Tag Archives: Pilot

Series Premiere: The Good Wife – “Pilot”

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“Pilot”

September 22nd, 2009

Considering that I’m almost a day late, and so many other critics have weighed in on the show and had largely positive opinions, I hadn’t really intended on sitting down to talk about The Good Wife, which I’ve always considered to be the one CBS pilot from this year that sounded legitimately interesting. A new NCIS (the original doing nothing for me, if nothing against me) isn’t going to get me excited, Three Rivers’ premise has enormously limited potential, and Accidentally on Purpose was strained from the start. But there was something both topical and intriguing about a show which took an aspect of a shockingly prevalent political phenomenon (the disgraced politician resigning as a result of a sex scandal) and asked itself a question: what happens to the wife?

And while more recent events would answer with “Go on a ridiculous summer reality show on your husband’s behalf,” The Good Wife fast forwards six months into the future to a position where Alicia (Julianna Margulies) is re-entering the work force as an underddog whose fellow juniour associates at her law firm were pre-teens when she last practiced. What results is logically two separate shows, one where Alicia struggles to raise her kids and live her life in the wake of her husband’s betrayal, and the other as she has to overcome years of rust to regain her composure as a lawyer.

But why the show is so effective is that rather than attempting to demonstrate how challenging it is to balance these two parts of her life, turning her into a harried disappointment to her children or a fundamental less of an attorney, the pilot is more interested in demonstrating that in some ways she’s meant for this. In some ways, what she has gone through in her personal life has made her a far more effective litigator, and has given her a new perspective on her family which keeps her priorities firmly in check. Alicia is a woman who has taken control of her own life, and by marrying her two worlds as largely harmonious as opposed to a constant conflict, it allows us to relate to Alicia on multiple levels – combine with a pretty great cast and an intriguing opening case, and you’ve got yourself a legal procedural I’ll stick with for a while.

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Series Premiere: Community – “Pilot”

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“Pilot”

September 17th, 2009

While I understand the logic behind putting the Community behind The Office for its first month or so, I will say this: for now, sound logic or no, it’s not doing the show any favours.

Yes, the show has a strong lead-in and a higher success rate in terms of ratings, which are financially speaking the lifeblood of a series. However, Community’s “Pilot,” which is about as cookie cutter as it comes in terms of the way it sets up the show (you can almost see the show yelling “Setting!” and “Character” with its collection of scenarios), cannot help but seem contrived and simplistic when placed against The Office, which now in its sixth season is totally confident about who its characters are and has no such awkward transitions. I’m not suggesting that it’s a fair comparison, but it’s one that you can’t help but make: after writing reviews of two season premieres for shows that have put their setup days behind them, Community is jarringly disassembled.

I think that the show’s pilot, ultimately, does assemble into a solid foundation for a series, and through a strong sense of humour and some great casting has me extremely interested to keep watching. However, as a pilot, there is something about it that lacks that element of surprise, and which is vague on specifics in a way which makes one worry if it’s all going to fall off the rails with time – critics who’ve seen second episode say it doesn’t, which is great news, but I still think that there’s some warning signs around.

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Winter is finally Coming: Anticipating HBO’s Game of Thrones

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Winter is finally Coming:

Anticipating HBO’s Game of Thrones

When I was roughly 14, I read The Lord of the Rings. I enjoyed it, so my parents went to a bookstore ahead of Christmas and asked for something similar. The employee suggested A Game of Thrones, the first book in George R.R. Martin’s epic fantasy series A Song of Ice and Fire – when I unwrapped it on Christmas morning, I can remember being somewhat underwhelmed, having not (at that point) really delved into any literary series (I was a latecomer to Harry Potter, for instance) and not entirely keen on starting a new one. But, my reluctance aside, I started reading A Game of Thrones, and then A Clash of Kings, and then A Storm of Swords. Very quickly, I had read through the first three volumes.

