Pan Am 1.11: "Diplomatic Relations"

And the fallout from Bridget's (Annabelle Wallis) return continues with this episode of Pan Am. Dean (Mike Vogel) seems to be regretting his COMPLETE LACK OF SELF-CONTROL from the previous evening (shocker) -- seriously, I felt kind of bad for Bridget for about two seconds. It has to be pretty crushing to sleep with a guy and then he's all WHY THE HECK DID I DO THAT?! I DON'T LOVE YOU?! But I can't stand Bridget, and while I think Colette (Karine Vanasse) is entirely too good for Dean, the fact remains that she is good for him...but Dean's inability to keep his pants zipped has thrown a giant wrench in the way of any possible future for the pair. *sobs* *rollseyes* Thankfully work intervenes before Dean can do something else really stupid with Bridget -- he discovers that he's been assigned to captain the first Pan Am flight to Moscow since the advent of the Cold War. Dean's honor, however, is short-lived when his captaincy is pre-empted by the arrival of George Broyles (Darren Pettie), a hot-shot, smooth-talking WWII pilot who steals the spotlight and the captain's chair.

Kate (Kelli Garner) is now (finally) wholly committed to the spy game. When her CIA handler Richard (Jeremy Davidson) learns of the upcoming Moscow trip, he asks her to check on the status of a deep cover double agent who has dropped off the radar. I really liked the whole idea of a trip like this into the heart of the Soviet Union. Touted as a goodwill mission of sorts, when the crew arrives it is clear that their every move will be closely monitored -- a reality no one is used to, but makes things doubly difficult for Kate to slip off and check on the Russian operative. I thought this episode handled the political tensions of the time period really quite effectively.

While Dean, Kate, Bridget, and Laura are navigating the murky waters of Soviet Russia, Maggie and Ted are stateside dealing with major relationship developments during their time off. Maggie (Christina Ricci) still (shocker!) hasn't figured out how to confess to her congressman boyfriend (Chris Beetem) that she's behind the recently published -- and decidedly unflattering -- article written about him in the Village Voice newspaper. Even after her old reporter boyfriend Mike (Colin Donnell) warns Maggie that the congressman's staff is intent on discovering the source of the piece, she STILL can't seem to find the right moment to come clean -- instead attending a fundraising party as Congressman Rawlings' date, and in typical Maggie fashion getting carried away and insulting another partygoer, thus outing herself as the source behind the article. Talk about a spectacularly public break-up! It would be nice if I had some confidence that Maggie was finally going to learn from this -- but I think she is so accustomed to playing fast and loose with the truth that I don't know if she realizes there's any other way to live, you know?

In a twist I didn't see coming -- though in hindsight given the soapy nature of this show I probably should have -- Ted's (Michael Mosley) girlfriend Amanda (Ashley Greene) comforts Maggie with a hug & a KISS post-breakup, this AFTER accepting Ted's proposal of marriage AT THE FLIPPIN' PARTY. Really, I mean really? The implication to my mind, at least, is that now that we know Amanda agrees with Maggie's tearful admission that sometimes women are just nicer to deal with, that is the only reason she held off Ted's amorous advances, as opposed to holding onto anything resembling a moral principle like waiting for marriage. Disappointing, but as I said, in keeping with the show's wildly soap opera-ish tendencies. Clearly Amanda's 180-turn in her behavior towards Ted is rooted in much more than a realization that he can be a charmer. :P

My favorite storyline by far in this episode is the trip to Moscow and how that provides a showcase for Kate's growing savvy as an undercover operative. When Laura (Margot Robbie) and Bridget are detained by the KGB for some innocent photo-taking, Dean is enraged but his position with Pan Am gives him no leverage in Moscow, revealing a nice level of maturity and responsibility as regards the crew/job. Kate, on the other hand, has managed to discover that Broyles uses his position with the airline to indulge in a little black market smuggling activity, and that coupled with her intel on the double agent gives her the leverage she needs to get her sister out of harm's way. I LOVED Kate's stand-off with Broyles when she demands he use his ill-gotten gains to free his fellow crew members -- the strength she exhibits speaks to her growing self-confidence and the nice sisterly bond between her & Laura. Well done, it's about time to see Kate commit to a course of action as regards the spying side gig!

Thoughts on episode 12 coming soon...

