QUANTICO – “Run” — ABC\/Guy D’Alema)
BRIAN J. SMITH, JOHANNA BRADDY, YASMINE AL MASSRI, PRIYANKA CHOPRA<\/figcaption><\/figure>\nThat is the question ABC aims to answer with new series “Quantico.” Immensely similar in concept and structure (we open in the aftermath of a crime and then get to know the “students” who were potentially involved), the new comedy is without a powerhouse lead.<\/p>\n
That shortcoming adversely affects the inaugural “Quantico” episode. Without a truly memorable, dominant force at the center (Josh Hopkins and Aunjanue Ellis are utterly flat in their “instructor” roles), “Quantico” never feels as “big” as a show centered on a massive terrorist attack should. The “Quantico” crime should feel far more significant than the murder of an adulterous professor, but the absence of Viola Davis’ command prevents that significance from registering. The case feels entirely like a reason to initiate the flashbacks; it is not itself a reason to watch.<\/p>\n
Populated with charming, attractive recruits (notably the aforementioned Chopra, who is positioned as the series’ lead) the flashback\/Quantico scenes are infinitely more enjoyable than the present-day crime investigation. While they will not yet resonate<\/i> with viewers, the individual characters (thanks to solid individual performances) do begin to register by the end of the first hour. The dialogue and soap opera drama can land in tacky, exaggerated territory, but it never serves to trivialize the story.<\/p>\n
Unfortunately, it also never serves to elevate the intrigue and allure of the flashbacks. Sufficient as flashbacks, the Quantico scenes are not compelling enough to produce an excellent show of their own. And without notable excitement from the conspiracy\/present-day storyline, “Quantico” ultimately comes across as acceptable filler rather than must-see, high-stakes drama.<\/p>\n
In addition to falling short in the urgency and star development regard, the “Quantico” pilot also hurts itself by going overboard with late-episode twists. While it naturally needed to conclude with some sort of cliffhanger or shock reveal, it spends the final ten minutes piling on the supposed shocks.<\/p>\n
As illustrated by many a disappointing premiere, including the pilot for ABC’s own “FlashForward,” that is rarely the optimal approach.<\/p>\n
The motivation is obvious: the writers hope to demonstrate that the series will be rich with twists, turns, and thrilling suspense.<\/p>\n
The problem is also obvious: if twists are introduced before audiences truly know – or care – about the characters and plotlines, they are effectively meaningless.<\/p>\n
While some of the episode’s final reveals are necessary to heighten the intensity of the closing moments (and set the narrative in motion), others would have meant considerably more if reserved until the next few episodes.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[1048,1049],"tags":[233,4127],"adace-sponsor":[],"yoast_head":"\n
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<\/a>