Wilfred is one of those high concept shows that was so bizarre when it was new, it was hard to imagine it could last. If you’ve hung with it over its four seasons, reflect on how weird it seemed then and how weird it seems now. A pilot can “teach” us to accept a show’s premise and then *bang* we’re on board.
Go back and re-watch the pilot. I forgot how funny it is. It might actually be funnier now, since I’m not wasting mental energy trying to figure it out. Is Ryan dreaming? Is he dead? Is he high? Can he possibly keep it secret that his neighbor’s dog is coercing him to commit petty crimes? It doesn’t matter. Continue reading →
Let’s talk about The Last Ship. It’s been on for several weeks now, so if you were planning to watch it you probably already are. It’s what you’d expect from a basic cable show executive produced by Michael Bay. But the pilot — which has lots of explosions — got me thinking about the character from whose point of view a writer can choose to tell a story. I know, I know, it’s based on a book. I haven’t read it, but I’m assuming that, like the show, it’s told through the eyes of Captain Tom Chandler (Eric Dane). He’s a big, tough white guy who, no doubt, has proved his mettle serving in the U.S. Navy. Plot developments in the pilot demonstrate for us that he’s brave, dedicated to his men, and loves his wife and children. Basically, he’s an all-around Good Guy, complete with the white hat, which he places on his head with great symbolic purpose. Continue reading →
If you’ve read this blog before, you know I enjoy titles of pilot episodes, and television naming conventions in general. Can you identify the show by the title of its pilot? Air dates range from the 1970s to just last month.
Now that its premiere season is behind us, it’s a good time to look back at the pilot of Marvel’s Agents of S.H.I.E.L.D., and remember how we got here. A re-watch of the pilot serves as a reminder not only of the show’s charm — maybe the reason we hung on through some slow weeks — but the Whedon/Tancharoen family’s skill at storytelling. Despite the lukewarm reaction when it first aired, this is a hell of a good pilot, in hindsight. It kicks off the season arc, the story of Coulson (Clark Gregg) building his team and gradually learning about TAHITI, and all of the relationships therein. But instead of making its B-plot a one-off, it too sets up a long, methodical hero’s journey.
The latter is what interested me most. Even though we had a long stretch of Mike-less episodes, this season was very much Deathlok‘s origin story. In fact, Mike (J. August Richards) himself says that at minute 30. Continue reading →
I almost didn’t give Orange is the New Black a chance, based simply on hating the title. It suggested to me that we’d be watching “Elle Woods Goes to the Big House.” I envisioned a main character who would apply for dispensation to wear Manolos with her jumpsuit, or teach her cell mates whatever is the 2013 equivalent of the bend-and-snap.
A show about a woman going to prison, produced exclusively for Netflix, could as well go the other way: all rape-y and terrifying. Also not something I was eager to embrace.
Somehow, this show–evidenced by the pilot–pulls off a delicate balance of realism, drama and humor. I was surprised at how much I laughed. More amazing, it actually made me, an average middle-class white woman look at the central character, Piper (Taylor Schilling), and think, “That could be me.” If, somehow, I had done something in my past that came back to bite me in the ass, I would totally go on Amazon and buy books to prepare for prison. Continue reading →
If you are lucky enough to have no idea what Orphan Black is about, don’t hit the jump. But do tune into the inevitable marathon that will take place before season 2 kicks off April 19. Orphan Black is one of those shows that, the less you know about it going in, the better. When I first watched, I hadn’t heard anything more than one little tweet about it, and even that contained what I now consider a spoiler.
I love a pilot that surprises you and makes you go, “Where is this going?” If you’re into suspense, amazing acting and East London accents, you’ll like this show. Continue reading →
…because I feel very alone in my non-hatred. Need I warn you that there are major spoilers ahead?
I never, for a second, bought Robin and Barney as a couple. They had no chemistry. She had played witness to too much of his debauchery. Even with his vow to never lie, how could she trust him? Although I love Barney as a character, I would never wish a marriage to someone like that on a woman I cared about. I actually wanted her to run out on the wedding, but I’ll take this outcome just as well.
Arrow seems to be rolling out another DC character practically every week now. I don’t watch the show regularly, even though I keep hearing how much it’s improved since its cheesy debut season. I just can’t stay interested, maybe because Laurel and the sister look the same to me, or that every action sequence takes place in the dark with super-fast cuts, so I have idea what’s going on. Still, it’s hard, within the geek community, to miss the spoilers. Everybody’s talking about this show. Possibly it’s the introduction of juicy new characters that keeps the buzz alive.
This all brings up two questions for me. The first is, how the hell did Birds of Prey not succeed? The other, a broader and more agonizing question is, why are all the female comic book characters in supporting roles? Much has been written about feminism as it relates to comic culture, so I’m not going to delve into that. I am, however, going to take you back to what may have been the first attempt to spin off a female comic book character into her own TV show.
Although not technically a pilot, this “mini-sode” was made in 1967.
I heard about Everything but the News on NPR. Public radio pushing public television; if they’re going for meta, they’re finding it. I don’t even know how to categorize this show, and to me, that’s always a good thing.
The pilot episode opens with a news anchor telling us that we’re going to hear a report from inside the world of online video, before flashing back 72 hours. A reporter, Steve Goldbloom, stands outside LAX, getting reamed over the phone by his producer. My first thought is, “Man, that producer’s a real dick.” He promises that if Steve and camera man, Noah, prove themselves at VidCon, PBS will offer him steady work. (My second thought is, “Why did they fly into LAX for a convention in Anaheim? SNA would have been closer.”)
How have I not blogged about this show by now? What finally prompted me was Mayim Bialik’s appearance on The Howard Stern Show, and a blog post she wrote about it. She’s awesome. During her hour-long interview, she talked about how new acting was to her when she was cast as the star of a sit-com at age 14. She and her parents lived in a rented house in L.A. with one bathroom, and she swears she was still a normal, nerdy kid at the same time she played the eponymous Blossom Russo. I believe her.
When you recall Blossom you probably think of something like, “Tonight on a very special Blossom… Joey says ‘whoa’.” (That quote is from something. Anybody know what?) And hats. Lots of stupid, floppy hats. Usually dismissed as a bit of 90s fluff, this show actually holds up, at least as demonstrated by the pilot. Here are some things about it that may surprise you: