TV Recommendation: Lucifer

Since I already had a Crave TV subscription for Discovery, I decided to peruse their other selections. One show that caught my eye was Lucifer, and while I didn’t know much about it going in, it didn’t take long for it to win me over.

The official logo for the TV series LuciferLoosely based on a comic book of the same name, Lucifer focuses on the titular character, Lucifer Morningstar, also known as Satan, Beelzebub, and so forth. He’s the Devil, in other words. After a few thousand years of running hell, he got bored with the place and moved to Los Angeles, where he operates the nightclub Lux and lives a life of decadence befitting the lord of sin.

Lucifer’s playboy life takes an unexpected turn when one of his human friends is murdered. Lucifer finds himself mixed up with the police investigation into her death and develops a fascination with the detective in charge, a former B-list actress turned straight-laced cop named Chloe Decker. Alone of all humanity, Chloe is somehow immune to Lucifer’s devilish powers, and he wants to know why.

And the series pretty much goes from there. It’s basically yet another cop show with a supernatural twist, a standard police procedural apart from the fact one of the “detectives” is literally the Devil.

It’s a pretty basic show. The ending to each episode’s mystery of the week is usually very easy to see coming, and for the most part it’s just following standard tropes. It’s also no stranger to plot holes and is generally not a show you should think too hard about.

What makes it worth watching, though, is Lucifer himself. The actor who plays him, Tom Ellis, is absolutely brilliant. He’s perfectly charming and impeccably witty, and even at his sleaziest, he’s still irresistibly lovable.

Tom Ellis as the title character in LuciferHe’s got range, too. Lucifer is mostly a comedic show, but on occasion it does have some more dramatic moments, and Tom Ellis absolutely nails those, too, injecting an incredible amount of pathos into the role. It’s amazing how sympathetic Lucifer can end up being (sympathy for the Devil, heh).

A core conceit at the heart of Lucifer’s mythology is the principle of history being written by the victors. God won the war in heaven, so we humans have only ever heard his side of the story. Naturally, he paints Lucifer, his rebelling son, as evil. But Lucifer himself tells a different story.

Devout Christians may be bothered by the idea of the Devil being presented as a sympathetic, if clearly flawed, person (and indeed the show has been protested by some activist groups), but I’m about as far from Christian as it’s possible to be in the Western world, so to me it’s an interesting new take on the mythology.

Also, to play Devil’s advocate (pun intended), I have heard it suggested that the message of Lucifer is, in truth, deeply Christian: the idea that no one is beyond redemption, not even the Devil himself.

Lucifer also feels like a refreshingly different character in some of the ways in which he defies the usual cliches of “superhero” type characters. Whereas normally in shows like this the protagonist seeks to conceal their true nature, Lucifer is quite open about it. He’s happy to tell everyone he meets that he’s the lord of hell. It’s just that people usually don’t believe him, viewing it merely as an eccentric affectation.

The cast of Lucifer circa season twoThe show’s liberal attitude to sexuality can also be refreshing, if at times selective. It seems to me that matters of gender and sexual orientation would matter little to immortal celestial beings, and this is reflected by Lucifer and his demonic lieutenant, Mazikeen, both of whom seduce humans of either gender almost constantly.

We see a lot more of Maze with women than we do of Lucifer with men, so it’s not perfect, but at least the effort was made.

On the downside, Lucifer’s co-star, Chloe (Lauren German), is a lot less compelling. She’s rather wooden and just kind of dull in general. It’s fine when she’s just playing the straight (wo)man to Lucifer’s whacky antics, but in more serious scenes, she flounders.

The rest of the cast is mostly just okay, with no else being as delightful as Lucifer or as dull as Chloe, but I will highlight a couple standouts.

One is Rachael Harris’ “Dr. Linda.” Dr. Linda is Lucifer’s hilariously unethical therapist, and like him, she manages to nail both her comedic and dramatic scenes. She’s a real treat.

The other (and the thing that first drew my attention to Lucifer) is the great Tricia Helfer, who joins the cast in season two to play Lucifer’s mother, the “Supreme Goddess of All Creation.” If Tricia Helfer isn’t enough to convince you to watch a show, what is?

Tom Ellis as Lucifer MorningstarOverall, Lucifer isn’t the smartest show ever, and I wouldn’t expect it to be more than it is, but it’s fun. The sheer awesomeness of Tom Ellis is enough to compensate for the show’s hiccups. I’d recommend giving it a try.

