Tag Archives: Pilot

Series Premiere: Life Unexpected – “Pilot”

“Pilot”

January 18th, 2010

When a network attempts to change its brand identity, it’s always an interesting balancing act. On the one hand, the network wants to be able to sell advertisers and viewers on the fact that they are new and exciting, charting a progressive path into the future. However, on the other hand, no network can entirely rebrand, so there will be remnants of the former identity kicking around both in order to provide a sense of stability for both advertisers and viewers alike.

Life Unexpected won’t be the last time I talk about this particular phenomenon this week (Hint: the other will be on Friday), but it’s definitely a show that hearkens back to The WB more than anything else in The CW’s lineup. It’s created a really interesting critical reaction to this show, where everyone points out how much it doesn’t fit the current CW brand and that, considering the critical opinion of said brand, it is better off for it. And I’m not going to deviate from this script: the show evokes Everwood and Gilmore Girls far more than Gossip Girl or Melrose Place, and I’m certainly not going to complain about that.

I do wonder, though, where the audience that watches a show as sweet and heartwarming as this one is currently located. I appreciate what the show has to offer, and I would certainly suggest that you check it out if The WB’s brand of charming drama series were up your alley, but I can’t help but wonder if the WB brand has become so stratified that the people who were silently sitting in their living rooms thinking to themselves “I wish there were shows like the WB used to have” have moved onto other networks (like ABC Family) and aren’t going to look past the network’s new brand.

I want to be wrong, though: I quite liked Life Unexpected, and I’d like to think shows like this could still succeed in this day and age.

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Series Premiere: Human Target – “Pilot”

“Pilot”

January 14th, 2010

Airing two nights before its American premiere (Sunday at 8pm ET) may seem like a big deal for Canadian viewers of FOX’s new series Human Target, but it’s not as if the show’s pilot has been an unknown quantity. The pilot was basically presented in a condensed form as the show’s trailer back when it debuted at last Spring’s upfronts, and since the show was held for midseason it’s been “out there” for long enough that every beat of the show’s first episode was predictable.

Of course, part of the show’s charm is that every part of it is predictable: even if you had never seen or heard of the show before, chances are you knew that the inaugural voyage of a futuristic bullet train was not going to go smoothly. It is a show that has no intention of being surprising, nor upending expectations based on its genre: this is a lightweight action thriller of a television show that creates weight through intense action sequences and strong production values as opposed to subtle character development. By building that show around three very likeable and talented actors, and by crafting a relationship between them that has just the right balance of mistrust and respect, the show creates the kind of “setup” that promises to be exactly what you expect it to be.

There’s something comforting about that, something that has proved to be an admirable quality with other series that I’ve grown to be quite a fan of – I’m hopeful the same happens here.

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Series Premiere: Republic of Doyle – “Pilot”

Watching the premiere of Republic of Doyle, a new private investigator series from CBC set in St. John’s, Newfoundland, I came to a conclusion: Burn Notice is a really great show.

Now, it may seem anti-nationalist for me to suggest that a Canadian series only made me conclude how great an American show is, but there is something very frustrating about Republic of Doyle that makes me respect the way Burn Notice has a very clear sense of its identity and doesn’t feel overburdened by either character drama or weekly cases that feel too generic by half. Doyle is not a terrible show, but what it struggles with is feeling like it actually knows what it is: numerous shots of the St. John’s harbour and the colourful houses of the downtown aren’t enough to give the show any sort of distinctive Newfoundland identity, and the show doesn’t bother to get onto its feet before throwing us into a bland procedural structure that needed to be more in order for us to come to care about these characters in any capacity.

There’s a show here somewhere, one where a group of relatively engaging people work together to solve crimes. However, the show has yet to find its own identity to the point where the pilot represents a definitive misfire, especially when you’ve seen Burn Notice negotiate the same types of problems which plague the show with some compelling dramaturgy.

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Series Premiere: 18 to Life – “Pilot”

“Pilot”

January 4th, 2010

It’s not a huge surprise that ABC (likely through ABC Family), which already has a show about teen pregnancy, would be interested in acquiring the rights to 18 to Life (Mondays at 8 on CBC), a show which investigates teen marriage (as has been pointed out to me now, that co-production deal eventually fell apart). However, the Canadian series is not the same type of moralistic investigation that The Secret Life of the American Teenager wants to be. While it may not necessarily be offering an endorsement of kids who marry on an impulse at a young age (there’s a cautionary tale, here), it has no interest in taking the premise beyond its sitcom roots: this is a show about the madcap hijinks that face two kids trying to start a life together before their parents believe their lives have actually started, and the lack of moral aspirations is perhaps its strongest quality.

