Max Charles

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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

This week we received massively disappointing news that NBC has halted production on Constantine after the 13th episode. What that means is exactly that. They have ‘halted’, with no real indication one way or the other if the show will continue, the show will get cancelled (a horrible idea), or the show will get picked up for a season 2. I would be remiss if I acted like there isn’t at least a reason for concern. Television networks need to understand that when you stick a show with a Friday Night time slot you are putting it in a position to fail. Against all odds. Despite the putrid start. Despite the suicidal time slot. Constantine is gain momentum and viewers. For all of the comic traditionalists or even fans of the movie, this show is quickly forcing itself into the conversation. Is it The Blacklist or Justified? No. However, there is no way on earth that this show should not get picked up for season 2. With that, we brush our selves off and get into “Rage of Caliban”.

Tonight we start off with a middle-aged man levitating inches away from the ceiling of a home. He has clearly been tortured and is begging for mercy. He asks to be let down. The spirit complies. The camera reveals the spirit in question is with a small female child. Seven-ten years old if I had to guess.

At the scene of the crime, John begins to investigate. He is startled exactly the same way I was startled when Manny appeared. They exchange their typical pleasantries. The important part of this scene is the explanation for why Manny is shall I say resistant. When God gave humans free will, the counter balance was that angels could no longer directly affect the decisions of humans. Thus, why Manny never answers any of Constantine’s questions. Manny goes a step further by saying, “would it help if I told you, you were getting warmer?”

Manny clearly knows more than he’s letting on. We all know there is a Darkness rising. But now, thanks to Manny, we know that it is “ancient beyond measure”. That’s an intriguing breadcrumb to hold onto for later.

If you didn’t gather from the opening scene or the promo aired last week, the child in the home has been possessed.

Side note: The possession of the next kid in the story was entirely too long. May seem like nothing but that was 3-5 minutes I’ll never get back.

Constantine meets a woman in a bar. A slightly older woman who is dressed in a manner that begs the question, “just how badly do you want John’s attention?” Apparently, this young girl who killed her parents by way of demonic possession is one of a now long line of similar killings. While John tries to discover the commonality of these kids, the woman provides a lead. One of the first has survived. He would be about 40 and in a mental hospital. It would appear that along with some extreme child abuse he suffered as a kid, this guy has become a vegetable.

Our second kid (the current possession) got up in the middle of the night, unscrewed all the light bulbs in the house and laid them out like mouse traps in a Tom and Jerry sketch. Waited for his Dad to get in position, then sparks flew from the chandelier startling dad enough to jump and land on multiple light bulbs. Shattering them and imbedding shards in his foot. Then the kid simply left. You should know something’s up when your kid goes from shell-shocked at everything to cool as the other side of the pillow overnight. Just saying.

This kid Henry, is meticulous. In almost any story like this involving possession, we are conditioned to see it as a quick thing. Normal->Possessed->Killed->Left. Henry is testing his limits. He has had an opportunity to kill both parents and thus far has refrained to do so. John and Chas track the energy to the appropriate house. The next day, Henry gets shoved by a bully. The bully winds up in the hospital and John saw the whole thing. At home, Henry’s mother is grilling him. He is not pleased.

John attempts to go face to face with the problem. Masquerading as a new school counselor, he enters the home. Plays his part then thrusts a mandrake root in the kid’s face. The kid’s reaction should be all you need to know something’s wrong. In the end the father acts like a disillusioned parent. Then knocks John out. Thus resulting in John dealing with a bloody nose in a holding cell.

The people at NBC need to wake up and realize what they’ve got here. In this jail scene, Manny appears while John believes he’s talking to a drunk who doesn’t hear him anyway. John wants no part of Manny’s presence. John wants the answers, immediate gratification. Something Manny cannot provide. However, Manny can provide guidance. Small course corrections. Take some of the heavy lifting out of it. Then John says something that normally might go left ignored.

John: I made it through my life without any help from you.
Manny: Are you sure about that? How do you know I wasn’t by your side when your father burned you with his cigarette? Or stayed you from suicide when your sister left you with him?
John: That’s enough of that you.
Manny: You didn’t have it easy John. If you want to save a child, just remember what it was like to be one.

