“I believe the people who watch television shows are not dumber that the people who make television shows. I believe that quality is not an anathema to profit.” -Jordan McDeere (Studio 60 Live On The Sunset Strip)

American television viewers are not dumb. They have the wherewithal to handle and in fact embrace a wide range of concepts and delivery methods. Despite popular belief, this country is not filled with Honey Boo Boo and Kardashian enthusiasts. We the viewers long for shows that push the envelope. That breach concepts and topics we haven’t embraced before. We want to empathize and build affection for characters. We want to feel like we have ‘experienced’ something from our TV watching time. We are in a different era of modern television. It’s about time NBC and other major networks got on board with this idea. Constantine does not need to be their bread-winner. It only needs to continue being what it is. One of the top 10 best shows on television. I don’t care what the ratings indicate. Give it a better time slot and let the showrunners, cast and crew do their jobs. The numbers will come. You just have to get out-of-the-way and let it happen.

If you’re a fan of Constantine, help spread the word. It is my understanding that showrunner, Mr. Daniel Cerone is set to pitch season 2 to NBC at the end of this month (April) beginning of next (May). And it seems NBC is willing to listen to fan outcry. So let’s do just that. We live in a new world. Utilize it. Access your Twitter account, your Facebook account, email NBC directly. Do whatever you must to explicitly and without any confusion articulate to NBC that they CANNOT let this one go. They cannot walk away from this show. And that it is not in their best interests to let Constantine die. The best shows available still only make up less than 10% of what’s out there. We cannot lose this one. Whether your efforts are here with us at NJATVS, social media or directly on NBC’s lap, take the time to support this effort. Use the established #saveconstantine or the more direct #renewconstantine and show those in charge that this show has a following, it’s larger than they think, and we will continue to support this series.

If you have not yet seen Constantine season 1, or feel you somehow missed out and need to give it another shot, NBC starting today Friday April 24th, will make the entirety of season 1 available to stream on their website for a limited time. Go to NBC.com (or the NBC app) and discover it for the first time or revisit it again. I don’t know if streaming numbers for this limited run is a test balloon or not. What I do know is that it’s worth watching, even if all that does is send NBC a message.

I can count on one hand the number of current shows that I would bang my fist against the table for. Constantine is one of them. The show did not get a fair shake and was judge by unbalanced criteria. Do your part to help the people who put this show together. Save Constantine. Make sure NBC knows they NEED to Renew Constantine.

#saveconstantine #renewconstantine

#saveconstantine #renewconstantine

Courtesy of NBC

Courtesy of NBC

Warning: Spoiler Alert

Stop me if you’ve heard this one. A teen-aged girl walks into an abandoned fairgrounds…. Ok, just checking. A creepy old man sneaks up behind her to say, “You’re gonna die”. Before it gets too creepy, a group of what look like similarly aged girls scare away the creepy guy. With the way the group of girls is acting, they may have just swapped one creepy for a different creepy. All of these girls are married (at what looks like no older than 14) to “the Man”. Somehow after hearing this, the first girl is also interested in marrying “the Man. The man in question then chokes out a security officer after offering to jump the man’s truck.

John picks up the clues pretty quickly that our old friend Detective Jim Corrigan is passing along. A fellow detective was killed pursuing a missing persons case. Three girls, 6 months apart in age.

The Man has taken the nice officer and locked him in his own house. The Man walking around like he now owns the place. Even claiming that the officer made him miss his wedding. Or at least the prospective newest wedding. John, Zed and Corrigan go to the burial site of the late detective. While there, a corpse sits up. Gary Lester’s soul accessing that corpse to convey a message.

Soul of Gary Lester: I had to warn you.
Constantine: I’m all ears Gary.
Soul of Gary Lester: There’s a price on your head.

Papa Midnite is the one offering the prize for John Constantine’s head.
The young girl in question has awakened and moved to investigating the strange home she finds herself in as well as all of the strange marking on the walls. Vesta (the girl) is met by the other three wives. She’s slightly put off but apparently not enough so to get out of dodge.

