Showing posts with label The Good Guys. Show all posts
Showing posts with label The Good Guys. Show all posts

Tuesday, August 10, 2010

Thinning the Herd

I don't know if you've met most shows, but the vast majority of them suck. As such, while I watch nearly every pilot that comes out (whether I mention it on this blog or not), only a few make it into my regular rotation. It's not often that I'll either pick up or completely discredit a show based entirely on the pilot, so I usually give those with even a modicum of potential a couple of episodes to really grab me. Don't get me wrong, when it comes to bags of crap like The Beautiful Life, The Deep End, or The Forgotten, I only need about ten minutes of the pilot to decide it falls into "Show Fail" territory and never look back, but most shows have a least a glimmer of hope.

In looking at the new shows for this summer, a few shows managed to make it onto my schedule, but the majority fell by the wayside pretty quickly. ABC, NBC, and Fox tried their hands at summer programming, but by and large, they failed pretty spectacularly. It's cute that the big four thought they could really challenge the cable networks... Sad, but cute.

With a schedule as jam-packed as mine is, I can't really afford to keep shows that don't have me truly interested on some level. Don't get me wrong, the three tiered system is still in place, but it's become so overflowing that I've found I have to cut my losses quicker and quicker. Back in the day, I was able to give shows more time to impress me, but with my DVR prioritizer bursting at the seams (literally, it can only hold 50 shows, and I've had to break up with old ones in order to make way for new ones), I just can't do it anymore. Sometimes you just have to thin the herd...

Here are the sickly little gazelles that didn't survive:
  • The Gates
    I actually enjoyed the first couple of episodes of The Gates well enough (it seemed like a nice, thoughtless summer guilty pleasure), but it just didn't keep my attention. That, coupled with the dismal ratings and I knew it wasn't worth dedicating myself to a lost cause. Also, confoundingly, for a show about vampires, witches, werewolves, and whatever else, it was surprisingly slow.

  • Scoundrels
    This crap-fest didn't stand a chance. I barely made it through the pilot alive. I realize summer isn't really your key season here, but if you're going to make a foray into this kind of scheduling, at least make it bearable...

  • The Good Guys
    This one's a heart-breaker. I wanted to like it, I really really did, but alas, I just plain didn't. I thought my allegiance to Matt Nix knew no bounds, but apparently I was wrong. It knows some bounds all right... bounds called The Good Guys.

  • Memphis Beat
    This show actually had a fairly solid pilot, and while I can appreciate that it's well-made and certainly has its charm, at the end of the day, it's your standard cop procedural and I lost interest after only a few episodes. The dynamics of the show just didn't really gel for me and after only the second episode, I felt like it was a chore to watch and gave up.

  • Rizzoli & Isles
    Again, it's not a bad show really (which isn't to say it's a good show either), but if you've seen one cop procedural, you've seen 'em all, and this show did very little to reinvent the wheel. I found the relationship between R and I boring, uninspired, and generic. Add to that Donnie Wahlberg as a love interest and I officially reached my limit (and tested my gag reflex to the breaking point. Think unsexy thoughts... Think unsexy thoughts... Oooh, that's unsexy...).

  • Pretty Little Liars
    On a purely trivial level, I wish I had stuck with this one. From what I hear, it's the perfect summertime soap opera. I caught the first few episodes, and while I could appreciate the shallowness and intrigue, I ultimately found that I needed more substance. I just plain didn't care what crazy things were happening because I didn't care about any of the characters. I'm not saying it needed to be a deep, cerebral tour de force or anything, but a dollop of substance would have gone a hell of a long way.