Pan Am 1.10: "Secrets and Lies"

Well once again I find myself weeks and weeks behind in television reviews...oh well, it is what it is, hmm? :) As the year has progressed, I've found that Pan Am has not quite lived up to the promise of its first two or three episodes -- but once I came to terms with the fact that the show was DETERMINED to give me whiplash when it comes to all of the characters and their relationships, well I've still enjoyed it for the most part. :) "Secrets and Lies" marked Pan Am's return after its killer winter cliffhanger episode which saw Kate (Kelli Garner) taking firing on a spy to protect her British intelligence contact Anderson (David Harbour). I found it fascinating to see how the show dealt with the aftermath of the shooting -- Kate seemed to handle it remarkably well, all things considered, until Richard (Jeremy Davidson) informs her that if she has any hope of putting this episode behind her she'll have to pass a lie detector test. It turns out that Anderson lied about the incident, claiming responsibility for the shooting -- and in order for the investigation to be closed and for BOTH of them to move on with their lives, Kate will have to confirm his story. Leading up to the lie detector test, I thought Garner handled Kate's near-breakdown really rather well. Loved the push-and-pull between her and Anderson, and the way she ultimately embraced a spy's life since she's started to reveal something of an aptitude for it.

Meanwhile things have been going just swimmingly for Dean (Mike Vogel) and Colette's (Karine Vanasse) budding romance, but of course in the world of this show you're lucky if a relationship is solid for twenty minutes of screentime. :P Bridget (Annabelle Wallis), who BROKE DEAN'S HEART with her disappearing act, is back (thanks to Kate stopping that list of agent names from getting sold) and thinks she can just pick right back up where she left off with Dean. Craziness! Unfortunately, Colette is ridiculously nice and instead of making a case for her place in Dean's life she practically pushes him in Bridget's arms so the two can "work out their issues." Whatevs. This whole Dean/Colette thing is a bit of a mess, because if Colette is too nice to tell Bridget to take a flying leap (which she is), then Dean is too wishy-washy to know what (or WHO) he really wants. Dean, I really do like you, I think you are a nice person and you bear a striking resemblance to a KEN DOLL, but for goodness' sake learn how to control yourself! Just because an ex-girlfriend throws herself at you doesn't mean you *have* to sleep with her. YEESH!

Maggie (Christina Ricci) is very, VERY conflicted about her continuing relationship with the senator (Chris Beetem) she hooked up with in the last episode. She positively HATES his politics, but OHMYGOSH HE'S SO HOT, right?! What's a girl to do? *rolls eyes* Unfortunately for our most impetuous stewardess, she put pen to paper and turned in a rather inflammatory article to her "friend-with-benefits" Mike the reporter (Colin Donnell) at the Village Voice newspaper. When the paper needs an extra column Mike spiffs up Maggie's article and runs with it -- and poor Maggie can't seem to bring herself to admit to her paramour that she's the source of the bad press. Maggie, Maggie, Maggie, the longer you try to keep this secret the worse it's gonna get when the truth comes out! (Can I just tell you, though, that I am really impressed with the level of secondary character continuity this show delivers -- sure the scripts have their hiccups, but bringing back Mike for multiple episodes really does help build the world of the show.)

Ted (Michael Mosley) has fallen head-over-heels for his former childhood nemesis Amanda (Ashley Greene) -- his only issue is that she's saving herself for marriage, and Ted, well he's just not that patient. :P The moment where he goes to Laura (Margot Robbie) for advice was actually really rather humorous, and unexpectedly thought-provoking. If Amanda saying she's saving herself for marriage gets Ted serious enough to want to go engagement ring shopping, what does that make Laura feel about her own admitted premarital tryst? Now I'm not suggesting this show is trying to be moral (its track record proves otherwise), I just thought the contrast in Laura's past dealings with Ted and his new relationship with Amanda, and how he views it, was...interesting. I also think it is interesting contrasting Dean vs. Ted -- in a weird way I've come to respect the less likely of the two (Ted, based on his introduction in the show) as the season has progressed. At least Ted can OWN that he's a mess, know what I mean?  Also...Robbie rather broke my heart with her unspoken heartbreak over seeing the possibility of a relationship with Ted slip through her fingers. Oh those crazy kids! :P

Posts on episodes 11 and 12 are forthcoming, so I've tried to keep my thoughts specific to the events in this episode alone. :) Thoughts on the episode?

Pan Am 1.2: "We'll Always Have Paris"

I loved the Pan Am premiere so much (see this post for proof) that I had some serious concerns that the show's second episode would fail to live up to the glittering (and above all, fun) promise of its pilot episode. Thankfully, I'm positively, giddily happy to report that "We'll Always Have Paris" exceeded my expectations. If the show continues to deliver episodes in this vein I'll be CRUSHED if it doesn't make it (are you listening, ABC???).

We spent less time getting a lot of back story dumped on us during the Clipper Majestic's trip to Paris in this hour and more time getting to know the principle players in the present, with a few deftly inserted (and brief) flashbacks that add a nice layer of emotional resonance to what everyone is dealing with during the current flight.

