Original Airdate: February 4, 2015 on VH1
I’m so happy because I’ve finally found the first show I haven’t seen before that I can wholeheartedly recommend. I hadn’t even heard of Hindsight until it came up via my selection method. It aired for all of two months before vanishing into the abyss, and even when I did hear about it, I was dismissive–it aired on a network not known for scripted fare, it was a complete ratings flop and the critics ignored it. I think the biggest stumbling block was the network–if it had aired elsewhere it might have found an audience.
I have fond memories of VH1. My older brother got me excited about music at a young age and VH1 was his station of choice. We quickly became Pop-Up Video addicts. Of course, VH1 was intended as a softer version of MTV for an older demographic, so I was saturated with dreck like Natalie Imbruglia, The Wallflowers and Smashmouth. I tuned into VH1 occasionally through 2004 for things like I Love The 80s, and then I stopped watching much TV at all for several years. By the time I came back, VH1 was wall-to-wall reality shows and I haven’t payed very much attention since. Now that I look at their slate of shows, it seems that the demographic has decidedly shifted from aging white people looking for a Phil Collins fix to young black women. Which is great! There aren’t enough black faces on television and K. Michelle is bookable. The thing is, VH1 is also now known for reality shows. It is not known as a source of high-quality original scripted programming. It is not AMC or HBO or even FX. I do understand why VH1 thought this would be a good match for their audience and those who watched it when it was on the air probably enjoyed it. But the rest of us didn’t notice it, and that includes critics–I could only find two mentions of the show on the AV Club’s website and both included grumbling about its resemblance to Do Over, a WB series from thirteen years ago that aired 11 episodes. That is a complaint you’re only likely to hear from a profoundly nerdy TV geek, and look who’s talking. For the purposes of this review, I watched episodes 1, 3, 5 and 6 of Hindsight for context.
- Strong story. This episode uses the very common trope of presenting us with an end point in the story and going back chronologically to show us how events unfolded. This isn’t any kind of narratological innovation, but the execution is damn near flawless. It’s also thematically appropriate to use this trope, since Hindsight is about Becca Brady (Laura Ramsey, She’s The Man), a woman on the verge of turning 40 who regrets the decisions she’s made in her life. She gets a second bite at the apple when unexplained circumstances transport her back in time to 1995. She gets a job writing for a music magazine and predicting the next new thing. Here, she gets her first serious assignment: covering an R.E.M. concert in Chapel Hill, NC. So this is a road trip episode–complicated by the fact that the event we were shown in the opening moments of the episode is a grisly car accident. Joining Becca is her best friend Lolly Lavigne (Sarah Goldberg, The Dark Knight Rises) and Lolly’s friend Paige Hill (Drew Sidora, Step Up.) Misadventure follows on misadventure as the ladies endure a flat tire, getting pulled over by a cop and arriving at Chapel Hill only to find their ticket connection has fallen through and they can’t get into the concert. All’s not lost, however–they’re able to get a sweet vantage point amidst a bunch of college students partying atop a nearby parking garage. Interviewing young lovers for her article reminds Becca of another problem in her life: her relationship with Andy Kelly (Nick Clifford, The Opportunist.) Twenty years into the future, the night Becca travels back in time is also the night before her marriage to Andy, a family friend since childhood who has always carried a torch for her from afar. In 1995, the two had recently shared a clandestine kiss–behind the back of Andy’s girlfriend, Melanie Morelli (Jessy Hodges, Beside Still Waters.) The road back to New York City features an exit to Spring Lake, a town where Becca and Andy’s families shared a cabin and the site of Becca’s idyllic childhood summers. She decides to pull the trigger on her feelings for Andy and invites him to the cabin to discuss their relationship. He feels conflicted, so Becca gives him an ultimatum–drive to Spring Lake and move forward together, or stay in the city with Melanie. Andy heads to the cabin–and gets into the accident. The episode also sees Becca and Paige achieving a mutual respect for each other after getting off on a bad foot due to Paige getting involved with Becca’s first husband, Sean Reeves (Craig Horner, Legend Of The Seeker.) Overall, we’re given a tight package showcasing Becca’s ongoing quest to make good decisions in a world where she has extensive knowledge of but little control over events. The car accident we’re shown in the opening throws a pallor over a road trip already laden with tension and we wince as Becca locks eyes with Paige multiple times as she’s speeding on her way to the concert and as they careen down the highway on the way home. The hour also crams in subplots about Lolly’s relationship with her father, Harry (Alan Ruck, Ferris Bueller’s Day Off) and Becca’s brother Jamie (John Patrick Amedori, The Butterfly Effect) tries to reconcile Andy and Sean in the wake of a fight over Becca’s affections. There’s not a wasted second here and all the pieces matter. It’s a great example of effective storytelling in action.
