by rick grant rickgrant01@comcast.net
This intelligently written hour-long drama is the brainchild of producer Ken Olin and playwright Jon Robin Baitz. The premise involves a large prosperous family, The Walkers, William (Tom Skerritt) and Nora (Sally Field) who own a successful business. They have achieved the zenith of the American dream, living in a large estate with all the accoutrements of wealth and privilege. The story focuses on the complex interaction between the elder Walkers and their five grownup offspring. All the siblings are fiercely independent, successful in their own right, but they embrace the sociopolitical differences in each other.
The pilot episode sets the stage for the dramatic development of the story arc and characters, as Kitty Walker (Calista Flockhart) flies in from NYC for the party and a business meeting. She is a popular ultra conservative radio talk show host who clashes with her mom’s liberal beliefs. The family’s idyllic bubble bursts when, at a family gathering celebrating a birthday, William suddenly dies of a heart attack, throwing the entire family into a frenzy of trauma and grief.
Prior to William’s shocking death at the end of the pilot, the viewers learn that William has brought Sarah (Rachel Griffiths) into the company as corporate VP. She took the position because her marriage is shaky and she will have more time to spend with her husband, played by John Pyper-Ferguson. Thomas (Balthazar Getty) is also working with his dad. When Sarah finds out that their uncle, Nora’s brother, company accountant, Sal Holden, (Ron Rifkin) has locked her out of the company accounts, she demands to know why. He brushes her off, making her livid. This is an ominous development that suggests that Sal is either embezzling money or hiding the dismal financial condition of the company.
At the family party, viewers meet the other siblings–Kevin (Matthew Rhys) a gay lawyer looking for a permanent partner. In contrast, Justin, (Dave Annable) the baby of the family who went to Iraq after 9/11, is suffering from Post Traumatic Stress and dating a pretty young girl. Kitty is still not talking to mom over their last bitter argument. But, William encourages Kitty to make up with Nora. So, reluctantly, Kitty gives her mom a hug to satisfy dad. Kitty has been offered a TV show on prime time television in Los Angeles, which she is excited to take. Her boyfriend wants her to stay in NYC, marry him, and have kids. This will no doubt cause a major rift in their relationship.
Writer Baitz ascribes to the premise that blood is thicker than water and William’s death will bring the siblings together to support mom. Sarah will probably take over the business. The inter-personal relationships between the siblings and mom create many juicy story possibilities and subplots. So far so good–Baitz’s pilot script was full of snappy dialogue and developing situations.
Olin and Baitz are blessed with a dream cast, all of whom have stage, screen, and television credits. Since Ally McBeal wrapped, Calista Flockhart has been busy on stage winning much critical acclaim for her acting prowess. As Kitty, her characterization is completely convincing. Of course, comparisons to Anne Coulter will be rampant, but Flockhart has imbued Kitty with a softer personality, yet she can be a dragon lady when arguing her passionate conservative political beliefs. There are hints that her liberal debating partner on the show may be a new love interest, but it’s too early to tell.
There is so much heady material within the large family structure to keep Baitz busy writing meaningful scripts. Each sibling has their own separate life, but the tragedy has brought them together to help and heal the family. Then there is the business to worry about. What is Sal up to, and can Sarah take charge, while trying to save her marriage? Ah yes, these are intriguing questions.
Indeed, if the future episodes are as riveting as the pilot, then this show should be a smash hit over its run. It was encouraging when Studio 60, another deftly written high quality series, pulled in 19 million for its pilot. This is a sign that TV viewers are hungry for quality series and are tired of laugh-track sitcoms. Well, time will tell if Brothers & Sisters can hold up to the high quality standard it established in the pilot. B&S runs Sundays 10:00 pm ET.
|