If you’re looking for something to break down sitcom expectations, you’re not going to find it here: of course the young couple have secrets that complicate their relationship, and of course their parents represent polar opposites, and of course they don’t think everything through before committing to their marriage. However, the pilot captures enough of the charm the premise is capable of evoking that I’m willing to endorse the show as a light-hearted negotiation of life, youth, and holy matrimony.

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Series Premiere: V – “Pilot”

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“Pilot”

November 3rd, 2009

“Where were you this morning?”

From an overall scheduling standpoint, V’s early November debut is problematic. It forces the show into airing only four short episodes this calendar year, and it won’t return until March with the remainder of its first season. However, in terms of its arrival, it comes perhaps at the perfect time in terms of impressive this particular critic. With disillusionment with FlashForward turning into outright disinterest, there’s room for another serialized piece of mystery/science fiction programming in my life.

And while there are some issues with V’s pilot, mostly stemming from issues symptomatic of pilots more than this particular show, it manages to do what FlashForward did not. By not only providing an adrenaline-filled opening that catches the eye with sharp rhetoric and explosive imagery but then following it up by demonstrating that it has long-term social and personal consequences (that the show intends to deal with), the show maintains an expansive scenario without reducing it to a single perspective. While the arrival of the Visitors affects some individuals more than others, that interpersonal conflict is superseded by a broader cultural impact that is as much a part of the show’s identity as is any one individual’s story.

What results is a pilot that manages to be both action-packed and ideologically-driven, and the building blocks of a show which could logically remain both of these things over its run so long as behind the scenes production issues don’t get in the way.

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Series Premiere: White Collar – “Pilot”

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“Pilot”

October 23rd, 2009

There has been much talk of late about whether or not NBC, in crafting a new strategy that actually creates programming that people are interested in watching, will be looking to their corporate sibling USA in order to discover the elusive secrets. The cable channel has been on a roll of late, with successful procedurals like Monk and Psych have been joined by Burn Notice and Royal Pains. Their shows vary in quality (I much like Burn Notice, but became burnt out on Monk and Psych – jury’s still out on the summer’s Royal Pains), but their success has become a foregone conclusion in the same way that the failure of NBC shows has become the status quo.

White Collar is the latest show to join this stable, and at first glance it is also one of their best. Borrowing heavily from Catch Me if You Can and Burn Notice, the show eschews explosions in favour of a more sly sort of series. Rather than following someone applying professional skills in an amateur setting (Michael Westen, in a nutshell), the show is the story of someone who has made a living working against the system but now finds himself of value to the very man who put him in jail.

What results is a show that some could argue simply checks off the boxes for how a USA procedural should operate, but one which does it with a sense of style that makes it pretty tough to resist.

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Review: Stargate Universe (Premiering October 2nd)

SGUMy experience with the Stargate franchise is somewhat limited: I’m fairly certain I’ve seen the movie, likely stumbled upon SG-1 at some point, and saw quite a few random episodes of Atlantis while home during holidays. It is a series that, for me, has always failed to keep my interest largely because of the repetitiveness of its procedural construct, especially with Atlantis. While there were some interesting ideas on that show, and even some interesting performances, I found that the universe being constructed wasn’t interesting enough for me to come back week after week for very similar storylines that would either end quickly or, at the most, develop into a 2 or 3 episode arc.

However, like any show of this nature, by the end of its run Stargate Atlantis had built up a large following based on a cast of characters that audiences related with, characters which would prove capable of sustaining repetitive storylines. It is for this reason that the decision to end Atlantis somewhat prematurely, before fans had felt its time was up, seemed particularly strange: yes, Stargate Universe (which debuts tomorrow night at 9pm on Space in Canada and SyFy in the U.S.) offers many of the same procedural elements, albeit with a twist, but because this cast of characters is completely different it means that audience goodwill starts all over again.

