Seattle Firefighters - Die jungen Helden

Season 1 – 75% – This show is in no way pushing any boundaries, because there were so many relationship twists and thematic hurdles in Grey's Anatomy and Private Practice that in theory there should be nothing left that should surprise a viewer, even in the fiery scenes. The only thing that is often sadly lacking in all the events is the element of surprise. The main heroine acts like a bull in a china shop in the predictable love triangle, and to my shock, Jay Hayden, whom I couldn't stand just a year before in The Catch, ends up saving most of the action. As time goes on and I settle into the group, I feel better about Station 19 (although the decent portion of the characters still don't have much to offer). The escalating puzzle about choosing a chief works, and overall, in the midst of the crowded competition (Ryan Murphy's 9-1-1 remains a half step ahead), it has turned out to be an over-the-top and pleasantly (!) dramatic show, that manages in many aspects to outshine procedural dramas. Season 2 – 50% – Especially in comparison to the timeless Grey's Anatomy, it is becoming increasingly uncertain. Maybe all the main characters behave like confused children and their conflicts are embarrassingly banal in the most intense (and therefore least appropriate) situations. The perfect song soundtrack remains emotionally unutilized and only the most dramatic moments manage to move me; those life-or-death situations. The best example of a dead end is the episode Baby Boom, in which the entire ensemble (characters aged around 25-50) are alternately afraid to watch, change, or even just hold a small child. I welcome Stacy McKee's departure from the position of showrunner and I see the arrival of the confident Krista Vernoff as the only possible salvation. However, I am expecting the increasing probability of crossovers popping up with growing horror. Season 3 – 70% – A pleasant improvement, where a surprisingly apparent new author's handwriting is noticeable. Finally, I feel that there is something to play for, that the series is not just a mandatory snack. Unfortunately, this is happening through developments far too similar to those of the sister series. Inappropriate characters are dealt with in dubious ways after dozens of episodes, introducing newcomers is hard work, and characters only move forward through losses, breakups, and suffering. However, each character finally has their own development, their own drama, and although the template is familiar and the individual plot jumps are predictable, compared to the second season, where the series just revolved in circles, it is a treasure. I still have my favorite ship, without which I can't imagine the Nineteenth at the moment (Andy and Sullivan), my favorite character (Travis), and the characters that are popular with the audience but don't bring anything significant to the story (Vic, Maya). It's not a perfect show and I expect that it never will be, but the pace and dynamics of the long-term main actors are currently top-notch. Season 4 – 60% – It's a struggle. When all the relationships are so mature that I never roll my eyes and I always root for all the couples or individuals in love, that's a a different problem. Actually, not just a problem, but a blow to the gut. While the autumn part of the season is still cautious, exactly in line with any Shondaland production, the moment a real event is reflected in the storyline, namely the death of George Floyd, it's bad. I understand the specific values and fully sympathize with them, but the semi-paternalistic way in which the issues are presented to the viewer is, without exaggeration, foolish. Whether someone is drowning, falling asleep under anesthesia, or simply dealing with a personal crisis, in EVERY episode, it's reiterated that "this is definitely how Floyd felt when he was dying." It disrupts the plot, and after the fourth or fifth use of the same trick, it becomes unfortunately ridiculous. It's a shame because the series finally found its footing around last year, doesn't need to create unbelievable character arcs for the main characters, and keeps each one exactly where they need to be emotionally, whether it's the contemplative Sullivan, the undeterred Travis, or the golden Carina. However, due to the above, I can't give it a better rating. Season 5 – 70% – A surprisingly stable and strengthening season, which, in accordance with good practice, educates you – but this time on topics that could actually use some education. The storyline with Andy in the second half is not only captivating (and defends her role as the main character), but also painfully truthful. The rest brings the traditional moral questions for Robert or Maya, but first and foremost, it cements Jack in the position of the most welcome comedic relief. I don't understand why he oscillated between tough guy and nice guy for so long when he is obviously the most talented comedian in the main cast. (22.08.2018) (weniger) (mehr)