Flesh and bone phần 1

Flesh và Bone, Season 1Created by Moira Walley-BeckettAired Sundays at 8 pm ET on Starz

Over the past few years, Starz has made its mark on the tv landscape with numerous shows, from Spartacus khổng lồ Party Down. Their latest series, from Breaking Bad writer Moira Walley-Beckett, delves inkhổng lồ the world of ballet dancing. Titled Flesh và Bone, the miniseries explores the world from the perspective sầu of the people associated with the American Ballet Company, và while there are some strong ideas và themes presented, the series unfortunately fails to develop them effectively.

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The season’s focus is on power và control, most notably the type that is exerted over women by men. The effects that control has over different characters is by far the most compelling aspect of the season, starting from Claire’s attempts lớn get out of the control of the men surrounding her. This begins with the hold that her brother Bryan has over her, which she tries to lớn break by taking control of her own sexuality via Sergei’s strip club, then continues with Paul and Sergei. Watching Claire try to break miễn phí of these influences, with the season-ending “no” cementing how far she’s come, is very compelling, aided in large part by Sarah Hay’s excellent work in the role. Hay is particularly skilled at conveying emotion non-verbally, which is put to full effect in the series.

Of course, Claire is not the only one whose control is examined, as the stories of both Jessica và Mia are interesting to lớn watch. Seeing Karen try khổng lồ juggle her expenses with the American Ballet Company’s expenses, and be eventually forced lớn give Sergei all the concessions he demands for fear of not having enough money, makes for an intriguing exploration, particularly in how Karen seems khổng lồ bkết thúc backwards khổng lồ justify essentially handing over financial control from her husband lớn Sergei. In many ways, her circumstance remains the same at the beginning of the season & at the kết thúc, only it’s her job và the ballet company on the line và subject to lớn Sergei’s whims, rather than her daughter’s private school tuition. Similarly, Mia’s late-season struggle with MS và what it means for her life now tackles the theme from a new perspective that makes it interesting. Mia going from willfully having ballet control her life to MS controlling her life despite her best efforts is portrayed well, both by the show and by Emily Tyra. Other aspects of the show, like Kiira desperately trying to hold on khổng lồ her position as prima, where she has control, to ensure she doesn’t get forced inlớn the role of mother, where she’ll have sầu no control, and Paul forcing the dancers to lớn miss their Thanksgiving transportation so they’ll have no choice but lớn attkết thúc his party, further build on this idea.

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Unfortunately, however, while the series presents these themes and they’re interesting lớn see, for the most part, there’s very little follow-through khổng lồ examine the effects that this power and control has on the characters. Mia’s MS diagnosis, & her subsequent suicide attempt, end up as subplots, & her attempts lớn try and dance again in her hospital room end up being the last time the character appears onscreen, with no resolution of whether she comes khổng lồ terms with this turn her life has taken, or if she falls inkhổng lồ the throes of suicidal depression once again. In addition, Mia’s near-rape sexual encounter with Bryan is pushed aside as well, resurfacing only when she has flashbacks whilst with the stranger in the club bathroom. In addition, Jessica bringing Sergei onboard, and the ramifications of this action, is also pushed to the side, with only the brief encounter between Sergei and Paul, as well as Daphne’s reaction, showing any indication of how this idea might backfire. The same goes for the control Paul exerts over the dancers. While his abandonment issues are touched on in the story he tells about his foster parents, his exertion of control over Ross, followed by his undermining of Trey at the tiệc nhỏ, seem khổng lồ serve no real purpose, as the character motivation behind both actions does not come through at all, instead simply making Paul seem egocentric to the point of self-destructiveness, a character trait that is not only borne out in his other actions, but which is not balanced out by any degree of talent that would indicate why he continues to be employed by the American Ballet Company.

Perhaps the most glaring example of Flesh & Bone‘s frustrating nature of presenting intriguing ideas but not following through on them is the character of Romeo. Over the course of the season, it often goes baông xã to lớn Romeo, seemingly establishing hlặng as a key character in the lives of Claire và Mia, but doesn’t explore his mental illness or thought process in any meaningful way. His novel & his visions are presented to lớn Claire and Bryan, but what he means by any of them, and what leads khổng lồ his interpretations, is never explored, & neither are his other personality traits, lượt thích his habit of writing pages by hand & putting them in bottles, or his insistence in taking, then rewriting, Claire’s copy of The Velveteen Rabbit. His disappearance for large parts of the season is understandable, as he’s not part of the ballet company & not heavily tied khổng lồ either Claire or Mia, but his one major action of the season, the killing of Bryan, does not have any real impact because the audience has no sense of who Romeo is và how this action affects hyên. His motivation for the killing is unclear, as he hints khổng lồ Claire that he’s aware of Bryan forcing himself on Claire, but the way he addresses Bryan during his first stint in Thủ đô New York City undermines this. In addition, how he feels about Claire never solidifies, so whether he thinks he’s helping Claire by killing Bryan, or whether he’s killing Bryan khổng lồ prevent some larger evil, similarly remains unclear.

These are just some of the key issues with the series. Another troubling problem is the squandering of Tovah Feldshuh, who gets one of the least developed characters lớn play in the whole series, giving a total of perhaps ten lines through the whole season in a waste of the performer’s talents. Speaking of performer’s talents, the show doesn’t take advantage of the fact that its cast is comprised of dancers until the final episode, where it puts on a show. This has the unfortunate effect of making the casting selection feel more lượt thích a stunt than a decision motivated by artistic reasons, as the snippets of nhảy đầm that is displayed during the season leading up to the finale vị not add to lớn the story in any way, & aren’t focused on long enough for viewers to understvà và admire the skill và precision on display. The season, however, does have sầu some strong aspects, chief aao ước which is the cinematography. Terry Stacey takes over director of photography responsiblities admirably from Adam Arkapaw, who handled the pilot, using numerous breathtaking shots and stunning uses of lighting khổng lồ create several memorable images over the course of the season. The opening credits are also a collage of stunning images, showcasing the skill of a ballet dancer better than most of the episodes themselves, & the addition of Karen O’s vocals only adds to the effect. The performances are also similarly top-notch. In addition to Hay’s excellent work in the central role & Emily Tyra’s work as Mia, Timãng cầu Benko, Irina Dvorovenko, và Raychel Diane Weiner all turn in svào work as Jessica, Kiira, & Daphne respectively, giving their characters and actions more weight than the writing itself affords. Unfortunately, the sum of all these parts somehow adds up to lớn less than a whole, leaving Flesh và Bone as, ultimately, a disappointment.