Below are all the Fall Pilot Preview posts which feature my initial impressions on all the new fall shows coming to network TV this fall as well as the official description and trailer for each. This post will remain at the top of the home page so it’s easy to find but continue to scroll down for the latest posts and reviews!
There’s quite a few fall (and upcoming midseason) pilots that try to recreate the sort of high-stakes spy thriller action that The Blacklist impressed audiences with last season (NBC’s upcoming State of Affairs is just one of a number of misfires) but they all pale in comparison to this top-notch series that’s gotten the formula just right. After a terrific freshman year, The Blacklist returned tonight, perhaps better than ever, with an edge-of-your-seat hour where things took a very personal turn for Reddington.
It’s been several months since we’ve had the chance to check in with Ichabod, Abbie and the rest of the Sleepy Hollow gang and tonight’s premiere served as a brilliant reminder as to why we fell in love with this insane—like seriously, all-in 100% nutso—world to begin with.
Regular readers of this site know that I’m a huge fan of The Good Wife and am always thrilled to begin another season; however, there’s no question that the show is coming off an especially strong season and the expectations here on out are a bit formidable. Season five was terrific and featured a couple of game-changing moments that were handled spectacularly well, so it would be hard for season six to top that. I thought tonight’s premiere went in an interesting and exciting direction but I’d love to hear your response to the hour. But first, here’s ten quick thoughts on the season six premiere of The Good Wife:
It’s tough for a network crime procedural to get a whole lot of critical buzz because most of them aren’t looking to reinvent the wheel and they stick pretty close to a formula we’ve all seen a thousand times over at this point. Still, there’s a certain comfort food familiarity to these procedurals (say what you will about the fact that shows about murder investigation serve as comfort food to many of us…) and networks rely on them to tell a popular brand of storytelling that viewers can easily engage with that’s not so heavily serialized they’ll be lost if they miss an episode or ten. So, with this equation having been used so often and for so long, how is a crime series to stand out?
A lot of people have classified Gotham (being brought to television by Bruno Heller who created The Mentalist and Rome previously) as “a Batman series without Batman” and that’s not a totally inaccurate description, but the negative connotation it implies is a bit unfair. I can understand some people’s hesitation. Last year, we were treated to Marvel’s Agents of SHIELD which was, essentially, a superhero show without superheroes that ended up being bland and forgettable for much of the year until The Winter Soldier plot twist spiced things up a bit; the episodes that followed were of higher quality but by the finale, I thought the show had returned to being lackluster, though many disagree with me on that point (I’ll be tuning back in this year and weigh in on the premiere this Tuesday).