Max - Sultan of Television: 11.22.63: Time Flies

Last Monday, Hulu, in an attempt to compete with their instant-streaming service competitors Netflix and Amazon Prime, released the premiere of said miniseries. It was based on the fantastic Stephen King novel of the same name and stars James Franco, an all-star name. And, while the show is most certainly a fun one, it is not going to lead Hulu to becoming a must-purchase service.

The real star of 11.22.63

The premise, in it's most simplistic form, follows a man named Jake Epping, a high school teacher from Maine (a place that's never been covered in a Stephen King creation before,) who discovers a rabbit-hole back to 1960 in the back of his favorite diner. The diner's owner, Al, has been trying to use said portal to stop the assassination of JFK, but as of yet, he has been completely unsuccessful, and now that he has cancer, wants to pass the quest on to Jake, a frequent customer and occasional friend. We are quickly informed of the rules of this portal:

1. Every time the portal is entered, it resets everything that has happened afterwards. For instance, if I write "Max is cool" on a tree, it'll be present in the modern day, but the second I re-enter the 60's, all history from the last time I was in the portal will be gone.

About twenty minutes into the premiere, Jake has already accepted this quest from a recently deceased Al. However, a major problem I had with the episode is that there was barely any set-up emotionally for Jake to do this. We see that he's divorced, and we see he wants to avenge Al, but for the most part, it seems like he decides to change the course of history as we know it on a whim. This is a recurring problem in the show, however. Never once are any of the characters, at least in the first chapter of the eight episode series, shown to have any inner thoughts beyond the ones they say on the screen. Nothing is subtle. And, while this makes the complex plot easier to follow, it leaves the characters are cardboard cutouts placed to carry out the story rather than people whom the story happens because of.

This is the kind of writing that separates the boys from the men in terms of television. In a show like Breaking Bad or The Sopranos, the plot happens entirely because of the character's reactions to people and events. Walter White's character is the inciting incident for the events of the show, not an invisible hand of plotting. Even in Game of Thrones, a show largely plot based, everything that happens to spark war and diplomacy happens due to the egos and personalities of the many characters focused on. And, while 11.22.63 must have somewhat of an invisible hand of plotting due to the science fiction/time travel nature of the story, Jake, Al, and the other characters in the show feel more like chess pieces to move around than they do real characters who dictate where the story will go next.

However, while the characters are poorly drawn, much of the appeal of 11.22.63 lies in other areas. For instance, the show has a good sense of humor, making a somewhat dour plot into something much more fun. 63 does a good job of showing the stark contrast between the modern day and 1960, with scenes of Jake accidentally dropping his Iphone, shaving his modern hair and stubble for a more businesslike style, and his constant frustration while driving and having to look at a map. Unlike Amazon Prime's The Man in the High Castle, 11.22.63 has a very bright view of the 60's. Everything is over saturated and Jake almost feels like a kid in a candy store while getting to explore the childhood world of Stephen King.

In addition, the show has a strong driving plot, despite my complaints with characterization. The assassination of JFK and deep look into people like Lee Harvey Oswald are fun for television and conspiracy theorists alike, and Jake's outsider viewpoint coincides with the viewer's making him relatable if not fully three dementional.

I also have to give credit where credit is due. James Franco is a guy who, for the most part, has done comedy for the last fifteen years of his career. Goofing off with Seth Rogan and making stoner comedies has made up a lot of Franco's resume, and seeing him turn toward more serious projects in which he stars and produces, is a good step. Also, the fact that he chose such a science-fiction niche product shows that Franco has more interesting taste than most would think, and marks a stark contrast from what a lot of handsome thirty-something year old leading male actors would go towards. Plus, going to Hulu, a service not nearly as watched as Netflix or even at this point, Amazon Prime, is a good move for both Franco and the brand. Though this miniseries may not get the buzz to bring Hulu into the artsy television award market, it's an attraction that can be a large part of a catalog to buy into for people looking to expand their TV viewing ability.

All in all, 11.22.63 has enough going for it, from the Stephen King plot to the 1960's fun for me to watch the next couple of episodes and likely the entire eight episodes, but unless there's a major change in quality, I don't think it's going down in critical history, nor the pantheon of amazing King adaptations.

Also, side note, for avid King fans, 11.22.63 adds some subtle references. At one point Jake says he is JFK's "number one fan," an obvious callback to Misery. There's a Castle Rock namedrop at one point, and in the opening scene, The Lurker at the Threshold, a Lovecraft story can be seen written on the blackboard. However, I'm still waiting on the villain, whoever it may be aside from Lee Harvey Oswald, to have the initials "R.F."