The Cape: "Pilot"/"Tarot"

My relationship with The Cape has been ever-changing, starting long before the premiere episode ever aired. Way back last summer, upon hearing that their were going to be TWO new superhero shows premiering this season (the other being No Ordinary Family), I felt that combined twinge of worry and anger that I get whenever two or more shows with a similar premise (or even within a similar niche genre) debut close to one another. Yet “The Cape,” as a title, had the cool sounding effect that accompanies short titles that seem to stand for so much more, so I was more or less intrigued. And then NOF, which had a cast I liked and a workable premise, just began to suck. Having enjoyed their being a superhero show in my weekly TV schedule, I began to pin higher hopes on The Cape, so I could at least enjoy the superhero show I was watching. But then the early reviews came in, review from critics I liked, who opinions I respected. The Cape, they said, was pretty bad. My hopes (and heart) sank.
Yet here I am, on premiere night, ready to give it a go anyways because a) I like to make my own final opinions, thank you very much, b) reviewing something that sucks is often a more challenging critical exercise than reviewing something that's good and c) with nothing on AMC until April, my Sunday nights are pretty wide open.

The problem, to put it simply, is that The Cape reeks of cliché. Origin stories are of course a logical way for any superhero story to start, as it serves as straightforward storytelling, and it can help us to establish an emotional bond with the character. However, it's also a dangerous game, as “Pilot” shows, demonstrated. By taking forever to get to the titular cape, the first hours fails to hold any interest; it just becomes a waiting game to the premise. Nor does it help that they fill the time with the standard falsely-accused-and-thought-to-be-dead-cop angle. I can't feel like Vince Farraday is a real person if his life story is ripped right from a smattering of movies.

When we finally get to the cape, (after abandoning the circus performer robbers plot that held my interest – seriously, that should have been its own show) we are presented with my least favorite storytelling element, THE TRAINING MONTAGE. Yawn.

Then Vince does what all good ole superheroes must, and has his first fight, where he gets his ass kicked. Fortunately the shows saves us from the rounding comeback angle, only to have us go down the “superhero-meets-his-future-sidekick-but-yells-at-them-first” trope. This actually ends far too shortly, as Vince is quickly called back to rescue Circus leader Max when he is captured by the REAL Chess. DUN-DUN-DUN! A fight ensues, which ends way to conveniently with the whole “no cell service” distraction. This was all capped off with the whole Vince-as-The-Cape assuages his son's fears bit, which just left me wondering why Vince doesn't show as much concern for his wife.

The second hour points to show that if not better, is a least a bit more entertaining. Though the show seems to use the villian-of-the-week structure ably enough, at I have nothing against this approach in theory, though many shows have fucked this up in the past, and I'm pretty sure The Cape will too. Regardless, there exists too much ephemera on the side, which distracts from the weekly villain bashing. I don't care about Vince's wife and son, nor are the flashbacks as poignant as they are supposed to be. Nor do I feel like the show needs all of the characters it has. The circus performers being there to assist Vince will get old quickly, not mention working their presence in seems a bit of a chore. Also – WHY THE HELL IS THE GUY WHO BETRAYED VINCE STILL AROUND? He was a plot device in the pilot, so the show is going to have to justify his existence. Good luck.

The introdcution of The Tarot in equally problematic; we already have Chess/Fleming as some sort of arch-villain, a man who can orchestrate many problems for Vince for a least a handful of episodes, so this reveal feels like it comes way to early. If the series keep piling plot lines on top of one another, it will all dissolve into an overly complicated, muddled mess.

All of the series' problems are compounded by some of the stylistic choices the show makes. While I like the look – the colors and atmosphere are reminiscent of Batman: The Animated Series, my favorite superhero show – nothing else stands out. The city is just a standard city, the docks and all. Nor am I a fan of the title cards that start each act. Not only to they give us an unneeded heads-up, but they add nothing thematic, nor do the improve the feel of the show.

Nor does the acting doing anything for me. While I've liked Summer Glau and James Frain in the past (Frain was one of the best parts of True Blood's disappointing third season), they didn't do anything spectacular here. As for all of the other actors, they were just...there.


Note: I will also be reviewing next weeks episode, which will air on MONDAY at 9/8c, for shits and giggles (though probably mostly shits).

Also, next Sunday I will watch the Golden Globes, and if anything of note happens, I will write about it and put it up on the blog. 

Additional Thoughts: 

- The set up of Peter Fleming as Chess was just terribly done. Not only does James Frain generally play villainous roles, but when both have British accents, it's pretty easy to tell. Also, the ads already gave it away, so thanks for that, NBC.

- “Do you think the raccoon acted alone?”

- Apparently there was another TV series entitled The Cape, from 1996, about the staff at NASA. Interesting.

- The CGI used for the cape is just distractingly fake looking.

- Max's faux-dying is indictative of the kind of trope subversion I wish this show would indulge in more.

- The whole “Max keeps the cape away from Vince” plot in the second hour was just utterly pointless, I don't know why they even bothered.