Wednesday night marked the second episode of “Empire,” Fox’s wildly ambitious hip-hop drama starring Terrence Howard and Taraji P. Henson.
And while its second episode may have lacked the sheer shock value of the first — how else to describe Howard’s character literally throwing his effeminate son in a trash can — “Empire” is proving to be 2015’s first must-watch television series.
The show is just a visual feast — fierce fashion, fabulous characters, luxe backdrops and a plot so chaotic and convoluted that you simply cannot turn away. Its mix of John Waters-esque camp and hip-hop swagger feels so brazen that you don’t know who to root for.
Thoroughly soapy, but on the political edge, “Empire” feels a bit like early-era “Dynasty,” only with the Carringtons having gone gangsta. As we eagerly await ther series’ third episode, here are seven key reasons why “Empire” might indeed evolve into “Dynasty’s” African-American alter-ego.
It’s All About the Benjamins
“Empire” may scream hip-hop and bling, but, like “Dynasty,” the show is rooted in cold, hard cash. On “Dynasty,” the Carrington business was oil. On “Empire,” Howard’s Lucious Lyon is a music-industry mogul — a TV version of Jay Z who hopes his firm will become the first rap enterprise listed on the New York Stock Exchange.
This quest for corporate legitimacy anchors the show’s underlying narrative and never lets viewers forget that Lyon — like “Dynasty” patriarch Blake Carrington before him — is only as powerful as his bank account.
The Return of the Exiled Mama
A banished mother returns from exile to reclaim what’s hers — money, family and power. Sound familiar? It’s the story of Alexis Carrington and Henson’s Cookie Lyon, who were both exiled by their powerful ex-husbands before coming home to take what’s theirs. On “Dynasty,” Joan Collins showed up at the beginning of Season 2 to literally give “Dynasty” some much-needed life.
Luckily for “Empire” watchers, Henson’s Cookie makes her debut from the get-go — zooming straight from prison to Beverly Hills early in the first episode, with only enough time to slink into some leopard-print. Cookie is back — and, thankfully, she’s not going anywhere!
The Gay Son
Back in 1981, “Dynasty’s” decision to make Steven Carrington (Jack Coleman) gay was truly revolutionary. Barely a decade after Stonewall and the sexual revolution, here was an out(ish) man delicately balancing family obligations with a clear desire for acceptance and authenticity.
More than 30 years on, “Empire” is contending with exactly the same issues as Lucious struggles to love his gay son, Jamal (Jussie Smollett), despite his homosexuality. “Empire” bravely depicts this conflict, making no bones and sparing no words about Lucious’ discomfort with Jamal.
Like Blake before him, Lucious is one father who won’t be showing up at PFLAG anytime soon — and is not afraid to say so. And while Lucious’ language may be offensive, it’s surprisingly refreshing in these overly politically correct times.
The Clothes
From Alexis to Krystle to Dominique Deveraux, “Dynasty” was all about the fashion — particularly the drop-dead, shoulder-padded confections of noted costume designer Nolan Miller.
“Empire” seemingly picks up where “Dynasty” left off, employing costume designer Rita McGhee and consultant Monique Mosley (wife of the show’s music master, Tim “Timbaland” Mosley) to create a ghetto-fabulous aesthetic that’s Nene Leakes meets Olivia Pope.
And Henson has the curves, and confidence, to pull it off. Cookie’s patterns are bold, her tailoring tight and her heels sky-high. She’s fierce and fearless and feline — just like a tiger mama should be.
Bitch Fights
“Dynasty” helped pioneer the now-clichéd television trope known as the “bitch fight” — with Alexis and Krystle going at it every half season or so once Collins arrived.
“Empire” sped things up with the first fists flying late in the second episode, an elevator tussle between Cookie and Lucious’ new squeeze, the younger (and far lighter-toned) Anika Calhoun (Grace Gealey). The fight didn’t last too long, but we suspect it’s just a sample of things to come.
The Bling
In “Dynasty,” the Carrington seat was a massive, red-brick Palladian-style pile in Denver replete with the types of ’80s-era baubles one would expect from a millionaire mogul like Blake. Think marble and chintz and haute Laura Ashley and you’ve got the right idea. On “Empire,” the look is equally fancy — only far more modern.
Despite the serious nouveau-ness of their riches, all of the Lyons possess surprisingly good taste, particularly Lucious. His Beverly Hills mansion is packed with blue-chip art from from across the modern/contemporary spectrum — from a classic Klimt to a Basquiat to multiple paintings by collector darling Kehinde Wiley.
With folks like Kanye now dominating culture events like Art Basel, the tone feels entirely spot on — “Empire’s” set designer is clearly not playing!
Mental Illness
One of the most tragic characters from early “Dynasty” was Claudia Carrington (Pamela Bellwood), who struggled with mental issues throughout her brief tenure and spends much of her short screen time relegated to a sanitorium.
Let’s hope a similar fate does not befall Andre Lyon (Trai Byers), Lucious’ eldest son, who is battling a bipolar condition while scheming for control of his father’s company. It was inevitable that Andre — with his classic looks, blonde wife and Wharton MBA — was gonna have some demons. In television, as in life, no one can have it all.