John, Zed and Corrigan follow-up with the missing girl’s mother. John and Zed sit in the girl’s bedroom. Zed is drawing a complete blank. She is stressing about something though. Then she tells John that she saw Jim (Corrigan) dead in her vision. Corrigan walks in and Zed storms out.

Downstairs, Zed indulges a little small talk with the mother. Manny appears. Zed’s mood instantly changes. She says in disbelief that, John says you never come right when he calls you. To which Manny replies, he doesn’t ask as nicely as you do. Zed has the ability to subconsciously call for Manny based on her relative need to see him. Even if she doesn’t actively do so. She also, has the enviable gift to choose whether or not to act on her visions. I’m getting the feeling Jim Corrigan is about to get some bad news.

With Zed’s visions turning up squat, John elects for a different approach. He puts hair from the girl’s hair brush and her toothbrush in his mouth than electrocutes himself on purpose. The Tibetans call it, “Piercing the Vail”. DNA plus cardiac arrest takes him on a spirit walk through the girls memory.

This whole ‘Sister Wives of the Damned’ thing is almost too much to deal with. Vesta suddenly remembers that her mother doesn’t know where she is. The tragic thought of inviting her mother to a wedding to a man she’s never seen who has already been married three times before to three other girls of similar age, didn’t seem weird at all?

A man pleads with Papa to help him. He killed the mother of his child when only scaring her was the idea. He pleads with Papa to help him. So he does. Papa puts a very large knife through his chest. Now the man is awake. His mouth stitched shut and his eyes are completely white. The man lashes out in a carnal rage, but the raising of Papa’s hand reels him in. Papa took this man’s life in order to give him a different one.

Papa Midnite: You exist now for one purpose only. Reduce John Constantine’s life to dust.

After ‘piercing the vail’, John seeks out what he saw. In the fun house he is attacked by Papa’s new toy. A zombie like creature that he can control like an Avatar. The fight is not going John’s way when Corrigan shoots the creature a couple of times. In that moment John impresses upon Zed the importance of getting a vision this moment. John needs an address.

Zed’s vision shows the officer who was strangled. He is bleeding out slowly from multiple wounds. He is writing something in blood. Back in reality Zed asks for something to write with. The something he was writing was a street address backwards. 4 Delano St.

After collecting himself, Papa Midnite looks to another creature. A crow. He blows the ‘essence of John Constantine’ dust on the crow and lets it loose.

The good guys pull up to an old house. The crow is already there. This is the house from Zed’s vision. They follow a noise up the stairs. They find the officer essentially crucified. Constantine looks through the window of that room and sees the Crow.

Constantine: You two need to leave here right now. There’s trouble brewin’ here and I can’t risk it following us.
Zed: What kind of trouble?
Constantine: The bounty hunter kind, now go.

Papa arrives at the house with a shotgun in tow. He’s in the house ten seconds when John turns the corner. Papa doesn’t hesitate and he puts a slug in John’s chest. John quickly explains the situation he walked into. Plays up the ‘stain on your soul’ bit which Papa is not buying for a second. The bounty is worth it. John’s life to restore Papa’s sister’s life. A life for a life. John realizes there is only one power strong enough to that. It’s the same power behind the rising darkness.

John begins to present a counter offer when Papa shoots him in the head. You can hear the body fall to the floor. Papa’s face reveals a reaction that is not a ‘satisfied’ one. The body he shot and has been talking to what that of the dead officer. John used a reanimation spell combined with a glamour spell. Not impossible but brilliant for the moment.

Corrigan found a hit in the police database. A man killed his wife on their wedding day because she wasn’t “the virgin bride he deserved”. The girl is finally terrified when she discovers that the wedding service follows the scripture and imagery of the devil’s variety. He goes to give her a ‘wedding ring’ with a large rope around her neck, and she finally bolts.

John makes it to the house of the man from 6 years earlier. Upstairs there is a dark room with a bed, and apparently a significant stench. He throws back the covers on the bed to reveal our three previous brides. Decomposing. Upon further searching, John bumps into Corrigan and Zed. They venture outside and John walks up on the Man dragging the girl by the hair like a caveman. John commands he let the girl go and the Man flees. Right into the business end of Corrianne’s gun. Then Zed proceeds to be the tar out of the Man with a shovel.

