If you could save JFK, would you?
Note: 11.22.63 debuts Monday, February 15 on Hulu. Spoilers here will be kept to a minimum.
Stephen King adaptations have always been hit or miss — particularly for TV — but I know more than a few people were worried about the adaption of the author’s 2012 novel 11/22/63, especially coming off the critically panned (and recently canceled) Under the Dome on CBS. But unlike that show, Hulu’s 11.22.63 had the advantage of being a limited series that tells the whole story in eight, hour-long episodes (or nine, if you count the double-length premiere). The miniseries also has Bad Robot’s J.J. Abrams and Bryan Burk executive-producing alongside showrunner Bridget Carpenter (Parenthood, Friday Night Lights) and star James Franco, so the talent is obviously solid.
Then there’s the big hook: it’s about an English teacher, Jake Epping (Franco) who goes back in time to 1960 to attempt to prevent the assassination of John F. Kennedy. To do this, he learns everything there is to know about the incident and spies on Lee Harvey Oswald for months on end. But along the way, Jake becomes attached to the life he’s made in the past, while time itself tries to “stop” him from achieving his goal. (Think Final Destination, ’60s-style.) The result is a gripping period thriller with a clear beginning, middle and end — although it does come with some bloat as well, despite the series’ short run.
We want to hear it.
Not that King’s novel is a light read — it’s over 800 pages long — and some parts have been cut for time and clarity (most notably a crossover with one of King’s other novels, It). Still, Hulu is bucking the trend of releasing whole seasons at once and is instead parsing out 11.22.63 in weekly installments — which, having binged the entire miniseries myself, seems like a smart move. Carpenter’s take on the material is compelling but also gradual and somewhat uneven. At times, 11.22.63 feels less like watching a narrative TV show and more like compiling research for a Nat Geo documentary.
That said, the premiere hits the ground running. While 11.22.63 isn’t all that concerned about the “how” and “why” of its time travel (a time portal in the backroom-closet of a diner) the rules are fast and simple: 1) Every journey through the portal transports the traveler to the exact same date and time in 1960; 2) no matter how long the traveler stays in the past, only two minutes have elapsed in the present; and 3) the past can be changed, but ensuing visits reset the timeline and erase any changes made during the previous trip. This is all neatly explained by the diner’s owner Al Templeton (played by the ever reliable Chris Cooper), who believes saving JFK will have a positive effect on the present. Alas, he’s been diagnosed with cancer and tasks Jake with finishing what he started.
James Franco and Chris Cooper in 11.22.63
From there, Jake begins his three-year mission to discover the truth about Kennedy’s assassination. Luckily, 11.22.63 does a great job of depicting the 1960s in a fun and spirited way. The costumes, the set dressing, the props, even the gold-tinged color grading, all evoke a simpler time — or at least King’s version of it. At the same time, the miniseries incorporates darker themes of domestic violence, poverty and racism without shoving them in viewers’ faces. It helps that Jake, a man out of time, will occasionally draw attention to those injustices or, for that matter, laugh off the $700 price tag of a brand-new car.
But perhaps the most impressive thing about 11.22.63 is Franco as Jake Epping. After seeing his outlandish performances in movies like The Interview, This Is the End and Spring Breakers, I sometimes forget he has the chops to play a straight-faced leading man. But not only does he excel in this, he does so for nine hours straight (he is the focus of almost every single scene) and still manages to make Jake seem likable. Despite some narrative failings, Franco is a constant high point and shows off his dynamic range throughout the series.
Sarah Gadon and James Franco in 11.22.63
He also plays remarkably well off of Jake’s lady love Sadie, ravishingly played by Sarah Gadon. Honestly, the romantic subplot starts out rather dull — you can sense the oncoming hardship from a mile (or year) away — but the chemistry between Franco and Gadon is undeniable, and the second half of the series devotes more time and development to it. It also adds some much-needed depth to Jake’s character, who keeps his Dallas investigation at arm’s length for most of the series. In the end, the romantic detour is one worth taking — admittedly more so than I originally thought.
But like I mentioned earlier, Jake’s time in the past can get a little tedious in spots. For example, there’s a whole subplot in Kentucky that has nothing to do with the JFK assassination and takes up a full episode. Luckily, there’s a good payoff to it, but not until later in the series. Then there’s Bill Turcotte (George MacKay), a very minor character in King’s book whose role is beefed up to “sidekick” status on the show. Unfortunately, Bill’s own personal storyline never really goes anywhere, and his relationship with Jake is one of the most annoying parts of the series. Really, he’s only just there so Jake can broadcast what he’s thinking to the audience without bogging the story down with narration.
James Franco and George MacKay in 11.22.63
Meanwhile, the mystery of Oswald (creepily played by Daniel Webber) offers the series’ most intriguing elements, though not always the most exciting. While it’s enjoyable to watch the events unfold — even if you only have a passing interest in the JFK conspiracy — some story beats don’t hit quite as hard as they could, especially when it comes to some of the minor characters. Ultimately, it’s Jake’s personal journey that resonates the most, and in that regard 11.22.63 heartily succeeds, complete with a very satisfying ending for his character.
I can’t say with certainty that fans of Stephen King’s 11/22/63 will enjoy Hulu’s miniseries adaptation, but it’s still a fun period thriller. James Franco and the rest of the cast deliver great performances, and the look and feel of the 1960s in on point. While a few subplots and characters don’t reach their full potential, the underlying JFK conspiracy and historical details are sure to delight mystery junkies and history buffs alike. That’s not to mention the show’s emotional center, which is present throughout.