Review: Star Trek: Discovery, “Into the Forest I Go”

Picking up where the last episode left off, “Into the Forest I Go” sees the crew of the Discovery on course for a confrontation with the Ship of the Dead (or the “T’Kuvmobile” as some have dubbed it). In order to save the planet Pahvo, Discovery must find a way to defeat the Klingon cloaking technology, but it is a plan with many risks.

The official logo for Star Trek: DiscoveryStamets will have to conduct over a hundred spore drive jumps in order to gain the readings necessary to pierce the cloak, putting his health and sanity at severe risk, whilst Burnham and Ash beam aboard the enemy ship to conduct crucial sabotage.

This episode works very hard to be an epic tour de force, and in places it does succeed, but it also has many flaws that detract from what could otherwise be a great experience.

I got off on the wrong foot with this episode immediately because the fundamental premise is so flawed. Starfleet orders Lorca to retreat, but he refuses to leave the Pahvans to their fate. This is the exact opposite of the dynamic that has been established to date. Starfleet abandoning a new species to suffer a likely genocide that would be the direct result of Starfleet’s own actions is a breathtaking betrayal of everything the organization is supposed to stand for, and Lorca of all people being the one to put his foot down and stand for what’s right is equally baffling.

There’s a theory going around that Discovery is going to visit the Mirror Universe soon, but in this episode, it seems like at least one character has already crossed over, because the Gabriel Lorca of “Into the Forest I Go” is, again, pretty much the exact opposite of the character we’ve grown accustomed to over the course of the series to date.

This is a guy who has a secret lab full of exotic weapons, a Gorn skeleton, and for some reason a collection of agony-murder balls whose only possible application could be in war-crimes. From his introduction, Lorca has been nothing but nakedly sinister and conniving, and now all of he’s sudden he’s selflessly fighting for the innocent and waxing poetic on the nobility of exploration? Overnight he’s transformed from a Bond villain to Jean-Luc frickin’ Picard.

The titular ship in Star Trek: DiscoveryIt’s also a bit convenient how the spore drive turns out to also be the miracle cure to the Klingon cloaking, and I am bothered by the fact that that neither side deigns to send more than one ship to the battle over Pahvo.

Discovery’s lack of back-up could be explained by Starfleet’s decision to abandon the planet — though that in itself is, as discussed above, incomprehensible — but why does the Ship of the Dead come alone? I realize Klingons can be a bit reckless, but one would think that their flagship would travel with an escort as a matter of course.

Really, it’s just to set up a dramatic confrontation between two ships. And this is the problem with Discovery. It has repeatedly proved itself all too eager to throw logic to the wind if it can up the drama or cool factor. Any story will do this sometimes, and in small doses it’s fine, but Discovery has done it so often and so flagrantly it really damages the integrity of the show.

It happens again with Ash. Why would you send someone who spent seven months being tortured by Klingons onto a ship full of them? That is so obviously a bad idea. Ash is the absolute last person who should have been sent on that mission. Yes, we get some good character moments out of it, but it’s so dumb.

All that ranting aside, there is still a fair bit to like here.

I have been harshly critical of Burnham’s character from the outset, but she’s grown a lot over the course of the season, and “Into the Forest I Go” brings her arc to fruition. She’s every possible kind of badass and awesome there is, and I think she’s finally succeeded in winning me over.

Anthony Rapp as Lieutenant Paul Stamets on Star Trek: DiscoveryMeanwhile, Stamets continues to be the best character on Discovery, in every sense of the word, and Tilly continues to be adorable, even if her role is relatively small this time.

This is also a beautiful episode to look at. And I don’t just mean the raw quality of the special effects — which I cannot fully enjoy because of Crave’s mediocre video quality — but the way they’re used. “Into the Forest I Go” has fantastic cinematography, and there’s some real artistry to the way it’s shot.

Shazad Latif is putting on a great performance as Ash, but I’m still not sure how I feel about his character.

This episode adds yet more weight to the idea that he’s a Klingon sleeper agent, though I’m not quite ready to sign on to the idea he’s a Klingon in disguise. But this is more because I don’t want it to be true than because it seems unlikely. It would be a very cheap twist and waste all of his character development. I want to believe Discovery is better than that, but it’s seeming less and less likely that it is.

For now, I’m hoping he simply got brainwashed or something. That I could live with.

I want to like this episode. It’s got a lot going for it. But it also has too many flaws to be truly great.

Overall rating: 7/10