Venice in its first season has many things going for it.  One in particular is that it was done at all.  Presently, dramas dependent on uncensored content, devoid of corporate strangleholds, have little other place of premier besides the internet.  Open Book Productions harnessed the anticipatory power of an organized and largely unfulfilled fanbase and moved forward with their aspirations.  Living the ultimate realization of a dream is something to celebrate.

Jessica Leccia brings to the character of Ani a guileless vulnerability that encourages the viewer to root for her.  Roll after roll, over and over again, she puts herself out there until in the finale she inescapably decides to get off that emotional Magic Mountain that is Gina Brogno (Crystal Chappell) to find happiness in a lover without the nauseating twists and turns.  Who knows what will happen next season.   Will Ani grab a fast pass for Lara, or will she stand in that long, switch-back, line for Gina?  Personally, I hope Ani’s happiest place on earth will be with Lara.

Though Lara (Nadia Bjorlin) is a bit of a blank slate at this point, I really don’t care; she isn’t Gina.  For some reason, the character is likable and holds my interest.  Perhaps I am merely cheering for Ani and this is transference on my part.  Whatever the motivation, there is an anticipation that I don’t have for many of the other characters.  Also, I would be remiss if I did not mention that Nadia Bjorlin came to this character cold as it was originally cast with Elizabeth Keener.  It has been well publicized that upon arrival on the set to play her original role, Nadia stepped into the Lara part and has performed admirably.

Hillary B. Smith, episode two not withstanding, brings chemistry, maternal compassion, and humor to the series.  Her passionate plea to the Colonel (Jordan Clarke) for parental understanding is one of my favorite scenes.  Though the Colonel can be classified as stereotypical, such characteristics have their roots in reality, and though Gina waited until later in life to finally confront her homophobic father, she did it.  Many of us either lost that chance because of life’s fated circumstances, or perhaps we are not quite as well adjusted as our critics, therefore, seeing the manifestation on screen is satisfying.  On a selfish note, I have to say that while Crystal and Hillary stared longingly into each other’s eyes after a Goose downed evening in episode 9, I was pleading in my head, “Please make Guya the ADOPTED sister of Gina’s mother!” To this point, no scripted pairing has produced such a reaction.

Out of a much heralded cast, the standout surprise for me has to be Michelle N. Carter.  There is something about Michelle’s character that makes me want to point and say, “Yeah, what she said,” every time she completes a sentence.  She is not only Gina’s assistant, but her super ego with an attitude…not that there is any part of Gina’s moral compass that would respond to anyone less magnetic.

Technically, the series manipulates the beauty of the California beach through the use of high definition cameras to create a setting both visually pleasing and unique to many webseries.  Couple the fabulous photography with the decision to utilize indie music artists as added definition, and Venice creates a secondary storyline that is complimentary to the first.

Though I believe Venice has the potential as a continuing drama on the web, I believe as a viewer, some parts of this freshman season series need adjustment.  My biggest disappointment is there are too many characters to establish a full depth of development in the amount of time the production team arced for one season.  The “morning after scene” with Gina and Ani through the “body in the garage discovery” could have easily encompassed 24 to 36 complex episodes.  I would have preferred the episode 7 good-bye scene to have been the season one cliff hanger with much more character development in between.  I have said it before, please, show me, don’t tell me.  Of course, I can fill in the blanks myself, but as a viewer, I shouldn’t have to.

Not lost on me is that Gina, a character with the most number of scenes, is the least dimensional of the characters.   I watch each episode with the hope that this will be the week I like her.  Do something to expose her vulnerability.  Hell, show her buying a few beach orphans a shave ice, something, something that will tell me she is more than mean, crass, manipulative, and drunk.  As I said in my review of episode 7, Gina shows glimpses of humanity when she allows her personal walls a certain opaqueness.  Show me more.  Give me the slightest impression as to why Gina can’t commit.  A tent pole character doesn’t have to be without its nicks and its knots, it just has to be strong enough to support the apex of the canvas.