  • Huge
    Ugh. I only made it through the pilot. I found it completely charmless and dour from beginning to end. They had a real opportunity here to present an uncommon television demographic here, but all the characters were fairly unlikeable. I toyed with the idea of giving it a few more episodes to draw me in, but ultimately decided it wasn't worth it.
Here are the shows of hardier stock that have made it into my regular rotation for various reasons (some more justifiable than others):
  • Covert Affairs
    As per usual with USA network, it only took a few episodes for this show to find its feet and really suck me in. Truth be told, every episode since the pilot has been better than the pilot. Much better. From the pilot alone, I had feared the show would be too light and fluffy to really have any gravity or suspense, but it's actually pretty well grounded. Like other shows on this network, it has a pretty nice balance and light and heavy. The show is still a bit rough around the edges, and at times doesn't quite seem to know what to do with some of its characters, but it has found a good groove and has plenty of room to grow and improve. Piper Perabo has been much more engaging and likable than I ever would have expected. There are still certain aspects of her character (and acting) that I would change, but by and large, she's grown on me rather quickly. Her partner in crime (and I suspect, soon to be partner in the sheets) Auggie is an absolute delight. From the pilot, I was apprehensive that the show wouldn't have the dramatic chops to really explore his character, but fortunately, they've settled into a narrative tone that allows for just about anything. The most recent episode helped illuminate some of Auggie's psychological turmoil and I loved it. The more Auggie, the better. I've always loved Christopher Gorham and I'm thrilled he's found such a plum role. His chemistry with Perabo is a big part of why this show is working for me. You can tell that they really seem to enjoy one another and I suspect they get along famously in real life. It shows onscreen. They clearly form the foundation of the show, and more and more it's seeming like they're the only characters. While I appreciate a show that doesn't feel the need to use actors in every episode (if there's no reason for them to be there, leave them out), I get the impression the writers just don't really know what to do with Anne Dudek and Mohinder. Hopefully they'll either cut the dead weight or better yet, find something important and interesting for them to do. As is, Mohinder is largely absent (and nigh-unrecognizable), and Dudek is wasted on a thankless role. All in all, however, I find that I'm really enjoying this one and am actively excited for it week-to-week.

  • Boston Med
    The best little show that no one is watching... but me. I realize this is more up my alley than most, so it comes as little surprise that it hasn't exactly been a ratings juggernaut (although I hear it's been improving). I'm a sucker for documentaries and medical shows, so this one really appeals to me. It would never be appointment TV or anything, but it makes for a nice alternate.

  • Rookie Blue
    On the more embarrassing end of the spectrum, we have Rookie Blue. It's unabashedly Grey's Anatomy with cops, but you know what? I quite enjoyed Grey's Anatomy at first, so it stands to reason that Rookie Blue would hold some appeal. It's predictable and generic and fairly cheesy, but ultimately pretty harmless. It's not the kind of show I would miss if it disappeared, but for what it is, it's enjoyable enough. It makes for a nice summer distraction, if nothing else. Although, while I salute Ephram for trying to break out of the Everwood mold, I can't say I like his new character much at all and I spend the better part of each episode wishing he'd start playing the piano or pining for Amy. On an unrelated note, I knew this was a Canadian production, but didn't truly grasp the depth of its Canadianness until I hear a "Soory" slip by. Excellent. :)

  • Rubicon
    In all honesty, I've only seen the pilot, but it was intriguing enough that I'm ready for more. This is a cerebral conspiracy thriller (well, maybe not "thriller" per se... the pacing of the show leaves a bit to be desired) that is extremely well-made and doesn't assume the viewing audience is as dumb as a post. It's a nice change of pace when a show presupposes that viewers will understand what they're trying to do and that they don't need to be spoon fed. That said, it still needs to find its feet. The pilot was a bit uneven for me, but I think they've set up a situation that could be exhilarating. As mentioned, the pacing is really the only aspect of the show that might become an issue. I'm not saying it needs to have one mindless car chase after another or anything, but a little suspense would have done wonders for it. As is, I just didn't get that nail-biting sense of simmering dread that you'd expect from this kind of a conceit. Again, we've only just begun, so here's hoping it figures out exactly what it wants to be and knocks it out of the park.

  • The Glades
    Okay, I'm as shocked as you are on this one. It's basically your standard crime procedural, but for some reason, I keep coming back week-to-week. The lead actor carries the show and he's just charming enough that I want to see more. When I first heard about the show, I had no intention of keeping it. Maybe it's that it airs in an uncrowded timeslot... Whatever the reason, I'm actually quite enjoying this one. It kind of has a House vibe to it, but with a more playful, boyish, carefree bent. If you're in the market for a new crime procedural to add to your slate, I'd recommend you check this one out. Otherwise, I could take it or leave it. I wouldn't be too upset to see it canceled, but I enjoy having it around.
Anyway, for good or ill, this has been the most crowded summer viewing schedule I've ever faced. I usually spend the summer tapping into serieseses that I've been meaning to see, but either never watched, or missed the first few seasons of when they actually aired. At present, I've been watching The Wire, Criminal Minds, Rescue Me, Weeds, and Lost, but haven't really had time to polish them off. I'm mired in the middle of each at this point. Sigh. I kind of miss having the summers off. It's also the reason I haven't had a chance to post previews of the other pilots airing this fall. I soldiered through all 817 of NBCs new shows and simply didn't have the time or energy to attack the other networks. Maybe someday...