Henry’s mother shows up at the jail. She bails him out and they have a conversation. She believes that something is most certainly not right and is willing to do anything to get her son back. The problem that is more clearly demonstrated in the visuals of this scene is that “kids present complications”. As Constantine attempts to convey the idea that this will not be easy, we see his thoughts. Giving a real possibility that this is what happened to Astra.

The last thing John says before the scene transition is, “you said you were a doctor, right?” While Henry draws a horrible picture with poor technique (holding the pencils with his fist, or like he’s dragging a knife) of a person being killed with an ax, his mother comes by to inject him with ‘vitamins’. Something she claims she does all the time. While I’ve paused the show, I can’t stop my brain from repeating, “wait for it…wait for it…). Henry asks then demands that she stop. And for long enough for her to notice his eyes turn and stay black, but just for a moment. There was that whole demonic echo effect added to his voice that should have also been a dead giveaway. Based on her reaction, yeah, she saw (and/or heard) it.

The plan is to perform the exorcism at the residence of the first victim. The catatonic ‘bloke’ from the mental hospital’s residence. I have a theory. Bear with me as I doubt this is dead on. The first victim was a tortured soul in his own home. He is currently catatonic. This demon possesses a child until they are no longer a child and kills the host. Constantine wants to perform a complicated exorcism on the current host in the home of the first victim. Is it even remotely possible that the first victim is not catatonic? He is without his soul. And maybe, just maybe, he isn’t a victim at all. This could present a slight problem. Remember, we are amidst the Darkness Rising. Weird things are bound to start happening. What if they expel the demon spirit and it somehow finds its way back to the original host? Just a thought.

There is way too much jumpy, startling, type of moments in this episode.

The Séance didn’t work. My theory is starting to sound more firm. Chas even suggested that maybe the first victim wasn’t a victim at all. If he just killed his parents and was a bad seed, the spirit would have no attachment to this house. John is trying everything to avoid an exorcism. Clearly the memory of what happened to Astra is clouding his confidence. Claire, the mother, has all but said to do it, damn the odds. And…he’s awake.

Ok, some stuff is pushing the limits of realism. And I have no hesitation in believing that this was NBC’s doing and not that of the show runners. This feels like one of those ‘edits’ that the creator, writer, etc are forced to accept because the network has all the power. A possessed child, a spirit on a 30 year killing spree, and an exorcism that all take place on Halloween night? Come on NBC. Not necessary and if anything it detracts from the desired effect.

Inside the house the father is immediately angered by John’s presence. This time no sugar-coating it. John says what he’s there to do right in the kid’s face. The spirit hates conflict. Conflict is the trigger. While Dad is yelling at Mom, Henry throws a wooden chair with his mind and knocks Dad out. John deflects the child with a cool mirror trick. Then the kid puts on his Halloween mask and runs out of the house. Making him impossible to find quickly. On his way out Chas tries to delay him. Then the kid pancakes him with two parked cars. John follows Henry into a haunted house attraction. This once phenomenal episode for its insight and subtle dropping of bread crumbs is quickly getting cheeky.

John finds Henry in a back room. Let’s call it the ‘skull room’. He attempts to appeal to the spirits once humanity. Not exactly effective. Course corrections, remember? John walks away from empathy and moves into the classic ‘Thrilla in Manilla’ style rope-a-dope. He begins to berate the spirit as if he was the spirit’s abusive father. “Pity Party” and “You’ll get no sympathy from me”. The spirit expels enough energy trying to chop John down with an ax, that he concedes the advantage. John now has him in a relative headlock.

The trick to restoring the realism (within the realm of fantasy) is to get back to the lore. Earlier in the episode, John rejected an idea because they did not know the identity of the spirit or the duration of its carnage. Now John knows exactly who the spirit is and where it belongs. As well as the duration issue. So now taking advantage of John’s new advantage, he begins to exorcise the demon. The key phrase being, “…I bind you to your rightful place”. Looks like I wasn’t too far off with my earlier theory.

John, as predicted, expelled the spirit back to its original host. Who conveniently, resides in a maximum security mental hospital. The voice-over close includes the admission that John Constantine doesn’t have the answers. He only knows that there is a “Darkness Rising”.