(Corrigan handcuffs the Man)
Constantine: Tell me, what would happen to a man like this, with all the children he’s taken, murdered, what would happen if he tried to run away?
Corrigan: He’s no demon or ghost, he’s a man.
Constantine: A man? Is he Jim?
(Corrigan pauses and removes the cuffs, then draws his sidearm)
Corrigan (whispers) Run…
(Zed and the girl hear a gunshot)

John goes back upstairs to the bed of the decomposing sister wives and completes a spell that releases their souls from the bodies they were bound to. Police arrive at the house where Papa attempted to kill John just as Papa woke up. Zed is compelled to explain to Corrigan why she couldn’t look at him. She saw him dead. He decides to take advantage of the moment and ‘make every moment count’. Corrigan leans in to kiss Zed and she doesn’t stop him. With John watching from the doorway.

What happens next is what all Constantine fans have been waiting for. An indication. Something found within the context of an episode that shows a commitment. This version of the Constantine story started of weak. The second episode redeemed itself to keep interest. By the third episode, we were off to the races. By the fifth episode, most of us who have a context for what is expected vs what was being delivered believed wholeheartedly that Constantine deserved to be renewed. Yet once again, NBC has hidden behind the fear of inconsistent ratings of a great show stuck in a horrible time slot. Tonight we got an indirect ‘indication’.

With seven minutes left in the episode there are any number of ways they could have taken this. There was an opportunity to end the episode in a way that suggests that was it, story concluded. There’s a way to finish the episode with no commitment to any sort of future. And then there’s what they did. Manny walks up on John urinating under a bridge. John is having trouble accepting that the evil tonight came from a mortal man. Manny inquires about John’s commitment to the cause. John comes back with the gem, “I don’t play if I don’t think I can win”. John finds himself monologuing to Manny about what they can do and what they will do. This was a subtle call to arms. This was John Wooden in the huddle. This is Leonidas telling his men that they will dine in hell. It wasn’t arrogant. It didn’t reveal anything specific. However, if NBC was going to let the prospect of Constantine Season 2 just fade away and die, this was most certainly not the play you call. It may have only been an indication of what might be on the horizon, but it was an indication.

Then there is a scene change. Papa Midnite rolls up in the back seat of a police cruiser. Now this is the moment I’m yelling at my television. I’m blown away that John walking off into the distant rain is not the end of the episode and season 1. Then my wife says, “They need to leave it on a cliff hanger”. I reiterate that they’ve already done what I needed them to do. They didn’t bring closure on the big picture story arc. They didn’t kill John Constantine. And furthermore, John and Manny just told us that it’s not over. Short of NBC calling a press conference or tweeting, “Constantine Season 2 is official”, I’m good. Then once again, as men tend to do, we sit back and watch our wives proven right.

Bear with me as I do something I try not to do. Throughout any of my recaps on NJATVS, I will transcribe moments that I think show a certain quality of writing. Could be dialogue or it could be a detail important to the future plot. But generally I try to keep them short. For the reasons I’ve mentioned and because I think my brain jumped out of my head and is sitting on the carpet next me, I’m going to transcribe this final scene on the off-chance you the reader, didn’t have an opportunity to watch the episode. My transcript will not do it justice, but it is worth noting.

(Time has frozen to a stop)
Papa: What is this?
(The car door unlocks and opens freely)
Papa: Who is it? Who’s there? Reveal yourself.
(The sound of Manny’s arrival is heard)
Manny: You are in no position to be making demands.
Papa: Who are you?
Manny: Your savior. (He gestures with his hands and the cuffs fall off)
Papa: So that’s it? I’m free now? What’s the catch?
Manny: You’ll never be free. You gave up any of that when you went to work for the Bruharea.
Papa: What do you want?
Manny: I’m cancelling the contract on John Constantine. You understand? He is off-limits.
Papa: You work for the Bruharea?
Manny: No. The Bruharea work for me.
(Manny flies away)

::Mind Blown::