Hey, everyone! It’s official!
During that horrible two-week period where we had no new 666 Park Avenue to watch, the show managed to go and get itself cancelled! The announcement was such a foregone conclusion that I don’t have much to say about it. I’m not surprised, because I’ve known this was coming since the second episode aired—except for that brief period of optimism when ABC ordered two more scripts, it’s been all downhill for this show. I’m not sad, either, because while I still find this show interesting, I’m not sure the creators have it in them to turn it into the “compulsively watchable” horror-themed soap I was predicting a few months ago.
One bit of news that I do appreciate: the creators are tweaking the season finale in order to wrap up the entire series. This is great, not because I’m so invested in the show that an unresolved cliffhanger would haunt me for the rest of my life—Twin Peaks this ain’t—but because it means we might get a totally insane logic-goes-out-the-window, gonzo-style ending. Maybe they’ll even go full-tilt Life on Mars and reveal that the entire complex is really just a doll house that Jane owned as a little girl, and Gavin is actually her dad, and he’s really just an insurance salesman, and “Henry” is the name of her favorite doll and… I don’t know, something like that.
In the mean time, we’ve got five episodes left of a show that is still showing glimmers of promise now and then. Not only did this episode experience a mild bump in the ratings—which I can only assume is from cancelled-show fetishists like myself—but we got forward movement on all fronts, including the Brian/Louise/Alexis storyline, which is just now starting to show signs of relevance.
In my ongoing attempt to mentally remake this show into something good, Gavin Doran receives a lot of attention. Before the show aired, I read a review that claimed it was a failure because it broadcast Gavin’s villainy so early on. There was no mystery or suspense, this writer claimed, in a show where the audience knew so much more than the main character this early on.
I was resistant to this idea, partially because I wanted the show to be good and partially because, after the pilot, the show really dialed back on Gavin’s villainy. I even said that the show’s semi-sympathetic depiction of Gavin was one of my favorite things about it, because of how it played against our first impression of him.
Well, I was wrong. Once you establish someone as a soul-reaping demon in the first episode, you can’t back off from that. I mean, you can, but it obscures the character and confuses the audience about what kind of show you’re making. Gavin does’t need to be moustache-twirling devil, constantly scheming about how to steal Jane’s soul, but this is the kind of show that needs the villain to be consistently villainous. All of the best Gavin moments either involve him doing something clearly evil—remember when he chopped that dude’s head off?—or interacting with his wife. If Gavin’s character was pared down to those two aspects, he would become a lot more fun to watch without turning into a one-note cartoon.
Gavin has three great scenes in this episode, and they all cast him in a creepy, villainous light. My favorite is the church scene, which is among the best things the show has ever done. Yes, “Sympathy For The Devil” is a beyond-obvious musical cue, and the cover they chose is not the best, but when you’ve got Terry O’Quinn walking menacingly through a cathedral, you don’t need much to make it cool. And to top it off, he has a creepy conversation with the priest about a mysterious demon box! There’s an electricity to this plotline that’s missing from a lot of the show.
Gavin’s scenes leading up to this moment put him back in the mode of demonic crime boss, matching wits with his adversary Victor Shaw. Shaw spends most of the episode tied up in one of The Drake’s many creepy basements, trying to play the Dorans against one another. At one point, he reveals to Gavin that his daughter killed herself and that Olivia knows the truth. Gavin and Olivia move past this pretty quickly—probably due to the show’s sudden insistence on cramming every single plotline into each episode—and Gavin pulls out the big guns: impersonating Victor’s dead father.
Magically disguised as a dead man from until East Germany, Gavin tricks Shaw into giving up the box’s location. It shows how dirty Gavin is willing to play, it gives us some hints about what he’s capable of, and it’s a pretty cool scene, overall… that is, until Gavin dispels the illusion. Before the reveal, there’s a long, lingering shot of Victor’s father staring at the camera, and when I realized what was about to happen, I shouted, “Oh, no, please don’t.”
Sure enough, that terrible, network-grade CGI strikes again, as the old man’s face dissolves into dust, leaving behind a hilariously bad skeleton. It only lasts for about five seconds, but it’s so bad and so unnecessary that it drags the whole scene down. Seriously, guys, you couldn’t think of a better way to do this? Haven’t you ever heard of a cross-fade?
Gavin has one last big, villainous moment towards the end of the episode, during a meeting with Alexis. We see a different, more human side of Alexis, as she begs Gavin to release her from one of his trademark bargain. Apparently, she’s seducing Brian under his orders, and she can’t stand what she’s doing to him. Again, this scene is over too quickly, but it gives some shading to Alexis. She’s not just an evil person! She actually has emotions! And Gavin just shrugs it off with an incongruously cheery platitude. His casual disregard of human misery isn’t as over-the-top as a CGI skeleton, but it’s chilling to see someone’s life tossed aside with so little care.
666 Park Avenue was advertised (and probably pitched) as a vehicle for Terry O’Quinn’s peculiar brand of ominous mystery, and I think the show would be better off if it gave him more opportunities to do what he does. I actually like Jane—unlike most of the show’s tiny fandom—but it’s hard to create a compelling protagonist when your antagonist spends half his time worrying about land deals.
In fact, it usually seems like Jane and Gavin are on completely different shows… but it’s possible we might still get a confrontation between the two of them. There are only five episodes left, and according to the executive producers, 666 Park Avenue is building to “powerful and surprising series finale” where all of our question will be answered! Questions like: “What?” and also “Why?” In fact, the only question that probably won’t get answered is “could this show ever have been successful?”
I’m not sure, but I’ll keep on speculating, all the way through to the end of “Jane and Henry’s incredible journey to the dark side,” and probably well beyond that.
- Oh, yeah, Jane’s back from her two-day journey below The Drake and she has that kind of amnesia that television characters get when the writers don’t want to reveal something yet. Not a lot of good things to say about her storyline this episode, though I did appreciate the change of scenery.
- Next week is the long-anticipated (I guess?) appearance of Whoopi Goldberg. I was hoping she would show up at the end of this episode, but getting Goldberg for two episodes is probably way out of the show’s budget.
- The title this week is a reference to the deeply unsettling 1962 Bette Davis/Joan Crawford movie of the same title. It’s mildly clever, but since this episode actually reveals nothing about Jane’s history, I’m thinking it could have been better deployed somewhere down the line.
- After next week, I’m not sure what the plan is for the four remaining episodes. I doubt ABC’s wants to drag this into 2013, so I wouldn’t be surprised if we got a “special two-hour finale event” on some dark Saturday in late December.