Logline: A team of tireless Internet journalists pursue and expose stories of injustice using their unconventional investigative techniques in today’s anything-goes world of reporting.
Cast: Amy Brenneman, Emayatzy Corinealdi, Brad Garrett, Alex Fitzalan, Jeananne Goossen, Michael Rady
Creators: Bridge Carpenter (W / EP), James Strong (D / EP)
Studios: CBS TV Studios
Set in Los Angeles, The Get follows a team of unconventional internet journalists as they try to find a bomber responsible for a terrorist attack.
This procedural pilot seems to have all the requisite genre elements in place. A high stakes situation that begs resolution? Check. An active female journo who’s willing to bend the rules to get the story she wants? Ellen’s your girl. A skilled accomplice? Isa’s here, and so is Noelle. And what about a new hire to naturalize exposition and introduce the story world to its audience? Hello, Alex.
The Get is a quick read, but also an underwhelming one. Ellen could have been an interesting lead, but the pilot doesn’t seem to know what to do with her. There’s some fuzzy backstory involving a brother who might be a convicted terrorist, but not enough information is provided to have us empathize, or incite our curiosity. In addition, Ellen lacks a compelling relationship to give her dimensions beyond her driven “get-the-story-or-die-trying” persona. Her romance with FBI agent love interest Danny fails to leave an impression, and the narrative constantly switches Ellen’s partners. The pilot first partners Ellen with Noelle in a high-stakes situation, then with Isa for the A-story throughout, finally establishing her as a mentor for Alex. By the end, I couldn’t quite figure who Ellen is and what she wants beyond her surface-level drive.
This segues into my next big concern: The Get features constant action, but very little drama. The structure cuts breathlessly between the A-story (the hunt for the bomber), and a strange B-story involving a pair of con artists. A lack of thematic connection aside, these investigations progress with minimal conflict and reversals, and the journalists get exactly what they want, how they want it. Finally, the pilot doesn’t introduce any compelling relationships to make the action more emotionally engaging, and ends with negligible forward momentum.
I doubt I’d return for episode two of The Get in its current form, Brenneman notwithstanding.