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Satisfaction is the most daring, because it’s not really a comedy, and that makes its intent oblique and quasi-European.... The series picks up as it moves away from the couple’s problems and into the complications Neil’s new career creates.
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As drama, that new direction is interesting and may be darkly honest. It’s just unsettling, which will take some adjustment for viewers of a network that has rarely gone there.
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Satisfaction has the most provocative premise--until about halfway through when it doesn’t just go off the rails, it careens into the ocean, swims for England, sits for afternoon tea and then flings itself into the moon.
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For every tired element, there are lovely, even mysterious touches.... Emotionally, I'm not sure that a lot of Satisfaction makes sense at all, but a certain strain of dream logic holds it together.
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Passmore's interesting to watch, but the characters are frustrating in their refusal to acknowledge that their obstacles are far from insurmountable.
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Passmore and Szostak give fine performances, and many viewers will no doubt appreciate having a drama that's designed to reflect modern life, without a crime or a medical crisis as a catalyst. They just might appreciate it more if it were a bit less grim and if the big plot twists felt a lot more organic.
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What the network is positioning Satisfaction as, and what it feels like it should be, is a morally complex story of two people experimenting with what makes them happy, the TV equivalent of a ‘70s adult-relationship movie. And for maybe a half-hour, the pilot feels like that.... And the back half of Satisfaction‘s premiere seems to lose its nerve.
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Passmore's too bland to pull off the many dynamic emotional shifts Neil goes through, and the whole thing feels shapeless, providing little idea of how the series functions going forward.
User score distribution:
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Positive: 28 out of 45
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Mixed: 10 out of 45
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Negative: 7 out of 45
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Aug 22, 2014
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Aug 4, 2014
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Aug 2, 2014