Monsters of Television

Although I can always appreciate rhyming series and episode titles, there’s just something about this show that doesn’t sit right with me and I can’t put my finger on it.

Maybe it’s them shoving the story down our throats? We’re two episodes in and already there have been more poignant moments than Dawson and Joey had in their entire verbose first season. With so many moments, the build-up just doesn’t seem to be there for the me to care about the stakes. But that could just be because they’re trying to establish the story so they can move on to other things.

So maybe it’s that they’re missing so many opportunities for drama? They’re running through major season developments like single-ply tissues, quickly resolving them within minutes. The whole “let’s win over the social worker” could have been dragged out for a bit. Ryan not being able to handle Cate’s quick “take in a child” turnaround probably should be threaded through a few episodes but, besides that one scene where he explicitly said he was having trouble trying to deal with it, he really hasn’t shown he has much of a problem with his plans being put on hold and his life, more or less, turned upside down. Baze’s friends, giant opportunities for reflector-ing (reflection seems like the wrong word) and/or comedic reprieve, are such background characters they might as well be extras. But we’ll call that studio influence. The first few episodes are meticulously constructed for dramatic moments. Maybe poorly and ruinous of early potential but the intention is there to hook people on this show, not necessarily to slow-burn a plot.

Oh, I got it! I totally know what it is! Kerr Smith hasn’t really had an opportunity for smart-assery. He has the initial scene with Cate on the radio and then, after that, nothing but kind of a sap. Come on, guys. A bird has to sing. Let the man deliver some lines that aren’t necessarily heart-felt or sweet-boyfriend-like.

There. Totally put a finger on it. I knew I’d figure it out.