Crystal Chappell is one of the most talented actresses in any genre at delivering an emotionally charged scene.  Give her (and me) the bridge to get there.  Unfortunately, the writing for Gina’s final scene with Ani is an abrupt bridge to nowhere.  As with other important arcing sequences of this season, there are significant gaps in composition.  Gina schizophrenically overreacts to Ani’s rejection of their dysfunctional relationship.  I would have given more credence to this emotional outburst had I been privy to insight as to whether episode 7 had actually been the last time these two were alone together.

Had they been given more of a reactive catalyst, the chemistry between Gina and Tracy (Lesli Kay) could have been perceived as more inciting than a child’s science project.  In episode 11, when Gina and Tracy throw each other against the wall, the audience is quickly cut to the product and left to assume the initial substance.  In the finale, Tracy emotionally pronounces she is falling in love with Gina.  How and when did this happen?  Without revealing the fundamentals of the motivation, what’s left is an unbalanced equation.  There is something to be said for giving Gina and Tracy the same relationship litmus test that Ani and Lara are given.

Season one ends with Gina answering a call for reinforcements from the Colonel and finding what appears to be a lifeless, handcuffed woman in his garage.  I have to admit, my first reaction was please let this be Tracy…or at least the personification of her bad British accent.   Cut to black, listen to the music, and wait for season two.

And about next season, I say please, no stunts and no Chaiken things up.  Develop the three dimensions of the twosomes before you work on the threesomes.  Take your time, ladies.  Contrary to fanatical belief, good is worth waiting for…with all elements of this potentially very successful show.

I just watched Venice, Episode 7 for the fourth time.  That’s at least two more times than I watched the others, and I have to say, well done, ladies.  On the heels of a much improved Episode 6, I am hoping this is a trend of lessons learned, the wheels back on the train, and full speed ahead.

Episode 7 is well shot, well edited, and well acted.  There is so much chemistry in the air, it’s as if Crystal Chappell, Jessica Leccia, and Michelle N. Carter sat down to a buffet at the periodic table.  Although the beginning scene should have probably been the end of last week’s episode, there are no bells and whistles, no standard dialogue, and no oddly squeezed in exposition to distract my attention.  It flows; it is believable; it leaves me interested and more importantly, wanting more.

Prior episodes have been a demonstration in what appears to have been a learning experience.  I posted my thoughts on Episode 1 and 2, and the more I think about it, Episode 2 was more like something from an entirely different series.  When placed side by side against the rest of the programming, you don’t have to be a Sesame Street alum to know one of these things is not like the others.

Episode 3 left me confused as to what Michael Sabatino’s character portrays.  Is he a metro-sexual male with a shoe fetish, or is he a married-to-a-woman gay man who collects Mama Mia memorabilia?  I’m still not quite sure, but Michael was good enough to make me wonder.  Where I am more “huh?” than curious is what did I miss between Gina (Chappell) and Tracy’s (Lesli Kay) curious playfulness at an afternoon business meeting and their VERY familiar display in public that evening.  Soaps are as much about the dance as they are about the pay off, and I would have liked to have seen Gina, fueled by liquid courage, tango with Tracy.

I do get the limitations of a web budget, but skipping the Gina/Tracy date and going right into Episode 4 left a gap in the timing that makes me say, “Show me, don’t tell me.”  Build this thing block by block, create a good foundation, and then build the walls for me to scale.  Make me wonder; make me want more.  Perhaps then, the chemistry between Gina and Tracy would have had more time to react.  My praise goes to Hillary B. Smith and Jordan Clarke.  Although had I not known from the website the connections these characters have to each other, I might have been somewhat confused.  I loved the character confrontation between these two talented, veteran, daytime actors.  Guya (Smith) is the maternal champion of this family.  This is the cosmic energy I wanted to see out of the essence of Guya, not that quack-job from Episode 2.

By Episode 5 we finally get the date scene, but the chemistry between Lesli and Crystal is just not there.  I say this not because I can’t see “Olivia” with anyone else but “Natalia”, because quite frankly I was ready to move on from those two by the time Guiding Light ended.  I say this because, for me, there is no spark, no fire, and no smoke.  I found Crystal relaxed and attentive, but Lesli as a seductress is posed, and comes off more like late-night cable.  I understand the desired effect, but the somewhat-Madonna-ish British accent is distracting and should be dropped.

