Tag Archives: Melinda Clarke

Series Premiere: Nikita – “Pilot”

“Pilot”

September 9th, 2010

As far as world-building goes, The CW’s Nikita is comfortable remaining in familiar territory: shadowy “government” organizations working under the guise of national security while in fact engaging in nefarious activities was something that Alias and Dollhouse both dealt with pretty extensively. We’ve seen shows about spies before, and nothing Nikita offers in that department is particularly new (especially when you consider that it’s a reboot of a television show which was based on a movie, but since I’ve seen little of either I’m more likely to think in terms of other series).

The difference, I would argue, is where we join this particular story: rather than starting at the beginning, we jump in at a point where our protagonist is on the outside looking in, seeking revenge against those who wronged her rather than experiencing those wrongs herself. It is, as I note, a familiar story (Alias did something remarkably similar), but by joining at this particular point the show skips over the emotional wringer and focuses on the flashier, more dynamic parts of this story. The result, to some degree, is a lack of depth in the show’s characters, as everything we learn is done through exposition or flashback rather than experiencing it in real time; however, simultaneously, joining at this point gives the show a much clearer sense of what kind of structure it will take on for the future, allowing the pilot to function as any good pilot should.

It also means that it had no real chance of being great, but I don’t think anything here indicates that the should couldn’t get there if given the time and a push in the right direction.

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Chuck – “Chuck Versus The Seduction”

“Chuck Versus The Seduction”

October 6th, 2008

As mentioned last week for the show’s second season premiere, Chuck is just “on” right now. If there is anything that gave the show some problems in the first season, it was managing to handle all of the different elements of the series: the numerous settings (Buy More, Home, Missions), the various supporting characters, and worse of all the weekly storylines and the recurring plots, both romantic and unromantic.

With “Chuck Versus the Seduction” it becomes clear that the premiere was no fluke: flawlessly introducing a case that dredges up Chuck and Sarah’s relationship as well as the continued growth of Chuck as an actual agent as opposed to just an asset. Even though the show goes so far as to throw around the L-word as it relates to our central relationship, it still feels like a show that is letting things move organically. When a show can trot out John Larroquette and Melinda Clarke in the same episode and still not feel like it’s trying to hard, you have a show that is playing with the right themes at the right time.

In other words, the show is more or less seducing the audience in the same nature as the four-prong attack: as long as it doesn’t become a bastard, the show is on a very strong trajectory.

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