Channel Surfing: Happy - "Saint Nick"

Happy
Welcome to a new column called Channel Surfing, in which I sporadically look at current TV shows and talk about them. These are not ones that I care to write weekly recaps for and are instead reflections either on the episode, the series, or particular moments. This will hopefully help to share personal opinions as well as discover entertainment on the outer pantheon that I feel is well worth checking out, or in some cases, shows that are weird enough to talk about, but should never be seen.
In the era of peak TV, the action series is largely overlooked. Sure, shows like Game of Thrones have epic set pieces, but what about the shows that exist almost solely for the killer visuals that stimulate the viewer into a mental nosebleed? Besides Preacher, SyFy's latest series Happy is one of the first to create a serialized tale set around surrealism and nihilistic comedy that juxtaposes violence with upbeat imagery. For those mistaken as to whether the show is for them, the first five minutes should detail the actual answer. Lead star Chris Meloni is a mentally unstable man whose connections to crime cause him to leave a body falling to the ground as blood swirls from its open wound. It's a vulgar image, but one that's played for comedy, given the heightened reality that's established even before the story's central gimmick, an imaginary unicorn named Happy, shows up in Meloni's life.
If the series' has a familiar look and tone to the entire production, it may be because of Brian Taylor, one half of gonzo filmmakers Neveldine and Taylor. Having created the cult Crank movies and a variety of other movies prided on their insane features, Taylor joins the ranks of modern TV with yet another comic book adaptation from an obscure franchise. Even then, one has to wonder what he brings to the table that shows like Preacher haven't already done. To a large extent, Happy's first episode is a neurotic and impulsive show, never settling down long enough to drop the tension. Much like the Crank movies, Taylor prides himself on starting the show at 100 mph, and never dropping below it despite whatever comes his way. It's what gives the series an initial appeal, and at least makes it stand out among series that are more refined to plot and character development.
That isn't to say that the show doesn't have character. Happy's main motivation is to find a little boy who needs him in his imagination. An avant garde concept for sure, but it adds a disorienting sense to the violence, which comes from Taylor's penchant for mentally unstable humor and direction. The first episode is a manic journey through ideas and concepts meant to get the viewer excited about a story with such an odd premise. Meloni commits to the physical side, even shamelessly playing an unsympathetic man at various points. This is a show not meant for close focus. Instead, it's about the rush and adrenaline of its odd existence. Why are things happening? Who knows. It makes sense to Taylor, and that's all that matters. The only downside is that as a SyFy show, some of the effects have a lower quality than many counterpoints, notably in the gradient nature of the blood. Still, it's a show that loves to shock, and never gives up a moment to do so.
It's a subversive tale, and one that definitely feels different to modern comic book series, or even action shows for that matter. There's a good chance that more character development will be added in time, but for now the show will be special to those who love the Crank movies and want to see the same demonic energy plastered onto a bizarre TV show. This is an acquired taste of a show, but one that manages to appeal to those who still see violence as a form of entertainment and not deep provocative thought. It may become just as much of a cult factor as every other thing that Neveldine and Taylor have made, but from the looks of it, SyFy will at least let him make the show that he wants as delusional and unique as he wants. That's bound to get it referenced in some odd book about comic book shows, at least ones with imaginary sidekicks with defined posteriors. 

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