In Episode 6, Gina Tognoni is introduced as Owen’s (Galen Gering) blind date.  The scene is shot up-close in the hatchback of a car and leaves little to distract from the dialogue.  Maybe it’s just picky me, but I listen, and you lost me at “small village outside of Zambia”…Zambia is a country, so the geographic possibilities are endless.  Galen’s version of the Owen character as gentle giant, little brother buffoon, and screw-up reminds me of all those stoners I once knew.  He makes me lean forward in a feeble attempt to hurry his words.  I have to believe my perception of bad acting has transcended to be merely an aspect of his character.  Episode 6 is beginning to find its way as Crystal Chappell does what she does best, fight scenes.  She scores a long overdue TKO as Gina initiates an act of paternal defiance and declares verbal war on her intolerant, homophobic, and hurtful soldier father (Clarke).  I heard my audible, “Yes,” as she and Owen slam out of the Colonel’s house.  This is what I have been waiting for.

Back full circle to Episode 7, I hope the series continues to get better from here.  If such is the case, I would be willing to forget the myriad of technical problems, the platitude of script, the editing problems, the over/under exposition, telling me and not showing me, and yes, Episode 2.  Could it be that Jessica Leccia is what we have been lacking so far?  I adore the normal, “antithesis-Natalia” that is sweet, quirky, a gentle smart ass, and yes, talented.  After seeing Episode 7 several times, my advice for season two would be to cut the cast and shoot episodically around these three core characters, Gina, Ani, and Michele.  The waters of Venice Beach will continue to drift characters in and out of the loves and lives of these diverse, engaging, women.  When it comes to the future of this webseries, I say take these three actresses, and ride the high tide.

I discovered three things from watching the second episode of Venice, the series.  One, Michelle Carter can portray a believable character.  Two, by using the F-bomb, there is a definite, realistic, made-for-cable set up.  And three, Hillary B. Smith’s boobs were not the only thing dramatically over the top in the final scene…not that I am complaining (about the boobs).

The opening scene provides a nice and immediate set up of Michelle Carter’s character as Gina’s assistant.  The relationship between Gina and Michele is professional, yet personal and relaxed.  The scene sets the dynamic quickly providing adequate exposition that Michele is an organized asset to Gina’s work schedule and possibly her personal life.  Carter creates a realistic portrayal of the often unseen wizard working the machine from behind the curtain, someone so many of us couldn’t function without.  I anticipate seeing more from Carter, so mission accomplished.

Gina’s choice of “fuck-tard” in reference to a client builds on the character’s previously established lack of sensitivity.  Gina is emotionally bankrupt, and her mouth is writing checks her conscience can’t cover.  Technically, allowing Chappell’s swearing is establishing the series as a representational cable alternative with daytime actors.  I applaud the production team for rejecting the socially sanitary “jerk” and the like.  I can almost forgive the morning after tank tops…almost…as the beyond PG-13 language is realistic in my world.  I have been known to drop the occasional F-bomb myself.  Ok, I admit it, at times I tend to carpet bomb as an offensive.

Constructively, I have to say the last scene with Hillary B. Smith and Tina Sloan just didn’t work for me.   Unless they are setting up Smith’s Guya character as a grifter (and I sincerely hope so), the desire to be overly quirky both in writing and editing plays as if Guya doesn’t yet exist in Gina’s world.  If Guya is not being played as a confidence woman that preys on the loneliness of wealthy widows, then her overt spirituality is being portrayed more of a carnival sideshow than with the metaphysical homage it deserves.  If Guya is going to be the “tent pole” character for the Brogno kids, it’s difficult to take her seriously unless I know she is “playing” for a mark. Considering the talent of these two veterans of stage and the daytime screen, there has to be a reason for the heavy hand and the broad strokes.  Could the final reveal of the tarot card be the foreshadowing of Tina’s character in season two as hinted on Twitter?  I don’t know.  And could there be a statement in the very last card, the fool?  Perhaps. Frequent readers of my work know I am a huge fan of the use of lightheartedness and comedy, but I wish this wasn’t the first time Aunt Guya was introduced.

