Good thing they haven’t done much in the first six episodes…
They had lead time on this show, right? Beyond the fact it’s a remake, they didn’t start writing Gracepoint while they were filming the pilot or anything, right? And they knew when they started, and perhaps when they finished, writing that it was 10 episodes long, right? It’s not like the same intern who lost the Taxi Brooklyn revisions couldn’t read their own scribbles and said ‘Yeah, the network gave us… 29? episodes?’
Also, they know they only have three episodes left, right?
Gracepoint is a study in subtle perversions of pacing. At times it rushes things, little things, stuff that you don’t directly notice at first. Carter’s daughter shows up at the police station and… did they cut to commercial without letting that (mildly cliched) moment land? Did they cut David Tennant’s reaction shot in the next scene three hairs short? Why would you do that to David Tennant?
For much of the rest of the time, Gracepoint doesn’t seem to notice that for the size of the cast and the number of red herrings it’s weirdly empty. It’s not just, as Becca noted, that so little happens; it’s that so few people seem involved in whatever is happening. Did you really waste the inclusion of a teacher who’s mysteriously missing at the same time as another young boy at his school by… never having shown us this guy, even in a normal, not creepy, oo pay attention to this guy he’s got a secret like everyone else manner at some point?
Lost in all this haze are the performances. We should be shouting ‘Nooooo!’ at our TVs at Josh Hamilton’s wonderfully conflicted moment before he lets his son go off on his own, or when Nick Nolte walked into the sea at the end of episode six. Instead we vaguely wake up. Pay attention folks, if you can: Anna Gunn’s doing damn solid work, but there’s a sneaky-good performance1 happening from Virginia Kull as well.
- That better get several nominations. ↵