The biggest problem with tonight’s two-hour pilot for Stargate Universe is that I felt absolutely no emotional connection to these characters, or this story, and perhaps most importantly nothing the episode accomplishes makes me feel as if this is going to change in the immediate future. I won’t suggest that over time this group of characters couldn’t be engaging, but in the pilot their actions feel contrived and lifeless with a thin back story and an overbearing sense of helplessness which should bring them closer together but actually just operates as a false tension.

Free from the pressure of establishing a whole host of characters and the show’s premise, it is possible that these kinds of issues will be ironed out. However, even then, there is something about this Universe that feels muddled in a way which seems inherent to creative decisions that have the franchise starting over with a direction both too clear and too unclear.

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Series Premiere: FlashForward – “No More Good Days”

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“No More Good Days”

September 24th, 2009

ABC is pretty much cursed.

See, anytime they create a new show that emphasizes mystery, or features science fiction elements, or has a large ensemble cast, or evokes more questions than it does answers, it’s going to be compared to Lost. And, for almost all of those shows (The Nine, Invasion, etc.) they truly are shows that come in the wake of ABC’s monster hit, shows that attempt to use the sort of serialized storytelling at Lost’s core in order to bring in more audiences.

However, they are almost always what one would consider a failure, if only because Lost works for reasons which go far beyond its buzzwords or its structure. What makes it work is a focus on character over plot (something that sustains the show when the plot takes a back seat), and a sense of execution that comes from having strong people behind the wheel and (perhaps more importantly) a cast and crew who are willing to learn lessons as they go along.

So, if ABC wants us to proclaim FlashForward the next Lost, they’re going to have to do a lot more than an action-packed clip montage at episode’s end and a pilot with an emphasis on secrets, mysteries and a large ensemble cast. This isn’t to say that I don’t find FlashForward fascinating, or that its pilot was unenjoyable. However, trapped in the hype about being the new Lost, the show fails to feel as if it has a clear grasp on what kind of show it wants to be beyond “a show like Lost,” a definition that might get its foot in the door but needs to be followed through on.

And the only people who know about that are those who blacked out for two minutes and seventeen seconds and saw a future where the show is either a huge success or a crippling disappointment. And, you know, the show’s producers. In the meantime, we just have to take their word for it with “No More Good Days,” a pilot which sells a premise but doesn’t necessarily prove it’s capable of delivering on its promise.

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Series Premiere: Cougar Town – “Pilot”

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“Pilot”

September 23rd, 2009

Pilot season is really kind of an awkward time, when you think about it. If you’re going to be a “breakthrough” show (like Modern Family, which aired before Cougar Town), you need to move outside the bounds of the traditional pilot to surprise and excite. However, part of the nature of a pilot is tempering expectation, creating a template for your series which won’t always be smooth and which in some instances might not even be that compelling. It’s an episode where you open the episode with a conceptual scene that establishes your premise set to a hip indie music selection, and the result can often be a sense that this is “just another pilot.”

But there’s nothing inherently wrong with that. Yes, Modern Family deserves its accolades, but Cougar Town is a solid if unspectacular pilot for a show that has amassed a pretty impressive supporting cast, a fantastic lead actress, and sets up a premise which could on the surface result in diminishing returns and yet could just as easily turn into a really engaging premise for a sitcom. It is certainly not subtle, but with Bill Lawrence behind the scenes and some elements of interest I’m definitely willing to stick around Cougar Town for a while.

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Series Premiere: Modern Family – “Pilot”

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“Pilot”

September 23rd, 2009

There has been a pretty impressive critical consensus that Modern Family is pretty darn good. While Glee might be creating the most enthusiastic response amongst fans, and Community appeals to particular senses of humour more, Modern Family has been the one pilot that nearly everyone has considered well-made, well-cast, and just all around kind of great. It’s also one pilot that I wasn’t able to see in advance, which meant that I went in with that always awkward sense that I was almost required to love the show. Expectations were higher than perhaps any other show, and the result could easily have been a sense that this had all been overhyped, and that it was all for naught.

But, as hard as the critics have tried to potentially ruin this experience, and the clips I saw back when the show was first announced ruined particular moments, and ABC decided to ruin the pilot’s “surprise,” none of it did anything to ruin the enjoyment of an enormously charming pilot. With a fantastic cast and a clever premise, the show only stops delivering laughs to provide heartwarming moments which are then turned upside down all over again.

The show isn’t perfect, by any means, but it’s a pilot which so hilariously defines its characters without turning them into one-dimensional stereotypes that it is certainly something to get excited about.

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