One of my favorite storylines in this episode involved the Cameron sisters, Kate (Kelli Garner) and Laura (Margot Robbie). They are so different, the independent and self-assured Kate and the gorgeous but easily intimidated Laura -- but this episode gave us some insight into the genuine affection the two have for each other in spite of their differences and the constant comparisons they've endured - especially at the hands of their mother, mostly to Kate's deteriment - which could have completely destroyed their relationship. I loved the fact that this trip was the fulfillment of a childhood dream for the Camerons, as evidenced by the childhood drawing Laura salvaged from their parents' home. But perhaps the best "surprise" was when their mother shows up on the Paris flight.

Watching Mrs. Cameron interact with her children raises all sorts of interesting questions about the changing role of women in society in the 1960s. Is Mrs. Cameron society-conscious and manipulative? ABSOLUTELY! I couldn't BELIEVE she dragged Laura's ex-fiance Greg to Paris expecting some romantic reconcilation -- however, I was nicely surprised by how supportive and understanding Greg ended up being of Laura's dreams of adventure -- very classy! On the flip side of this, I think the fact that Mrs. Cameron got her passport right after Kate  -- the overlooked, "disappointing" daughter -- became a Pan Am stewardess hints at the fact that she wants a relationship with both her daughters, and perhaps there is a small part of her that empathizes with or envies Kate's gumption.

Poor Dean (Mike Vogel) is still mopey about the LOVE OF HIS LIFE Bridget's (Annabelle Wallis) disappearance, but isn't entirely immune to the a little flirtatious banter with Collette (Karine Vanasse). Dean riding to Pan Am headquarters in his convertible opens the episode and is a prime example of the show's delicious STYLE. The sequence just drips with 1960s glamour, and Vogel's good looks and easy charm are reminscent of the stars of the period, like Troy Donahue (I NEVER ever got that guy's appeal, but he was a favorite of my mom's so I'll give him a nod here) or even Rock Hudson in the classic romantic comedies he made opposite Doris Day. His lovelorn, lost-puppy devotion to Bridget is sweet (it's early in the season -- I'm not ready to smack him upside the head and tell him to MOVE ON...), and I appreciate the fact that he keeps his flirtation with Collette on a harmless level despite his coworkers' ribbing. (Did anyone besides me just love the fact that Collette went after Dean's car as part of their "bet"? That cracked me up!) Vogel and Vanasse have an appealing, fresh chemistry in their scenes together, and I desperately hope the show pursues a possible relationship between their characters. The end of the episode?? I die. Yes, Dean is tipsy, but pulling Collette into his arms to dance on the streets of Paris? I DIE, I REALLY DO...that moment was so ridiculously perfect. :)

This show is still holding out on Maggie's (Christina Ricci) and co-pilot Ted's (Michael Mosley) backstories, but they did get more screentime in this episode that revealed some tantalizing insight into their personalities. As revealed in the pilot episode, away from work Maggie is a free spirit with a rather bohemian lifestyle distinctly at odds with the regulations that come with being a Pan Am stewardess. While Pan Am provided ground-breaking career opportunities for women in 1963, many held the view that for the price of their ticket they were entitled to force unwanted attentions on the stewardesses, often well beyond the bounds of "casual" flirting as the boorish first-class passenger proves to Maggie (LOVED it when she stuck him with a fork!). When Ted attempts to be the "hero" and smooth things over with the passenger so he won't report Maggie, he's taken aback by how much she doesn't appreciate his "chivalry." Later in Paris she elaborates, explaining that what irked her was that Ted's actions basically excused that man's behavior, freeing him up to harass another stewardess. I get the feeling Ted has a good heart but is used to skating through life on fast talk and charming bravado. I rather like the idea of the fiesty Maggie getting under his skin -- goodness knows he needs a strong-willed woman he can't steamroll. Hopefully the show will explore that relationship possibility!

Two episodes in, I feel like the show is handling the Cold War spy angle really rather well. It's not overwhelming the human drama of the show, but adding to it by raising the stakes for Kate when it is revealed that her mission in Paris is to deliver Bridget's new identity. It turns out that Bridget was "burned" on a previous mission, her spy work costing her everything (i.e., Dean), and she's been "exiled" to Missouri (oh the HORRORS! j/k *wink*). Bridget's cautionary tale doesn't deter Kate -- she seems determined to succeed in undercover work. I would totally love for Kate to have a romantic fling with her spy handler Richard (Jeremy Davidson). When he stops her at the beginning of the episode and says "au revoir" (WHILE WEARING A FEDORA!!), I melted, I couldn't help it. Yes, I can be an over-the-top romantic SAP...but I'm okay with that. Really. :)

Here's hoping that next week's episode is even better. Pan Am is proving to be a thoroughly enjoyable, glossy, engaging escapist fantasy filled with ridiculously likable characters, gorgeous settings, and fascinating storylines. The main players are so wonderfully LIKABLE, that the show should be more soap opera-ish than it is -- and that is due in large part, I believe to the sincerity and nuanced performances by the actors -- they seem to be truly invested in making these characters real, not mere cardboard cutout caricatures. And hopefully that is just one reason this show will succeed. :) If you caught episode two I'd love to hear your thoughts!

