There’s still no word on the future of 666 Park Avenue, but I think we all know how this is going to go. The ratings have dropped by three million since the already-lackluster premiere, an untold amount of the set was destroyed, and now they’re taking two weeks off between episodes? Sure, “Downward Spiral” ends with the most suspenseful cliffhanger of the series, but for a show that people are watching mostly out of habit, this loss of momentum could be disastrous. By the time the ninth episode airs, I might literally be the only person watching, instead of just feeling like I’m the only person watching.
666 Park Avenue is not long for this world. We all know it, and I can’t imagine anyone is all that upset about it. For the purposes of these write-ups, however, the show’s obvious doom is kind of distracting. I know, it’s the reason I started doing these write-ups in the first place, but I’m getting kind of sick of it, aren’t you? I always end up bemoaning the show’s end and not taking the time to figure out why the show isn’t doing so well in the first place.
The easy answer would be that it’s just not that good. Now, I will admit to a certain fondness for the show (though that fondness, like many secondary characters on 666 Park Avenue, comes and goes weekly), but beyond that, I honestly believe what I said when I began these reviews: this show has the potential to be fast-paced, soap-y, creepy, and above all, just plain fun, and if the creators had a little time, I think 666 Park Avenue could be all those things.
Of course, it’s not going to get that time, but I’d like to put that aside for a while. What I want to explore is this: how could this show be better?
First things first: 666 Park Avenue should be moving at a breakneck pace. With a show this silly, you’ve got to keep things going. Just look at Revenge or The Vampire Diaries. TVD especially is well known for burning through plotlines like it was nothing (Homeland also takes this approach, but we’re talking network dramas, here).
666 Park Avenue seemed like it was picking up steam when Jane opened up the ominous locked door in just the second episode… but it turns out all she found behind the door was a creepy suitcase. The creepy suitcase gave us a few potentially interesting turns, but the end result was just to bring Jane back down to the basement and get her to open up a different door.
I can’t say for sure, but I’m guessing that the creators of the show utilizing the slow-drip method of revealing stuff because they’re trying to keep mystery of The Drake shrouded in secrecy as long as possible. I understand why they’re doing this, but it’s unnecessary because the mystery of The Drake is probably the least interesting thing happening right now (next to Alexis and Brian). Maybe the creators just don’t want to shake things up too much this early on, to which I say: really? Really? Is Jane really going to find anything in that staircase that will change the premise of the show?
I guess that when Jane finds out that Gavin is evil (or possessed or the devil or possessed by the devil or whatever) that’s going to be a game-changer… but this show could use a game-changer. Besides, what are the creators afraid will happen once the secret is out? That the show will be all about Gavin working his demonic influence while someone else tries to stop him? Guess what, we already had an episode like that last week. And it was great!
Sadly, the Damned of The Week, the part of the show that I used to find so interesting, has turned out to be the biggest waste of time. It seems like it’s not even a thing anymore. And you know what? That’s fine. As cool as it seemed that each episode would have a miniature version of The Twilight Zone tucked away inside of it, I can absolutely live without it.
Except that now, a huge chunk of those early episodes looks like a waste. Why did we need that guy and his dead wife in the pilot? We’d already established that Gavin makes shady supernatural deals with people; we saw it before the opening credits! And that eternally young woman in the second episode who couldn’t stop killing people? What was that all about?
Episodes three and four gave us Annie the Journalist and in turn Kandinsky, who the show is dedicated to keeping around for some reason. But surely there was a better way to get a shady Russian hit man onto the show than by having a guest star get magical powers and then dream him up.
The show has actually improved in this area: the closest thing we’ve had to a Damned of the Week since Annie is Dr. Scott, and he’s been worked into the show so well that his continued presence isn’t totally distracting. And once again, I’m curious about what’s going to happen with him. After his attempted murder of Gavin this episode, I guess that Scott will be out of the picture before long, but honestly? I have no idea.
In fact, I have no idea what’s going to happen in any of the five plotlines that were crammed into the show this week. I still don’t even know what kind of show this is. Is it a mystery about a young girl’s past? A character-driven drama with supernatural overtones? A horror story stuffed with homages to classic films? A soap opera that takes place in a haunted hotel? 666 Park Avenue is none of these shows and yet it is all of these shows.
And even when those shows annoy me—the Brian/Alexis plot showed some promise tonight, but it still feels like it was snatched out of a different show entirely—I want to know how they’re going to play out. The show’s creators need to focus on that and stop trying to artificially lengthen the mystery surrounding the building itself. I get it—it’s a creepy demon building, a cult used to live there, the owner has magic powers. I’m on board with all that. Quite screwing around and tell me what happens next.
I mean, hypothetically speaking. This show’s not going to last another two months.
Aw, dang it. I did it again.
- You may notice the distinct lack of last week’s “Jane and Henry are breaking my heart”-style criticism. I’d like to chalk this up to an increase in emotional stability, but I think it’s actually because this episode was way over-stuffed and nothing got time to breathe, especially Jane and Henry’s relationship.
- Maybe it’s because body-horror is the one horror trope that really gets me, but that sequence where Kandinsky pulls the knife out of his stomach is the freakiest thing I’ve ever seen on this show.
- The spiral staircase hidden beneath that awful CGI-steampunk floor appears to be the same staircase from the opening titles. Hands up if you just assumed that staircase was somewhere in the building and didn’t think it would ever be significant.
- The nicely creepy “Spine” by Promise and the Monster scored this week’s end-of-the-episode-montage, although it was not actually much of a montage this time.