I want to be emotionally vested in these characters.  I want to glimpse their personalities in reference to the whole and how they relate to the lead character.  Right now it seems I am watching independent vignettes without the benefit of progressive personal harmony.  I agree exposition is necessary, but exposition as it is relative to character association, not just exposition for exposition’s sake.  Just as it was accomplished with Gina’s assistant, Michele, it is important to subtly lead new viewers, not privy to the genesis of this series, to the acknowledgment that Owen is Gina’s brother and that overly eccentric character is Guya, Gina’s maternal aunt.  Their relationships, their interactions, and their combined behavior ramifications keep a viewer wanting more and willing to invest not only time, but money.

As a viewer and potential subscriber, I have honestly and constructively reviewed my Venice experience so far.  It is no state secret that I want this endeavor to succeed; it’s potential in a new genre is overwhelming.  The series is a work in progress, and as with all babies in infancy, can benefit from those not quite so close to the mother.  I made a promise to be impartial and tell it like I see it.   It’s my personal experience that large, rose-colored glasses have been of little benefit to anyone but Elton John. I look forward to seeing the vision hindsight brings.

I have watched the premiere episode of Open Book Production’s Venice several times, and I believe I am prepared to take an honest and constructive look at the new webseries.  I approach this endeavor with the same critical eye I apply to all entertainment, and for that matter politics, as I believe they are one in the same.  I don’t think Kim, Hope, or Crystal would expect anything less from me.

My favorite part of the five minute episode came in the first thirty seconds.  It is the part where the CBS/P&G executive yells, “Cut!”, and Crystal Chappell says, “Fuck you AND your standards and practices.”  OK, that scene is in my head, but I see it every time I click “play”.

I believe the script inaugurated the two characters of Gina and Ani very well.   It established their relationship obstacle right away, giving an insight to their history and the possible flaming circus hoops to jump through in the future.  Complicated is an understatement.  Gina is aggressive, broken, and flawed, and for that Kim Turrisi, I say good on you.   Meat to chew is so much better than milquetoast to swallow.  Speaking from someone who now sarcastically and unfairly equates the phase “I don’t know” with Jessica, it is refreshing to see her play opposite Crystal with desperation and frustration but not with a pabulum resolve.

The first screen shot was generally well constructed.  I have to admit, though, the slow pan across the discarded clothes trail revealing a morning-after scene with two perceived as passionate lovers that are HALF-DRESSED leaves me perplexed.  I don’t say this as a titillated fan with an overwhelming desire to see the girlie bits.  Hell, anyone with access to an internet connection or a Netflix account has seen Jessica naked.  This is merely a pet peeve of mine in a PG-13 world.  A well placed sheet around “the girls” would have been more realistic.

I would have preferred the Galen character’s familial relevance to have been established with more definition.  Unless you are a reader of the soap press or a Twitter hound bird-dogging the series and it’s production team, it’s not necessarily obvious that Owen and Gina are related.  Nevertheless, they have a resemblance, and he teased her as a good brother should.  I loved the sarcastic little brother “re-tread” line as visually I can see the shiny new facade of the old worn pneumatic unravel and peel away with time.  I look forward to more glimpses of why Gina keeps pushing Ani away when clearly in the “body clutch” before the shower scene she loathes herself for not being able to step up.  Gina is troubled, emotionally cold, and possibly, a bit mean.  Everything I love in a dramatic lead character, but thankfully not in a partner.

How will the other romantic characters play into this broke-back relationship?  How does Gina’s family tree shade her truth and her confidence?  I have about a week to decide if $9.99 and a Paypal account is the price to pay for my curiosity.  No matter the school of thought on this subscription-based internet programming, and there are plenty of opinions out there, I am interested to see where this business model will lead for a “soap” series.  Open Book Productions is in a very unique position that many web producers can only hope to be. Crystal Chappell has a pool of friends to pull from that are experienced TV and theater actors that will work for free (for now). Crystal also has a maniacal following willing to finance the initial phase of this dream with Venice swag and in-kind drop off programs.  Is the webseries the future of the failing daytime serial model?  Are Crystal Chappell and company riding that proverbial elephant I gave them right down the middle of the world wide web, a socially-marketed entertainment juggernaut?  Will this niche audience be sustainable? Time will only tell.