- Well-drawn characters. The best example of this isn’t a single character but rather the interplay between Becca and Lolly. At the beginning of the series, Becca looks back on a failed marriage, a wasted career, disappointed and divorced parents and a brother struggling with addiction. But the thing she regrets the most is the end of her friendship with Lolly. Lolly is the yin to Becca’s yang. Becca diligently works long hours at a thankless job, whereas Lolly does everything she can to not be productive at the video rental store where she works. She’s a shit-stirrer while Becca is a people pleaser. Becca’s never been with anyone but Sean, but Lolly is adventurous enough to engage in a seamy hookup at Lollapalooza. They need each other. Becca keeps the cupboards in their apartment laden with food and Lolly gives Becca a necessary release valve from a stressful, button-up life. So Lolly is the natural choice when Becca needs to reveal her secret to someone and the chemistry between Ramsey and Goldberg is perfect. Here we get to see another side of Lolly and another contrast with Becca. Becca has close ties with her parents and is anxious at the prospect of their incipient divorce, though the show seems to drop this plotline after the pilot, probably because there was already enough on the plate. Lolly, on the other hand, had her childhood disrupted by a tumultuous divorce and is now estranged from both parents, especially her father. Much like Becca’s mother Georgie (Donna Murphy, Tangled) will be 20 years later, Harry is disappointed in his daughter’s dead-end job and failure to meet her ambitions–though Lolly calls him out on the fact that he doesn’t even know what her ambitions are, due to his chronic absentee status. Strong character based moments show up throughout the episode, whether it’s Paige explaining that she’s still dedicated to a career as an actress despite her parents stealing all the money she made as a child star or Andy drunkenly regaling Sean with the details of Warcraft.
- Resonant thematic cohesiveness. Hindsight weaves a very compelling tale of retrospection and regret. Who hasn’t wondered how their life would have unfolded if they had made different decisions? Humans have been using narrative to contemplate fate, destiny and critical decisions since Oedipus Rex. This is something that will always hold our interest. Like its female-driven HBO cousin Girls, Hindsight delves into resonant and provocative questions about the awkward period of transition known as your twenties. This episode in particular makes a compelling case for the idea that taking provocative action is the best way to resolve conflicts and uncertainties, for better or worse. This crystallizes for Becca when one of her interview subjects (Matt Orlando, Pieces of Peace) says of the possibility of a relationship with a female character that “it’s an open road.” In addition to the obvious road-trip theme, it’s a reminder that for Becca, anything is possible now, including a relationship with Andy. Lolly confronts her father, and though she has every reason to be angry, she gracefully says that she doesn’t want them to grow further apart, and he agrees to try harder. Spurred by Lolly, Paige and Becca work out their issues and come to a mutual respect for one another’s abilities. Though Jamie has the ulterior motive of impressing Lolly, he tries to broker a peace between Andy and Sean, and while that doesn’t work both men learn something about themselves. We’re also given a counterexample of the toxicity of unresolved conflict–Melanie spends all night viciously sniping at Andy over his indiscretion. The viewer wonders why they’re still trying to work it out or if they ever will. Many shows try to tie all their subplots together with a unifying theme, but it’s seldom this successful.
- Thickly applied 90s nostalgia. I’m half-convinced this is why the show got greenlit in the first place. Much of VH1’s programming is still tangentially music related and it is all immersed in pop culture, so I bet they were hoping that viewers would come for the endless parade of eminently licensable 90s favorites and 90210 references and stay for Hindsight’s many charming qualities. Though it got toned down a touch, the constant Rhino-grade musical cues felt assaultive. In a historical drama that’s much more concerned with the psychology of its characters than with historicity, we’re beaten over the head with the 90s-ness of it all thanks to Montell Jordan, Collective Soul, The Gin Blossoms, Deep Blue Something and both goddamned Spin Doctors songs. The actual good music of 1995 from folks like Oasis, Radiohead, The Smashing Pumpkins, 2Pac, PJ Harvey and Bjork proved too expensive for deep cable, I suppose. This episode manages to keep its worse instincts mostly in check, partially through more high-quality offerings from R.E.M. and a concession to the fact that the 90s didn’t exist in a historical bubble via “September Gurls” and the inevitable road trip anthem “Life Is A Highway,” though no one will ever use that song more deftly than The Office. I’m not sure this makes up for Becca eyeing the Spring Lake exit while Del Amitri enjoins her to “look into your heart, pretty baby/Is it aching with some nameless need?” Woof. On the other hand, I could forgive a lot solely for this episode’s use of the melancholy “Nightswimming” over its tragic final scenes, as Becca waits alone and puzzled at the beautiful lake house.
