“A Bright New Day”
November 17th, 2009
In its first four episodes, V has one of the toughest tasks in network television: it needs to both create a sense of momentum (in order to continue to engage viewers) and also leave viewers wanting more (so that they’ll come back when the show returns in March to finish its first season). What’s been clear thus far for the series is that it is sort of trapped between the two tasks, unwilling to blow its metaphorical load but also unwilling to slow things down to fully pull out the most interesting elements of the show’s mythology. It’s led to a methodical but unfocused start to the series, and unfortunately one which hasn’t yet pulled me in to the degree that it seems to want to.
The problem with “A Bright New Day” isn’t that it is doing anything particularly wrong with this premise, but rather that it feels entirely inorganic when introducing any sort of new developments. There is nothing elegant about this show, and while it (unlike FlashForward) has done well to keep its stories more inherently related to the plot of the series it has done nothing to make some of those inherently relevant stories entertaining (although parts of this episode are on the right path). The show is so desperate to show us certain things, and to have certain characters be in certain situations, that it doesn’t really care how it accomplishes it.
And while a more cheesy, 80s inspired series with some flair could easily get away with this, a show that purports to take itself seriously is going to run into a narrative brick wall, hiatus or no hiatus.
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.