Tom Kapinos (who ran Dawson’s Creek in its ) aired. You’ve seen it. Maybe you liked it. I know I did.written by
Let’s look under the hood.
It is more a typical-episode pilot than a premise pilot. Hank bumbles through what seems to be his normal routine. But it is the beginning of an arced series. Maybe the meeting with Mia will set off a major storyline and then we can look back at this episode and say it was a premise pilot because he met Mia and that set up everything that followed. I’m filing this under typisode.
The episode is nearly 33 minutes with titles and credits and no commercial breaks which makes it longer than a half hour, by almost ten minutes but shorter than an hour by another ten.
The pretitles teaser is five minutes long and although it runs without commercials, we can feel an act break at 12:35 and another around 26:30, followed by a four minute third act.
The episode is held together by three story threads: Hank’s relationship with his ex and daughter (A), his obsession with his novel and the movie based on it (B) and his sexual exploits (C). They are all intertwined and the plot/subplot breakdown doesn’t do much for this show.
But it really is more organic to look at the episode as a series of vignettes, almost all of which with women. There are fourteen of these sequences (which don’t really conform to the A,B,C breakdown I’ve imposed on them in brackets):
Teaser: the nun (C), the married woman (C)
Act 1: Karen (the ex) and Becca (the daughter) (A), the director’s wife (B), Karen and Becca (A), a guy in a movie theatre (B), Mia in the bookstore (B/C)
Act 2: Karen and Becca’s teacher (A), Hank’s agent (B), Meredith the blind date (B meets C), the nameless bar girl (C), Karen and Becca (A)
Act 3: Karen and Mia (A meets C), Hank alone (A)
Act One is really mostly about his obsession with his novel-turned-movie. The naked woman his daughter finds in his bed is the movie’s director. He goes to see the movie then he goes to see the novel in the bookstore.
Act Two tops and tails with beats about Becca acting out; the teacher’s concern and her parents bursting into a party to carry her out. In between, Hank acts out, mouthing off to his blind date.
The opening and closing scenes bookend the story. At the top of the show he tells the nun:
I’m having what you might call a crisis of faith.
Put simply, I can’t write.
In the final scene, his fingers twitch above the keyboard. On the screen, we see the letters appear F” U” C” K”
The show begins with the opening strains of “You Can’t Always Get What You Want” playing over black. We fade in on a long lush drive, sprinklers going on either side and Porsch driving up it towards an impressive church. Or is it a cathedral?
Hank address Jesus on the cross: “‘Kay, big guy. You and me.”
The show has a lot of sex scenes and outrageous moments:
Hank drops a cigarette in holy water.
A nun gives him a blow job, in front of Jesus. No nudity.
Hank and married woman talk about cunilingus. Nudity.
Hank’s daughter comments on the hairless vagina.
Director’s wife gets dresses. Nudity.
Mia rides Hank and punches him. Nudity.
Nameless girl in the bar rides Hank then offers herself up on her hands and knees. Nudity.
Hank finds out he slept with a sixteen year old.
Third Act Statement of Theme
At about the twenty minute mark, Hank is in conversation with his agent who points out Hank’s prediliction for unavailable women. Hank tells “I’m disgusted with my life and myself but I’m not unhappy about that.” Is this a statement of theme? Maybe.
There’s no hair on her vagina. Do you think she’s okay?
Something tells me it’s not going to suck itself, Hank.
So not only are you a cadavarous lay, you have bad
taste in movies.