Now, can anyone loan me $10?

Twas the morn before Venice, when all through my mind,

This better be good, Turrisi, worth 9.99.

I’ve cued up the website with anticipatory care

In hopes that the server survives all the wear.

Canceling Otalia produced such a clatter,

That Crystal Chappell took rein of the matter.

A webseries for fangirls the remedy be,

Oh, and friends of the diva will work here for free.

Jessica Leccia (Natalia) was mustered,

Rewarding our patience for Olivia to uh, fork her.

The first 30 seconds is a promise of Hope,

A Royaltey similar to Slippery Slope.

The cast was assembled from daytime soap drama,

Employment lines scoured for Gina’s new papa.

A brother, a lover, an aunt and, an ex,

Venice the series, for straight and same-sex.

Now, Jordan, now Michael, now Gina and Lesli,

On Galen, on Nadia, on CC and Hillary.

From the sand of the beach to a kiss on the wall,

Act away, act away, act away all!

First they must figure a way to get paid,

Any good option short of Chappell getting laid.

We’ll open a store, sell t-shirts and panties,

Take pictures of Crystal will up all the ante.

A week of production, first season is done,

Tonight’s the premier of a multi week run.

Everything’s finished and what more can they do,

For Open Book Productions, a dream does come true.

I’ll watch with the eye of an impartial critic,

Everyone knows the ‘Schmootz is a cynic.

I’ll make up my mind on performance and write,

Happy Venice to all, as we log on tonight.

You may have seen my tweet today about my misadventures with the 10 ft. Gina and Ani.  If I had not been sitting there I wouldn’t have believed it.  A Twitter recount of 140 characters or less would never give this experience the justice it deserves, so I decided to communicate my near Crystal calamity here.

I am in the Municipal chambers wearing my day job persona and preparing to speak to the district International Education program regarding environmental issues and their research project in chemistry, biology, and physics.  They are a captive audience as their project is dependent on my presentation.  City leaders from each ward are in the audience anxiously waiting with feigned support as this is an election year.

It was the perfect storm of technological tidal waves that ultimately washed me out into the Venice see.  Of course the entire city is Windows based and so the interface, out of sheer envy, refused to cooperate with my Keynote presentation.  I exported the document to PowerPoint, but cataclysmic errors occurred in the formatting and therefore the video clips wouldn’t play.  I am Mindschmootz, and I shudder at the thought of presenting my point of view without video!

Jim, my favorite IT guy, said I would have to use my personal MacBook and project it up on the 10ft by what has to be 12ft HD big screen, so he proceeded to connect it to the center monitor.  Now this is no average screen.  This is an extension of something, and it’s not small government.

I was busy looking over my notes and paying little attention until I heard an audible gasp from the crowd and then a WOOOOOO!  I looked up, and then in all her glory, was 10ft CC in her beater and Jessica on her shoulder…definitely NOT Otalia.  Oh my god, my screensaver!  The sexual tension was tighter than the strained faces of the politicos in the front row.

Now Jim, being the keeper of the banned social website key, has been an occasional watcher of Otalia clips with me, and I have recently pointed him in the direction of Venice.  He knew exactly what was on the screen and was just staring at it.  Suddenly, the blood rushed back to the upper part of his body and he came to his senses.  He hit the key pad, and just as quickly, Gina and Ani took second stage to the bland blue of the background.

All I could do was shake my head and smile…Gina and Ani in behemoth HD looked damn good.  Venice crew, your first test city was a success.  Perhaps I will be asked to speak in Dallas next. Cowboy stadium has that 60 yarder!  That will require some thought…

Hit the “toggle full screen” at top right corner for best viewing.

Schmootz on Venice Interview