Don Cheadle is a fantastic actor, so when Showtime debuted its new pilot, "House of Lies," starring none other than the "Hotel Rwanda" (2004) celebrity himself, one might have thought magic was in the making.
Unfortunately, Cheadle's presence is not enough to salvage the vulgar, dull and humorless new show from the disaster it turned out to be.
"House of Lies" follows a team of management consultants working at Galweather and Stearn, the second−highest ranked agency in the field. Led by Marty Kaan (Cheadle), a suave, sexy and brilliant single father, the group attempts to woo powerful corporations with their outside−the−box strategies, willing to go as far as they must to win the client over.
While conducting these business ventures, Marty juggles work with family, attempting to raise his son, Roscoe, who is exploring his gender identity and trying to deal with his live−in father, Jeremiah, who insists on giving him parenting advice.
The plot may sound intriguing, but the execution stops just short of complete failure. Instead of gradually introducing the audience to the brash characters so that viewers might feel comfortable with the cast and ultimately identify with them, "House of Lies" throws viewers into the middle of the conflict.
Although the writers hoped to create tension and sympathy for the characters with this approach, it completely backfires; without knowing who the characters are, viewers are too apathetic to care about what transpires.
Much of this failure has to do with bland dialogue. Though Marty and his second−in−command, Jeannie Van Der Hooven (Kristen Bell) share bouts of rapid−fire dialogue that's rife with witticisms and sexual undertones, it comes off as forced and predictable.
The unfortunate addition of Clyde (Ben Schwartz) and Doug (Josh Lawson), two characters with even less chemistry than Jeannie and Marty, only makes the "team" more unlikeable.
To make matters worse, much of the dialogue consists of business jargon that the average viewer is not likely to understand. Some of the terms are explained in clever asides, during which Marty breaks the fourth wall and explains what he means to the audience.
While this may be the most innovative technique utilized in "House of Lies," it wears out its effect all too soon, becoming totally stale by the episode's conclusion.
Perhaps the biggest problem with "House of Lies" is that America already has a show revolving around erotic, charming, quick−thinking suits that work to sway the minds of businessmen: it's called "Mad Men" (2007 — present).
Putting such qualities in a contemporary setting and dirtying up the language doesn't put a new swing on things. Instead, it mars the clever originality that "Mad Men" discovered and maintained since the start of its run.
Like "Mad Men," the characters of "House of Lies" are far from decent. Each is devious in his or her own way, whether that involves drug use, alcohol addiction, money or sex. Yet, unlike "Mad Men," Cheadle's character and those of his co−stars are not likeable. Marty's team is rude, crass and honestly, their performances don't make viewers care if they win the client in the end.
More than anything else, the characters are unconvincing. Everything they do is overt; they ooze sexuality, coarse language and impulsive actions, seeming more like bored, rich snobs than the suave, professional and underhanded team they are made out to be. Not even Cheadle is able to flesh out his character and make him believable.
The failure of "House of Lies" is even more bitter considering all of the potential it enjoys as a program on the Showtime network. Shows on premium stations are able to utilize strategies that basic cable and network television shows are not, such as adult language, adult content and nudity.
Such advantages can be implemented effectively and aid a show in its run. Just look at Showtime's "Dexter" (2006 — present), which is six seasons in with no sign of stopping.
"House of Lies," on the other hand, abuses these freedoms. The show's nudity is superficially titillating, while its dialogue is even less compelling than the caricatures that utter it. The result is a series that is trivial and less than tasteful.
Don Cheadle's new show is nothing more than a failed attempt at a modern version of "Mad Men." While the star tries his best to deliver a clever performance, he and the rest of the cast fail, mechanically plodding through the plot while the wit the show depends on falls by the wayside.
Unlike "Mad Men," Showtime's new pilot doesn't leave anyone wishing they were Marty Kaan. Honestly, who hasn't wanted to be Don Draper at least once in their life?