Thursday, May 20, 2010

The Good Guys... not so good...

When I first heard that Matt Nix, showrunner and creative genius behind Burn Notice (which is back on June 3rd, mark your calendars), had a new show, I was over the moon. Now that I've actually seen the fruits of his labor? Not so much...

Nix's new pet project The Good Guys (formerly called Code 58) premiered last night on Fox, and while I did enjoy certain aspects of show and could appreciated that it was decently made, at the end of the day, I am most certainly not in love. I'd like to think that my disappointment was based on assumptions that I would be instantly smitten (as I was with Nix's stellar Burn Notice pilot), but ultimately, I think the vintage buddy cop show just might not be my kind of show... on second thought, make that "think" a "pretty damn certain"...

Now, you know I try not to judge an entire show based solely on the pilot, so I'll give The Good Guys a couple of more episodes to find its feet, but I'm not optimistic. The pilot started off well enough, but by halfway through, I was bored and disinterested, and by the end, good god I was glad it was the end. That makes it sound much worse than it was, but for whatever reasons, I just couldn't connect with this show. It was honestly a decently made pilot with panache and a very specific goal, but unfortunately, neither of those things happen to jive with my television sensibilities. (Of course, on paper there's nothing about Southland or Justified that jive with my sensibilities either, but I quite enjoy both of those shows, so I can't excuse The Good Guys based solely on genre incompatibilities. I can enjoy any genre, when done in just the right way, but this is not one of those situations.)

The Good Guys is an obvious and intentional throwback to old school cop shows and relishes in embracing all the trappings therein. Bradley Whitford stars as Dan Stark, the grizzled has-been cop who is constantly spouting off about the good old days to straight-as-an-arrow new partner Jack, played by Colin Hanks. It's a concept we've all seen before, but Nix doesn't pretend to be reinventing the wheel here. It's abundantly clear that he wanted to make a tongue-in-cheek homage to 70s style detective work and that's exactly what he's done. It felt a little like when Quentin Tarantino picks a genre and makes a concerted effort to display all the cliches you'd expect in a very self-conscious way. Tarantino is considerably more successful at this than Nix was here, but I can appreciate the effort and what Nix was trying to do. By all accounts, he succeeded. But, just as I don't Netflix old episodes of vintage cop shows, I don't think I'll be sticking with The Good Guys for very long. In all honesty, I think the show is going to have a hell of a time finding an audience. Vintage can be done in a way that brings it back into vogue, but I don't think that's what's happening here, although not for lack of effort. The entire approach was very bald-faced and honest with itself. Indeed, even calling the show "The Good Guys" points to exactly what creative angle they're taking. This is not going to be a deep, psychological look into the inner-workings of hard-boiled detectives. As near as I can tell, this is a very unambiguous nod to an older style where good guys were good guys and bad guys were bad guys. Its aim is fun escapism, and for what it's worth, they don't pretend to be doing anything else.

The pilot actually started out well enough. After the first ten minutes, I honestly had some hope for the series as a whole, but things ultimately unraveled for me. The initial set-up of the two leads had a certain charm and Matt Nixiness that I rather enjoyed. What better way to establish Hanks character as a clean-cut, anal-retentive cop than with grammar. As it turns out, the primary reason he was assigned to Whitford as a partner was for correcting his superiors. I couldn't help but to chuckle as he defended his actions, saying, "I'm sorry, but there's no such thing as a 'statue of limitations!'" Heh. What can I say? The way to this girl's heart is with geeky, linguistic-based humor. You had me a "statue," or so I thought... Whitford is likewise presented in typical fashion as the washed up, aging detective who's a loose cannon, blah, blah, blah, but after the initial introduction, I just didn't really care about him all that much--which is a shame and a surprise because I love Bradley Whitford (less so with the mustache...). The two did admirable jobs with the roles they were given, but it just didn't gel for me. I guess it might just take some time for the chemistry between them to really start to work, but after the pilot alone? I was wholly uninvested (yeah, I know it's not a word) in the two main characters. This may come as a shock, but that's generally not a good sign...

