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Bionic Woman 1.1: "Pilot" |
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Friday, 28 September 2007 |
By John Keegan
Visit Critical Myth for an archive of John's TV Review archives, with more than 1100 entries.
This series has quite the interesting pedigree. Several of the producers and writers have been associated with some of the most revered genre shows in recent memory: “24” and “Battlestar Galactica”, for example. In fact, several of the recurring characters in the pilot are “Galactica” cast members, and several post-production elements, right down to the titles, are reminiscent of that cult favorite. Never mind the similarities in origin: both “Galactica” and “Bionic Woman” are updated versions of a late 1970s original.
Re-imagining the cult classics has become something of a trend lately. “Galactica” stands as the most successful example, at least in terms of critical acclaim and creative ingenuity. More recently, the same treatment was given to “Flash Gordon” with somewhat less success. As with any such endeavor, there is a certain disapproval that comes with retooling the past for present consumption. Ardent fans of the original scorn the slightest change, while others scoff at the lack of “originality”.
Most viewers would agree, however, that every production comes down to execution, and that is how the new “Bionic Woman” should be evaluated. How well does this latest version of the body-mod concept stand on its own?
Casting is important, and in this case, the producers were going for a specific look. Or so one would assume, since Michelle Ryan is essentially a younger, bustier version of Jennifer Garner from “Alias”. The resemblance is uncanny, right down to the mannerisms, vocal qualities, and line delivery. To her credit, Ryan fills the role of Jamie Sommers as well as Garner filled the role of Sydney Bristow, if the series premiere is representative.
The premiere suffers from a mild case of pilot-itis: too much backstory and not enough character development. That imbalance is very difficult to overcome. In this case, the writers manage to make things interesting by developing a simple but effective plot structure. In short, the original “bionic woman” has gone rogue, taking out the research team responsible for her creation, with the help of former researchers. Jamie just happens to be dating one of the researchers (Will Anthros), and she’s caught in the crossfire. Will can’t bear losing her, and thus begins the journey.
One interesting twist is the intention of the research program: military biomodification. It’s hardly the most original idea, but it puts Jamie in a terrifying position. The bionics include significant amounts of nanotechnology with underlying programming. This programming has demands of its own, and Jamie will need to get comfortable with automatic targeting systems flashing on her shiny new HUD. She’s basically an involuntary military cyborg, complete with a bratty little sister to raise while dealing with rogue super-soldiers.
That rogue cyborg is a necessary element of the new status quo. Sarah Corvis (played by a gorgeous and disturbing Katee Sackhoff) is an example of what Jamie might become if the technology overwhelms her humanity. Jamie’s battle with Sarah in this first episode is essentially a metaphor that will likely continue throughout the series: Jamie battling the very technology that threatens to overwhelm her compassion.
From a larger perspective, the rest of the cast lies somewhere along the same spectrum. Will is the most human of the researchers, concerned for Jamie’s overall welfare. Everyone else is more or less devoted to the idea of applying the technology to military or illicit gain, and their attitude towards Jamie is reflective of their own humanity (or lack thereof). This touches on the classic science fiction struggle of man vs. machine and the price of augmenting or modifying our biology. If the next several episodes can correct the balance between plot and character development, as one would expect, then this series has a chance of success. |
