The anatomy of a grading show (defined as a show to have on in the background while grading) is a funny thing. For me they fall into two broad categories. The first are old and familiar shows. The writing, the stories, and the rhythms are familiar. They take no brainpower to watch while marking bluebook exams or multiple choice tests. The second also requires minimal brainpower, but because they are a sitcom or procedural for which the rhythms are familiar, even if the specifics are not. If the show proves to be too captivating then its purpose falters because grading slows down. Usually, this means that the show has to be something I want to see, but far, far on the crummy end of the spectrum.
This current batch of grading has been me watching the reboot of Hawaii 5-O. I’m most of the way through the first season and have a few thoughts on this curious show.
- Hawaii 5-O is a show about a special law enforcement task force in Hawaii, led by a former Navy Seal and consisting of outsiders and outcasts. Among other things, their leader, Steve, has returned home to help uncover the cause of his father’s death.
- The writing on this show are pretty bad. It is aiming for fast-paced, cryptic, and yet direct. The result is that everyone seems to have inexplicable skills and knowledge, not to mention an extreme unevenness to the plot. Rob Morrow, one of the stars of Numbers, gave an interview a few months ago where he talked about the tendency of that show to be overwritten. It was insufficient for details or information to be conveyed by visual imagery or physical acting alone, but had to be said three times. Morrow mentioned frustration with this and how he used to try to create a script that was more spare and efficient and therefore elegant. Hawaii 5-O has this same problem in spades, with most of the excess dialogue also being bad dialogue.
- The superficial premise of the show is pretty people in paradise meets law enforcement, not unlike, for instance, Burn Notice. However, for this core concept, there is a lot of paradise and, aside from the stars, very little in the way of pretty people. The show is far more interested in shoot-outs and set-piece action scenes than in scenery.
- Throughout this episode, I’m trying to figure out what the core of the show is. Burn Notice has the tension between patriotism and his being blacklisted (with a dash of family dysfunction). Numbers has the good-hearted rebuilding of sibling relationships and the bringing of family together. NCIS has its goofy office hijinks. This show has aspects of all of these tensions and is desperately trying to recreate these formulas that worked (at least to some degree) in past shows, without actually pulling it off because it does some of all of those. There is a family vendetta, a blacklisted cop, another who is having a custody spat with his ex-wife with whom he would like to get back together. Then there is the extra seasoning of everyone being trigger-happy, which seems to be trying to cover for the failures elsewhere.
This violence also manifests itself in that the main characters are all-too willing to blatantly disregard most laws, including to torture suspects. The characters sometimes allude to this in the sense that the leader of the team is not himself a cop. There is too much else going on, including that these law enforcement officers are always in a rush to get to their next act of sanctioned vigilantism, but they seem to want the core of the show to be tension of having a Seal in a cop’s job. Of course, asking those questions requires better writing and a larger cast, so Hawaii 5-O is happy to use everything as a throwaway, moving along quickly enough that maybe nobody will notice.
- What follows from the last point is that there is a visual representation of a militarized law enforcement that takes the stance that almost everyone else is a victim waiting to happen. Frequently, this results in stern talking-tos. At most there are token references to people outside of the main cast of the show, passing mentions of that they should not be discharging weapons in public spaces, and remorse when the “good guys” cannot save someone.