And yet, today, I barely remember any of it. I don’t particularly know why, apart from a few key events (mainly deaths, which Martin seems to revel in), I found myself struggling to remember many specific details when I first heard of plans to bring to show to life as a new series for HBO. However, in spite of my lack of memory, there was one thing I was sure of: there was something compulsively readable about this particular brand of fantasy, and also something complex that seemed to confound my 14 year old memory but which may just be perfectly fine-tuned for my post-secondary critical mind.

Ever since the pilot was first announced as a potential HBO project, I’ve been pondering digging back into the series, but in the past few months I realized I had no excuse: HBO has been busy amassing the largest ensemble cast in their history, production is due to start in Ireland in just a few months, and a particularly resourceful blog has managed to turn casting speculation and analysis into a refined and comprehensive process worthy of this comprehensive story. Where some literary adaptations feel like a process being done independent of the material at hand, Game of Thrones has the series’ author onboard as a writer, devoted fans and active producers who have turned even casting into an internet event, and (as I discovered over the past week) some really amazing source material that feels like a perfect fit for both television as a medium and HBO as a network.

So, in short, I’m a little bit excited, and I think you should be too.

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Warehouse 13 – “Pilot” and “Resonance”

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“Pilot” and “Resonance”

July 7th & July 14th, 2009

I fell asleep watching the Warehouse 13 pilot.

It’s a true story. I was there, trying to get through it, but I was exhausted from being up early and the pilot wasn’t really engaging me on any level. It wasn’t that it was bad, or that it actually put me to sleep (I consciously paused it before conking out moments later), but the fact remains that there was something about Warehouse 13 that wasn’t really connecting with me.

However, upon finishing the Pilot last night, and digging into “Resonance” this afternoon, I can say quite emphatically that the show is more than capable of keeping me awake. No, it’s not a replacement for Battlestar Galactica by any means, but it doesn’t try to be. What it represents is Reaper with less comedy, Fringe without the mythology, and every crime procedural you’ve ever seen with a sense of whimsy that’s often sorely lacking on those shows. It has no grandiose ideas about its position in the television world: what it delivers is what it sets out to achieve, a light-hearted but nonetheless resonant piece of dramedic television.

And in the middle of summer, when television often feels like a wasteland, a weekly trip into the depths of Warehouse 13 is something I’m already looking forward to, if not particularly obsessing over.

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Theories on The Big Bang Theory: Why I Hated the Pilot

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Why I Hated the Pilot

June 30th, 2009

[While I’ve blogged about some episodes of the show, and even covered the PaleyFest panel about the show in April, I haven’t actually watched The Big Bang Theory with any consistency. I’m watching the show as my thesis breaks over the next few weeks, and while I have no intentions of any indepth thoughts (not that kind of show), I do have a few things to say about the show, and will stop by with them on occasion.]

For a good year, the only thing on this blog on the subject of The Big Bang Theory was an article lumping it in with Cavemen, a problematic judgment that I knew needed to be addressed but didn’t really see any rush in fixing. The show just really turned me off with its pilot, and after watching it there was absolutely nothing that could convince me to keep watching…or so I told myself.

In my head, I had sworn off the show after the pilot, never to watch again after it had offended me so – watching the first season, however, I appear to have watched at least a few of the episodes that followed, whether randomly or purposefully but without much intention. Clearly, my experience with them didn’t override my disdain for the pilot, so going back to that first episode I was still very curious to see if I could pinpoint just what it was that resulted in such vitriol.

I think I’ve found the answer: the thing that made me hate this pilot is, rather than the existence of a laugh track, the execution of said sitcom device.

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Series Premiere: Hung – “Pilot”

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“Pilot”

June 28th, 2009

“Everything’s falling apart.”

Hung is not a show about an abnormally large specimen of the male anatomy.

