Article originally published as CODE BLACK Review on Seat42F.
CBS,
usually the home of crime procedurals these days, decided to try its
hand at a medical one with CODE BLACK. Set in a busy emergency room, the
title refers to the state the staff goes into if there are not enough
personnel and resources to handle the patients coming through the door.
While many medical facilities may see this occasionally, the one at the
center of the show, LA County Hospital, goes through it on a regular
basis, nearly every day of the year.
CODE BLACK is high energy fun. From the
start to the finish of the episode, a lot occurs because the tempo of
the setting is a very busy one. While the premise would not work at most
hospitals, the specific scenario chosen seems realistic enough, and the
pacing keeps things interesting. Viewers will not have time to get
bored.
But it isn’t always realistic. The trap
any medical show falls into is that the cases must be unique in order to
engage the audience. House, M.D. kind of got around this limitation
because of the nature of the unit that Dr. House ran, but most series,
such as Grey’s Anatomy, just decide to suspend reality in this aspect of
the program in order to make more compelling stories. Judging by the
pilot, CODE BLACK does the same. I don’t know that this is strictly a
negative aspect, since so many other shows do the same thing, but it is
worth noting.
Credit goes to the production design,
which makes the LA County Hospital look much more authentic than in
other medical dramas. The white board shows signs of being erased many
times over without a good cleaning, and the paint is cracked and
peeling. Too many television programs go for the stylistic look, to
their detriment, and the approach CODE BLACK takes lends more
credibility to the presentation.
What a lot of crime shows forget to do
is to make the characters the center of the show, and medical dramas
tend to not have that problem as much. Sure, there are patients to treat
constantly coming through the door, and most will not return for
another hour. But while the focus of the majority of CBS’s fare is the
investigation, with character moments saved primarily for the beginning
and ends of the hour, medical series tend to focus on emotional arcs for
their players throughout the installments, even while they are dealing
with the emergencies. CODE BLACK is no different in this regard, which
already gives it a leg up on its same-network peers (save The Good Wife,
which operates in a similar manner, favoring character over formula).
CODE BLACK’s ensemble is delightful and
given decent material. The person with the most authority on the floor,
the renowned Dr. Leanne Rorish (Marcia Gay Harden, Trophy Wife), has
gone through a tragedy that worries her former student and fellow doc,
Neal Hudson (Raza Jaffrey, Smash). Together, along with long-serving Dr.
Rollie Guthrie (William Allen Young, Moesha), they manage four new
residents who have been assigned to them (played by Golden Boy’s Bonnie
Somerville, The Brink’s Melanie Chandra, The Joneses’ Benjamin
Hollingsworth, and relative newcomer Harry Ford). They are all cared for
by ‘Mommy’ senior nurse Jesse Sallander (Luis Guzman, How to Make It in
America).
When compared to others of its kind,
CODE BLACK is more enjoyable and intriguing than most. I can’t say it
has any single element that makes it stand out in particular, but I
really like the chemistry of the cast, which is the heart of the show.
It could be my new Grey’s Anatomy (which I love dearly) when that show
goes off the air, but for now, it’s one of the few new broadcast shows
this fall I consider worth watching. It lacks depth and falls a bit
short on realism, but it’s still very entertaining overall.
CODE BLACK premieres Wednesday, September 30th at 10 p.m. ET on CBS.
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