It's not always immediate that I fall in love with main characters, so as long as the base concept is sound, I can usually hold out until they grow on me. It took a good 4 or 5 episodes of In Plain Sight for me to really invest in the whole package, but I knew the idea was solid, so I was happy to give it some time. The base concept of The Good Guys isn't quite as sound, to say the least... While I was quite charmed at the knowledge that these two cops were the Property Crimes beat (heh), I'm not sure how that's going to play out in the long run. It was pretty funny to see the title card shoot across the screen (a nice nod to Burn Notice) with "Case 42013: Stolen Humidifier" (complete with gunshot sound effects), I'm not sure it's a conceit I would be able to care about in the long run. Or, actually, the short run, as it seems. Don't get me wrong, by the end of the episode things had gotten quite a bit more intense (never seen so many shoot-ups and car chases in one pilot before), but I'm not sure that's a good thing... It's hard to know exactly where the show plans to go with things week-to-week, but I get the impression that Whitford and Hanks will start off each week with a seemingly mundane property crime to investigate that will invariably lead to drug smugglers and assassins. In all honesty, and for as dull as property crimes generally are, I think that's what I'd rather see. What can I say? The thought of not having a corpse at the center of a crime procedural appealed to me. A funny, tongue-in-cheek look at cops who do what most cops do: investigate random, minor offenses. If they had really taken that concept and run with it, I think it could have been pretty awesome. If the writing is solid, I don't need twenty minutes of car chases and stylized shooting.

As with most aspects of the pilot, the ideas may have been good, but the execution foundered for me (I keep saying "for me" because I can absolutely see where people who love this genre would have adored this pilot, but I ain't one of them). I really did appreciate a more unique, stylized approach to the action and storytelling. I just wish it had worked better. For instance, and again, reminded me of Tarantino, the show uses non-linear storytelling which adds a less common narrative approach, which is generally appreciated. Unfortunately, once again, it kind of falls flat. On a show like How I Met Your Mother, non-linear narrative structure is employed to great effect (you know, except for the current season, which is... yeah...). I love it when characters start out in one place, with the audience not knowing how everyone got there, and then have the pieces filled in by flashbacks, flashforwards, and asides. HIMYM does this with tremendous aplomb which leads to satisfying reveals. In The Good Guys, however, not only did I not really care where the characters started off, but I definitely didn't care how they got there. I'm fairly certain that if I cared more about the cast, I'd have enjoyed the structure much more, but when you're not invested in the people, you can't be invested in what's happening to them or why. Good idea, stylishly done, but ultimately, a failure.

Like I said, the pilot started off okay and then devolved as it went along. The supporting players (who are very few and far between--seriously, there's Hanks' ex-girlfriend who works for the DA's office and the chief of police and that's about it) didn't get much screen time and didn't really have time to be actual characters and felt more like placeholders... and yet somehow, they proved to be some of the best parts of the pilot. For what little set-up they got, they actually had more charm and interested me more than the fellas. They make for a dynamic that could work really well, but so far, simply didn't. The show focused most of its time on campy, intentionally over-stylized shoot-ups and car chases to really establish characters that I could care about. That may be just what some people are looking for, but I have to have a strong character base or I mentally tune out. I'm not saying there isn't a chance that the characters could grow on me over time, but based solely on the pilot, I'm not sure I want to give this show another second.

I think this show is going to struggle. As with Human Target (which I actually enjoyed more than this pilot--ouch), throwbacks to vintage styles don't necessarily work. Sure Human Target eeked out a pick-up for next season, but in the back of my mind, I keep thinking, "Yeah, maybe this style went out of style for a reason..." Neither of these shows is proving to be my particular cup of tea, and it's not just because these are shows aimed at men. I quite enjoy a number of shows that aren't aiming for my demographic. To boot, their ratings indicate that I'm not alone in being underwhelmed. I think the problem with both of these shows lies at the character level. It really doesn't matter how awesome or badass the action is if you don't care who lives or dies and are just as comfortable seeing the character succeed or fail. The audience needs to be on the edge of their seats desperate for things to go a certain way and that can only be achieved when you truly care about the people in question. It's the only way there's enough gravity to make the show matter.

Bottom line? I'm not in love. I wouldn't say I'm in total hate necessarily either, but I'm going to have a hard time giving this show another episode to grab me. Looking at the creative team and the acting talent, I wanted to like this show, I really did. It's incredibly disappointing that it fell so spectacularly flat. Everyone just seemed to be trying way too hard and succeeding way too little--which isn't exactly a recipe for success. I suspect this show is going to struggle and quite frankly, I'm kind of hoping it just gets the axe so all the awesome people associated with it can move onto better things. But, what do I know, maybe other people totally loved this. My cup of tea, however, it is not.

Pilot Grade: D+