Article originally published as THE LOTTERY Review on Seat42F.
Lifetime ventures into the science
fiction realm with their new drama THE LOTTERY, which premiered last
night. Set roughly ten years in the future, mankind has inexplicably
stopped having children. Scientists are clueless about both the cause
and the solution of the problem. Then, Dr. Alison Lennon (Marley
Shelton, Eleventh Hour) somehow fertilizes one hundred eggs which seem
viable. Will she be able to save mankind, or will the intrusive
government ruin her project?
THE LOTTERY boasts a really cool concept
I’d expect to see on SyFy or FOX, rather than on Lifetime. I do wish
the premise had gone further with the science part of the genre and
given us some kind of excuse for the big event, but at least the
ramifications for the human race and its struggle to overcome such a
huge obstacle can be chronicled. This really would spell our end, and
there is plenty to examine in this set up.
Unfortunately, right from the start, THE
LOTTERY feels like typical Lifetime fare. It isn’t as over-the-top
female-centric as some of the network’s other shows, such as The Ex List
and Devious Maids, but it is very heavily headlined by women, and said
gals are not nearly as likeable as those in, say, Witches of East End.
Alison obviously is female, and while the President remains a white man,
the series favors his chief of staff, Vanessa Keller (Athena Karkanis,
Low Winter Sun) in assigning focus. And when it comes time to discuss
parents’ rights over the ingredients in the fertilized product Alison
creates, only the mother is considered.
There’s also very much a
woman-as-a-victim viewpoint. Alison is singled out for firing because
she’s a strong, brilliant person who would get in the way of the
military guys that wants to control things, but because she’s whiny and
demanding, she is hard to root for. Vanessa does bend the President’s
(Yul Vazquez, Magic City) ear and actually seems heroic, but again, the
military men have run roughshod over her already and she has to fight
her way back into influence. She’s playing from the underdog position,
even when she’s in a role that should allow her to call some of the
shots.
Furthermore, the only man of any
substance in the pilot, Kyle (Michael Graziadel, The Young and the
Restless), is much more sensitive than the average joe. A single parent
to one of the last kids born, he resists temptation and shows how caring
he can be, giving the female viewers the idolized hero they’d like to
see represented more than a layered, flawed individual. Given his token
spot, I’d like to see more from him.
Now, I enjoy strong female characters,
and most of my favorite shows are at least gender-balanced, so I’m not
ripping on THE LOTTERY just because of the women who are at the center
of it. But other networks, if they resisted the urge to make the show
testosterone-heavy, would nurture other aspects of the tale. Instead,
it’s these handful of hallmark Lifetime characteristics that override
everything else, making the show feel anything but balanced. It may hit
the station’s target audience, but it lacks broad appeal and ignores
many fans of the genre it resides in. That’s a mistake.
The acting is also a bit hokey, playing
up overly dramatic scenes, and with the type of moments when you want to
yell at the screen because the protagonists make dumb, easily avoidable
mistakes. The weak writing and character development waste the cred
that could have been bought with a smart premise and makes THE LOTTERY
less than the sum of its parts. I worry it will not go far enough in
exploring the effects on the world, instead concerned with
two-dimensional players in their flimsy environments.
Of course, this is just a pilot. THE
LOTTERY could redeem itself by doubling down on the conspiracy and
dangers, as well as social issues, and backing off on Alison’s
self-righteousness. I just don’t have confidence that it will.
THE LOTTERY airs Sundays at 10 p.m. ET on Lifetime.
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