Once a year, a big box of network pilots is sent to my office. Their arrival is met with great fanfare. It's kind of like when Mrs. Scarf, my third grade English teacher, would announce that the Scholastic order had arrived and we'd attack the poor woman like a swarm of hungry pigeons on a disgarded pizza crust, tearing at eachother's hair just to be the first to get our peanut buttery fingers on the latest exploits of Clifford the Big Red Dog.
Why the frenzy? Well, here's an example: last year, months before you got your big gay eyes on it, I viewed Desperate Housewives with its original cast (minus Jesse Metcalf, plus a way less singsongy Laura Palmer from Twin Peaks as the dead narrator). I knew Lost would be a smash, with a pilot more engrossing than most big budget Hollywood features. And then there were the stinkers like LAX, a series that ran out of interesting airport stories about a third of the way into its first episode.
Until now, lucky readers, these pilots stayed at the office, where we would watch them during lunch hours, discuss among ourselves, then start e-mailing our friends in (and out) of the industry, telling them what to look forward to and what to avoid, or what was so bad you HAD to see, this Fall. In other words, sowing the seeds of buzz.
But that was last year and this is this year and the main difference is that THIS year I have a blog. So why not throw some Miracle Grow on my buzzgarden by posting the reviews right here, as I watch them. Si? Si!
REUNION
Network: FOX
Airs: THURS 9:00PM
Grade: D-
We threw this one in pretty quickly, 'cause it had a gimmick, and as the strippers in Gypsy sing 'You gotta have a gimmick!' (Hey -- you want baseball metaphors, you read another blog.) Here's the rub: each episode of this series takes place in one year of a group of friends lives, starting with the Pilot, set in 1986. A 22-episode order, then, should put the season one finale at (carry the four...) 2008. Based on the clichéd 80’s world of the pilot, the 2008 episode should feature flying cars that fold into briefcases and robot maids.
This show was laughably awful, and begs a drinking game. (ex: “Drink every time a character makes an annoyingly self conscious pop culture reference to the year in which that episode takes place.” YOU CRIED AT ST. ELMO’S FIRE? DOWN THE HATCH!) The plot is entirely absurd – something about a group of friends and a car accident and one friend taking the fall for another friend, intercut with a funeral and ‘investigation’ that takes place in the present. Someone has died, or been killed, but we aren’t told how, or who, or why or by whom. Don’t sweat it, I promise you won’t care.
Half the cast is about 19 and the other half looks well 30-something, and yet they are all supposed to be the same age—giddy teenagers in the mid 80’s. Even without their costumes and bad hair, the result is visually ridiculous. Some of the acting is shockingly bad – particularly Risky Business-era Tom Cruise doppelganger Sean Faris, of Life As We Know It, (nope, I never knew it, either) who is apparently physically incapable of producing a single believable line reading (“Drink every time Sean Faris pauses, then changes his facial expression to communicate a new emotion or thought.”)
Stuck on the fringes of this gooey mess is Mathew St. Patrick, who after five seasons on Six Feet Under must have decided it was time to try something new – joining the cast of a really, really, really sucky TV series. He’s stuck with the ‘detective’ role, questioning the cast members about their involvement in the death of, as he keeps retardedly referring to the mystery dead person, ‘the deceased.’
The questions the gimmick begs, namely, what do they do once they reach the present, are a waste of time. I’ll be surprised if this show hits grunge, though you just know the writers are drooling at the prospects of all the references to flannel and goatees they’ll be able to shoehorn in.