Well, okay, technically it is, but that’s really not what the show is trying to tell us. While the new HBO “comedy” follows the exploits of high school basketball coach-turned male escort Ray Drecker (Thomas Jane), who happens to be particularly well endowed, its real focus lies less in what he’s doing than why he’s doing it, a common thread in shows that followed down on their luck characters taking drastic career moves (Breaking Bad, Weeds, etc.). What they choose to do may be a source of comedy for the series, but the legitimately intriguing elements come more from the scenario that drives him to that point.

And while this one may seem crude at first glance, it’s actually quite apt considering the show’s message. Set against the devolving urban landscape of Detroit, the show situates itself as a commentary on the death of the American dream (a note that Alan Sepinwall makes in his review of the show), and how one man chooses to sell a particular sexual fantasy as a replacement of sorts for the fantasy life he lost through a series of bad luck scenarios that mirrors the crises facing many modern Americans. For those who haven’t yet watched the show, this probably seems like a highly verbose justification for enjoying a show about a man with a big dick, but let me assure you: while the title may seem to refer to that part of the show at first, it is the way that Ray has been hung out to dry by life that it’s actually interested in.

For this reason, there’s more than enough substance to Hung for me to stick around – it’s not particularly funny for a comedy, sure, but what it lacks in laughs it makes up for with scale.

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Premiere: Virtuality – “Pilot”

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“Pilot”

June 26th, 2009

After watching the two-hour event that is the Virtuality pilot, I think I can understand why FOX was resistent to picking the show up to series.

It isn’t that FOX is allergic to science fiction: it goes into next season with the genre’s two biggest television properties, Fringe and Dollhouse, in its lineup. Rather, there’s a particular way that it likes its science fiction, a preference that both Dollhouse and Fringe fit into comfortable. Both shows, although expanding heavily on their serialized elements and genre transmorgifications later in their freshman seasons, started out as genrified takes on the procedural mystery model, combining a high concept with what is arguably a more accesible and thus lower form of weekly episodic television. For FOX executives worried about selling the show to advertisers and viewers alike, it was the ace up their sleeve, the caveat that allowed them to both give the appearance of openness to genre programming and satisfy their desire to eat away at CBS’ dominance in the field.

The reason Virtuality wasn’t ordered to series is because it is one giant, enormous middle finger to such ludicrous practices of watering down science fiction upon its arrival so as to pretend as if the people who don’t like science fiction are going to stick around once things get weird. What makes good science fiction is the balls out willingness to question reality, and to break away from any and all conventions, all qualities that both Fringe and Dollhouse are capable of and yet never got to reach until FOX was satisfied that the show was really just CSI with insane science or The Unit with personality implants. Virtuality, however, wastes no time in crafting a world where nothing where we question everything, and is thus a world that any science fiction fan in their right mind wants to explore further.

All but dead in the water despite the strange lead-up to this airing, Virtuality is a fascinating pilot, a god awful standalone television movie considering how it ends, and, should it truly find itself on the wrong end of FOX’s idiocy, another sign that high science fiction may be a thing of the past on network television.

But, for now, excuse me if I spend a bit of time talking about how awesome it was.

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Cultural Alert: Ronald D. Moore’s Virtuality airs tonight at 8/7c on FOX

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“It is not a f***ing movie.” – Michael Taylor, co-creator of Virtuality

This quote, coming from an interview with former Battlestar Galactica writer Michael Taylor by Dan Fienberg over at HitFix, is probably confusing considering that FOX is promoting Virtuality, from the mind of Ronald D. Moore and with a pilot directed by Peter Berg (Friday Night Lights), as a one-time event. Or, at least they’re scheduling it as one. Or, at least they were scheduling it as one.

Now, I legitimately don’t know what to think. Conceived as a pilot for this past development season, the project fell on deaf ears with FOX executives who asked for extensive editing and didn’t order the show to series. However, as an expensive sci-fi pilot, the network wants to recoup its money, so a two-hour television event was scheduled…for Saturday, July 4th. Even we Canadians know that people don’t watch television on a national holiday in the middle of summer, so it seemed like the project was being tossed onto the pile.

And then, something strange happened: FOX moved the airdate to tonight, June 26th. And then they scheduled numerous conference calls so that press could talk to the show’s producers. And they even organized a premiere for the project, going against nearly every logical process one would expect from a summer burn-off.

There are two basic possibilities here. The first is that FOX knows the cultural cache of Ronald D. Moore in the world of science fiction, and figured that it could better recoup sales through potential advertising and DVD revenue if it worked the hype machine ahead of time, knowing that fans of Battlestar and science fiction in general would do much of the work for them. This seems the more likely option, considering that FOX already has a low-rated prestige science fiction show on its 2009-2010 lineup (Joss Whedon’s Dollhouse).

However, the way they’re promoting the broadcast theoretically leaves the door open for them to take the show to series down the road, a possibility that FOX has left open for reasons that I can’t quite understand. Perhaps it is just so that people will tune in even though it may seem like a dead end, or a waste of their time, buoyed by the faint hope FOX is providing. Or, perhaps FOX is actually willing to give the show a shot if the ratings surprise them.

Regardless, I have unfortunately not been able to screen Virtuality ahead of time, and have been trying to stay spoiler free in order to approach it with a fresh perspective. However, here’s the “official” synopsis so you have some sense of what the show’s about:

As the crew of the Phaeton approaches the go/no-go point of their epic 10-year journey through outer space, the fate of Earth rests in their hands. The pressure is intense, and the best bet for helping the crew members maintain their sanity is the cutting-edge virtual reality technology installed on the ship. It’s the perfect stress-reliever until a glitch in the system unleashes a virus onto the ship. Tensions mount as the crew decides how to contain the virus and complete their mission. Meanwhile, every step of the journey and every minute of the crew members’ lives are being taped for a reality show back on Earth.

I’ll be back either late tonight or tomorrow afternoon with my own thoughts, but in the meantime you can check out Alan Sepinwall, Dan Fienberg and Maureen Ryan’s thoughts on the film…I mean, pilot. Or whatever it bloody well is.

Virtuality, as mentioned, airs at 8/7c on FOX.

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Series Premiere: The Philanthropist – “Pilot”

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“Pilot”

June 24th, 2009

The Philanthropist has been a rather rocky development process for NBC, with numerous showrunner switches and some changes of vision in terms of what the show was supposed to be. The result is that it’s airing later than it was supposed to, hustled off into the summer months like it’s a half-baked Canadian (Worst. Canadian. Ever.) co-production rather than a globetrotting drama with a pretty high-profile cast. And while part of me thinks that this is strange since it seems like it could be quite a compelling piece of television programming, I sort of see their logic.

The Philanthropist is a show that derives its setup almost entirely from the notion of experience, as hero Teddy Rist is changed overnight from a billionaire who pays lip service to charity work to someone who risks his life in order to deliver cholera vaccine to a Hurricane-ravaged village in Nigeria. The pilot is all about us experiencing that moment with him, told as a story to an disbelieving waitress in a bar in the middle of nowhere. That experience, though, is a highly isolated one, as really it is only James Purefoy’s Rist who gets anything close to a setup here. This is his show, without question, and right now there doesn’t appear to be much of a story or characters around him to really go beyond that.

However, since Purefoy remains extremely charming, speaking here in his native accent even, it seems like that’s enough for the show, at least in its pilot. Not trying to bring characters to the various supporting players, and choosing to define them almost exclusively based on their relationships with our protagonist, this is a slavishly linear adventure of how a billionaire turned into a one man foreign aid machine, a transformation that Purefoy sells that that is honestly quite fun to watch, a sort of 24: Redemption meets Burn Notice kind of scenario that hits buttons both emotional and comic. They haven’t quite created a show around him yet, but as an experiential introduction into this world the pilot’s an effective tool for convincing me to give the show a shot.

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Series Premiere: Royal Pains – “Royal Pains”

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“Royal Pains”

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.

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