I’m going to break the format a little and present some meta-analysis of the shows we’ve covered so far. I have two observations. The first was inspired by Hindsight: the three fundamentals of a good story, regardless of genre or tropes, are the three strengths discussed here: plot, characters and themes. Other things matter–style, execution, performances. But if a show can deliver the big three, chances are I’m going to be satisfied. Of course, as we’ve seen, it’s something of a tall order…
The other point I have is that I found myself thinking recently about The Sims 2. In that game, Sims have a set motivation that guides their wants, desires and fears throughout life. It’s occurred to me that the motivation of characters in every story corresponds to one of the five aspirations from The Sims 2, with one addition. Hindsight manages to motivate Becca with five of the six. Let’s review–Love/Sex/Romance. Becca has to decide between a relationship with Sean, Andy or neither. Money/Work. Becca is weighed down by a dead-end job and a demanding boss for 20 years, so she very quickly quits that job and embarks on a new career as a journalist. Family. Becca wants to prevent her brother from becoming a drug addict, and in the first episode, it’s implied that she’ll also try and save her parents’ magic. Maybe if there had been a season 2…Friends/Popularity. As mentioned, Becca’s greatest regret is losing Lolly as a friend. Perhaps the most interesting motivation is Knowledge/Self-discovery. By returning to the past and making new decisions, Becca is trying to reshape her life to become the person she wants to be.
The sixth motivation occurred to me while thinking about the plot of the Paddington episode I reviewed, of all things. Paddington isn’t motivated by any of that–he just wants to buy some pajamas, eat a marmalade sandwich and take a nap. That’s a bit farther down on Maslow’s hierarchy of needs. Hence we have the Survival motivation. This accounts for not only Paddington but also Ripley aboard the Nostromo, as well as things like the episode of Seinfeld with the Chinese restaurant. A survival narrative can just involve trying to get through the day.
Let’s classify the shows that have been reviewed so far and see if a pattern emerges:
- The Monsters We Met. Well, this is nonfiction, so it’s more or less guaranteed to be motivated by the promised knowledge of prehistory.
- So Little Time. This is a tough case, since it was a shitty clip show with no story. We did get large chunks of storyline about the teen protagonists, however, and it all had to do with their love lives. Romance.
- Comic Book Men. Since it’s a show about running a small business, money/work comes to mind. This episode is also about a bunch of bros pressuring each other to get tattoos, so friendship comes into play, as well.
- Dead Like Me. George, much like Becca, is placed in the unenviable position of having to decide who she wants to be when confronted with an embarrassment of options. Knowledge/self-discovery.
- Lupin the III. Lupin’s in it for the $$$. Money.
- The Wrong Mans. In the superior first season, it’s a story about survival and self-discovery. In the crappy episode I watched, however, the characters are motivated by lurrrrve and family.
- Paddington. As mentioned, survival.
- Major Crimes. Procedurals are almost always a quest for knowledge, since a murder needs to be solved. There’s also the inciting issue behind the crimes, which is money here and in NCIS.
- Danny Phantom. You could make a case for this being a survival narrative, but Danny’s survival isn’t actually in question. What is in question is his very identity, making this a quest for self-discovery.
- Early Edition. The deadly plastic surgery is motivated by romance, but the protagonist’s actions are spurred by his unnatural knowledge of events yet to transpire. When used this way, the typical quest for knowledge is inverted–the problem is the character has knowledge and must act on it. I suppose this is the motivation for Janice in that NCIS episode as well.
- Alcatraz. Knowledge, of course! What’s going on with the reappearing Alcatraz prisoners?! WE MAY NEVER KNOW
- NCIS. As mentioned, the Crimebros seek knowledge about the murder, Celodyne faked safety data because they were greedy for money and Janice uses that knowledge to strike out at them. None of this would have happened without Celodyne’s lust for profits, though, so I’m going with The Weeknd on this.
Hindsight. As mentioned, this show manages to cover all five top-level needs.
Obviously, it’s a nifty and promising trick to cover so many bases in one story. I wonder if there should be a brighter line of delineation between knowledge and self-discovery, since I notice that I particularly enjoy stories that include that component, such as Dead Like Me or The Wrong Mans, whereas I don’t care so much about a general “we need to know the thing” type knowledge-quest. Phantom is great evidence of how thoroughly you can ruin a self-discovery narrative that could have been really interesting. I may keep track of this taxonomy as I review further shows.
Final Episode Judgment: 9/10. This is easily the best single episode I’ve covered for this project so far. I’d give the pilot an 8/10 and episode six a 7/10, but episode 3 was also very strong and deserves a 9/10 as well.
NEXT TIME: Another one-season wonder and our inaugural foray into sci-fi coverage, Space: Above and Beyond.