Pan Am 1.1 - "Pilot"

ABC's new show Pan Am took flight this past Sunday night (airline-related pun completely intentional), and I finally got around to watching the debut today. It's clearly yet another attempt to capitalize on the wild success of cable's Mad Men. I've never been a regular Mad Men viewer -- the few times I've seen it, I've been turned off by the show's penchant for pushing the envelope, if you will (well-written and thought-provoking it may be, but it's not for me). Whereas Mad Men is a gritty exploration of 1960s mores and attitudes, if the pilot episode is any indication, Pan Am is a glossy, soapy, and above all FUN glimpse into one of the most glamorous and adventurous careers a woman could have in 1963 -- that of a Pan Am stewardess.

This show has a look like nothing I've seen on network television, not in recent memory at any rate -- slick and glossy, the colors positively pop off the screen. Every frame of film is packed with fabulous detail, from the sets, clothing, and props to the fantastic hairstyles (the perfectly-coiffed children seen staring in reverential awe at the handsome captains and gorgeous stewardesses are adorable!). Is this an idealized presentation of 1960s air travel? Sure, probably -- but the fact remains that air travel used to be a lot more glamorous than it is now. *wink* What I wouldn't give to travel back in time for a day to fly on a Pan Am Clipper Jet in the airline's heyday. And I had no idea that a requirement for stewardesses was that they be college-educated, unmarried, and under the age of thirty-two -- and the four stewardesses at the center of this show are all bi- or tri-lingual. Color me impressed.

The series begins with the recently promoted (and quintessentially all-American, perfectly gelled hair to boot) Dean (Mike Vogel) eager to take on his first assignment -- flying the brand-new Clipper Majestic on its inaugural New York to London flight. His co-pilot is the devilishly cocky Ted (Michael Mosley). The flight crew is made up of three stewardesses and a lead purser. The stewardesses are the warm-hearted French Collette (Karine Vanasse) and the eager to prove herself Kate (Kelli Garner), who is followed by her younger sister Laura (Margot Robbie), the latter fleeing a broken engagement and testing her wings in the wide world for the first time. Maggie (Christina Ricci) is a last-minute replacement for the MIA purser Bridget (Annabelle Wallis), Dean's on-again, off-again (and uber-mysterious) love interest who stands to break his heart (READ THE SIGNALS DEAN!).

We quickly get a series of flashbacks that introduce us to the pasts of several of the main players. Colette thought she'd found love with a regular passenger she had a romantic rendezvous with in Rome, until he shows up with his friggin' family. Colette is crushed (good for her!), and has to endure a humiliating smackdown by the man's wife when the plane arrives in London. Laura, the gorgeous Cameron sister, fled her wedding with the aide of the more adventurous Kate (the latter the bane of her mother's existence for her willingness to flout convention. With her sister following her career footsteps, Kate has the pressure of living in Laura's shadow at the workplace, as well as some Cold War drama as a recently recruited spy by a U.S. intelligence agent (Jeremy Davidson). Her first assignment is swapping passports for a Russian passenger (David Harbour), a task that isn't as straightforward as it first appears.

Ted and Maggie receive the short shrift in this episode, but I'm hopeful that will be rectifed quickly in subsequent episodes. Ted strikes me as the kind of guy whose bravado masks a world of hurt and uncertainty. And Maggie -- she's the very definition of sassy. In her off-time she's as bohemian and unconventional as they come, the complete opposite of the straight-laced regulations that define her work. But she's driven to see the world and so she makes it work -- and I look forward to more insight into what drives her character.

Pan Am's pilot episode is a glorious hour of fast-paced, glossy, escapist entertainment. I loved every second of it. The entire look of the production, right down to the lushly cinematic score (courtesy of Blake Neely) gave the show's maiden voyage the feel of an event. And the songs -- the songs used in this episode were brilliant choices -- I especially approve of the two or three Bobby Darin selections (and if that WASN'T Darin, I'll be shocked!). Could this show be characterized as melodramatic? Yes, sure -- but the moments of soapiness and melodrama are balanced by genuine emotion and eager, nicely nuanced performances. Pan Am looks to be a glossy, nostalgic, escapist fantasy -- I look forward to the show's next flight! :) If you caught the premiere I'd love to hear your thoughts!