August 27th, 2009
If you were quite a hawk-eyed reader of the blog, you might have seen a few weeks ago that I was convinced Royal Pains was ending its first season when Burn Notice ended the first half of its third, with a relationship-driven cliffhanger regarding the pairing of Hank and Jill. I was mistaken, of course – the show kept going, and this past Thursday it came to its finale and delivered something a little bit different. And “Wonderland” was a finale, of sorts, but one that is really strangely placed in terms of why I kept watching Royal Pains all summer.
It’s the show that really “broke out” in USA’s biggest summer ever, but the reasons it remained engaging for me as a viewer really has nothing to do with the show’s characters, at least for the most part. While some of these shows work due to the quality of their ensemble, the characters have felt ancillary to the premise and the aesthetic elements of the series. The show’s Hamptons setting is intriguing in the potential for us to meet recurring clients, and to embrace a world where the very rich and the very poor tend to interact on a regular basis – it opens up the potential for unique cases not seen on other medical shows, while in a breezy enough location to keep things from getting too serious.
However, this was a finale that went back to very basic procedural diagnosis drama, and that returned to the core relationship between the show’s regular characters which…well, I don’t want to be mean, but I don’t particularly care. I don’t dislike Hank, and I find Divya’s life quite interesting, but both Evan and Jill have been criminally underwritten, and the episode’s efforts to put roadblocks between their relationships is actually fundamentally false in terms of building suspense for a second season. The show has a stable of recurring players who I’ve grown quite accustomed to, and to put them into danger or to build suspense around them would actually feel final.
Instead, we’re putting roadblocks between characters who aren’t going anywhere, and whose divisions will be temporary before the show enters into its same comfortable rhythm next season.
“The Honeymoon’s Over”
July 30th, 2009
There are moments when watching a summer show that you start to realize just how much you’ve been treating it as a summer show, and at the start of tonight’s episode of Royal Pains I had one of those moments. As Jill and Hank seemed to be at some sort of relationship crossroads, I realized something: I have no idea why. I don’t even think I care to know why. Something apparently happened in last week’s episode that made Jill weary of any kind of actual relationship – I remember something about a summer crush, and concerns over Hank leaving, but I didn’t think things were quite as cold as they seemed to be.
And really, this is the problem with a show like Royal Pains where the conflict in each individual episode is contained, meaning that any conflicts needs to come from the same people each and every week. For Burn Notice (which I haven’t watched yet, but might blog about to get back in the swing of things), this is achieved through a single storyline that while occasionally repetitive is quite focused on one idea and executed as such. With Royal Pains, however, it seems like they want to just keep pulling out the Jill/Hank relationship drama card, and to be honest I don’t think it’s working for me. I don’t find they have a terrible amount of chemistry, and it just isn’t something that can legitimately sustain my interest for too long.
So, as we bounce from machination to machination, I’m looking for Royal Pains to really find its footing outside of its weekly medical stories, which quite strangely for a procedural have kind of been its strong point to this point in its first season – while I’m pleased the show has received a second season, I’m less pleased with the fact that it could mean two seasons of this less than wonderful relationship.
“No Man is an Island”
July 9th, 2009
Due to some thesis commitments, I’ve actually found myself doing something really strange: not only have I had no time to blog about television, but I’ve even found myself falling behind on watching it. Sure, I’ve gone through three seasons of Top Chef is about nine days, but watching new television just hasn’t been part of the game plan, which meant I just watched 10 Things I Hate About You, haven’t gotten to Warehouse 13, and was a day late getting to this week’s episodes of Burn Notice and Royal Pains.
And trust me, I’m as shocked as you are that the one show that shakes me out of my hiatus is Royal Pains, a show that two weeks earlier (before the show took a break for the holiday) had convinced me it was willing to settle for light and charming as opposed to something more substantial. However, “No Man is an Island” shocked me by emerging as a really compelling piece of television which did a lot of small things to bring to the surface intriguing characters dynamics, medical scenarios which start as one thing and evolve as medicine often can, plus a very Burn Notice/MacGyver piece of medicine from Dr. Hank.
It was the kind of episode that legitimately makes me think that these characters could eventually become their own less interesting but nonetheless entertaining versions of Michael, Sam and Fiona, a scenario I wouldn’t have predicted when the show started and that makes me more intrigued to see where the show goes from here.
“TB or Not TB”
June 25th, 2009
That’s really not the question, Royal Pains.
This won’t be a particularly long review, but I do want to make note that the show is on better footing now that it’s back in chronological order, although it’s still a little bit all over the place with some of its developments. While the show has never seemed to aspire to much beyond its premise, it’s heading into a couple of directions both serialized and procedural that could prove interesting, but won’t quite commit to them enough to make them really stand out.
In the end, though, this one feels like it’s answering some more pressing questions about the show’s format than just the titular Shakespearean medical concern.
June 18th, 2009
Ah, the ol’ second episode switcheroo. It happens more than you’d expect, really, for some pretty obvious reasons: when a show is in its infancy and needs to make sure that it keeps viewers’ attention, that second episode is extremely important. “There Will Be Food” wasn’t necessarily a far better representation of what the show will do, but the continuity of Tucker, who is without question the show’s most likeable Hamptonite, was the smart decision in terms of convincing us that the rich won’t be too heavily dehumanized or even necessarily fall into the same one and done patient formula of other procedural medicine shows.
“Strategic Planning” is pretty much what I expected the show to be, and in some ways what I was hoping it wouldn’t become, but in the end it’s all pretty inoffensive. By recreating the environment in which an episode of House is capable of taking place, and by essentially playing out an episode of House in that environment, the show isn’t doing itself any favours in the originality department. Combine with a lifeless Evan storyline, and some issues of continuity on the Jill/Hank front, and the hold on airing the episode makes a lot of sense. That being said, though, the episode also does a lot to explain how Hank’s business is working, and why Boris would be willing to rent out his guest house to a concierge doctor, which contributes enough to the show’s universe to forgive this well-acted, well-intentioned but ultimately well-treaded territory.
June 4th, 2009
You know, pilots are kind of a pain.
They’re a necessary evil: they exist in order to give us an understanding of how a show is going to work, which is an important thing to sell a network and potential viewers on before they commit to ordering, or watching, more episodes. But the result is often that a lot of character and plot development that should be given time to unfold naturally is checked off at a blistering pace. It’s possible to make a great pilot, but those people are both few and far between and definitely not working behind the scenes at USA Network’s Royal Pains.
As a critic, it’s hard to really confront a pilot as obnoxiously contrived as this one, because you run into a problem: considering that it’s our role to judge a show based on its potential, and considering that the contrivances are more pilot shorthand than inherent to the show’s formula, you can’t spend too much time complaining about something that is par for the course. And while Burn Notice has given us some fairly high expectations about what a USA Network “procedural” is capable of being, this show does not appear to have similar aspirations, and it’s not really fair to judge it as if it does.
So taking into account its contrivances, and its ham-fisted parallels, and its tendency to rush its way through storylines that should probably be given a bit more time, Royal Pains managed to do enough to convince me that as a piece of escapist summer entertainment the show might not be such a pain after all.