How Long Before NBC Kills The Event?
April 16, 2011 by Ted Crawford
For a TV show to be truly great, I believe it has to have at least one of three things: aliens, ghosts, or conspiracies. The Event delivers two of these features (no ghosts so far) along with a fast-paced storyline that approximates the suspense of 24. The show also utilizes the Lost technique of keeping the viewer guessing by having strange plot developments in every show (SPOILER ALERT for you DVD watchers!) -- there are disappearing planes, extraterrestrials held captive by the government, people who don't age, kids who look like old people, and a villain who turns out to be a shape-shifter. And that's just the first half season. This is an ambitious show that builds on the great shows that came before it.
Caught up in the middle of the dangerous interplanetary intrigue is an attractive young couple, Sean and Leila, who want nothing more than to get married and lead a normal life. While the two are on vacation, Sean returns to his hotel room to find that Leila is gone along with their belongings, and the room is now occupied by a different couple. The hotel desk informs him that they have no record of him or his girlfriend staying in the room. It turns out that Leila has been kidnapped, along with her father and sister. Sean eventually tracks her down and is able to free her, and they find themselves on the run from both her kidnappers and the government.
Leila and Sean
connect the dots
In the first few episodes, Jason Ritter and Sarah Roemer, the actors who portrayed Sean and Leila, had a humorous habit of stuttering and stammering in every scene, which I think was intended to convey the idea of average people who find themselves in extraordinary circumstances -- the sort of characterization that was pulled off flawlessly by Richard Dreyfuss in Close Encounters of the Third Kind, for instance. Once again the old saying, "Art has a life of its own," has found a new example. The actors' intention of realism plays on the receiving end as a comedy routine about people with speech impediments. Which, to me, translates into "the director is asleep at the wheel."
Also, some of the dialogue in recent episodes seems painfully artificial. The extraterrestrials are all business, with no time for walks on the beach or picnics in the park, as evidenced by such matter-of-fact pronouncements as "The uranium will be used to create a portal... that will bring many more of our people to earth," and "The future of our race hangs in the balance."
Laura Innes, once famous as Dr. Weaver on ER, plays the leader of the other-worldly visitors. It's ironic that her character on the show, Sophia, ages at a tiny fraction of the rate of a normal human, because the actress has aged considerably since her early days at County General hospital. It pains me to say this, as a long time Innes fan, but she could use some sprucing up in the hair and make-up department. I mean, come on NBC! She's queen of the aliens. Let her have some sex appeal, for crying out loud.
In spite of the defects, I can say with confidence that The Event is a must-see for fans of science fiction television. The long-term fate of the show is precarious for a couple of reasons, the first obviously being that some people automatically turn off the TV when a storyline involves aliens. The second reason is almost as obvious: NBC is notorious for axing TV shows at the first sign of lower ratings. This is especially true for sci-fi shows -- Heroes and Surface come to mind. The recent Tonight Show debacle effectively solidified NBC's status as the network that makes really stupid decisions. I'm guessing Conan O'Brien's butt still hurts from having the rug pulled out from under him after only seven months on the job at The Tonight Show.
Other, smarter networks, such as Fox and CW, give their shows a chance to develop, give the production staff a greater degree of creative freedom, and, most importantly, they respect the fans by letting shows end with dignity, allowing the writers to tie up all the loose ends and resolve any unfinished business. Supernatural is the perfect example. The show seemed pretty hopeless in its first season, and I gave up on it after one episode. The CW network, however, didn't give up. They allowed the show to develop and improve over time. I caught an episode several seasons later, and I couldn't believe how much better it was. The CW had done what NBC would find unthinkable: It had actually stood by one of its TV shows and made it a big success.
As I watched the once-compelling Heroes crash and burn over the course of its four season run, I developed the impression that it suffered from too-many-chefs-in-the-kitchenitis. I pictured NBC executives in Brooks Brothers suits hovering over the writers' computers, leaning in to retype a word here and there, and micromanaging every conceivable detail of the storyline, creating the convoluted mess that left fans shaking their heads in dismay. There's a reason why Claire-Bear leapt to her non-death in the final scene. She clearly hoped that her super-healing powers would fail her for just once, and the unbearable folly of Heroes would be over. The viewers were right there alongside her, ready for the death plunge.
The NBC bean counters probably spend long hours in their mahogany-paneled conference rooms arguing that science fiction and supernatural TV shows are too expensive to make and don't attract enough viewers. I can hear them saying something to the effect of, "We need to watch these dirt-bag sci-fi producers carefully and make sure they're delivering a product conducive to the longevity of our lavish lifestyles."
A part of me wishes NBC would just agree to never attempt any more sci-fi, then I could wash my hands of them forever. I'm sure they would do just fine with their current line-up of game shows, crime dramas, and really bad sitcoms.
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