Remember when NBC had some of the best comedies on broadcast television? With shows like “30 Rock,” “Parks and Recreation” and “The Office,” Thursday nights were a wealth of hilarity. But the golden age had to come to an end at some point — one by one, the shows ended or were canceled, and NBC has been trying to restore its “Comedy Night Done Right” ever since.
“Powerless” is one such effort, but the results are so far disappointing. The DC Comics label attached to the sitcom is the first red flag — though shows like “Arrow” and “The Flash” have enjoyed moderate success. DC’s ventures aren’t certain to be cash cows, unlike those of their competitor Marvel.
But there seems to be a lot to love about this show — at least at first glance. Vanessa Hudgens plays Emily Locke, an idealistic new employee at Wayne Security. This is a branch of Wayne Enterprises, a company run by — you guessed it — Bruce Wayne, but Wayne Security is handled by Bruce’s bitter, sniveling cousin Van (Alan Tudyk).
The role of the company is to invent products protecting the average citizen from supernatural shenanigans, which take place every day in the hero- and villain-infested Charm City. To add a twist, Locke’s co-workers are lazy and uninspired and her boss Van just wants the whole branch shut down so he can move up in the company. It’s up to the courageous heroine to save Wayne Security, and by extension the citizens of Charm City.
The premise is undeniably cute, if overly ambitious. It’s clear from the first scene, which features a train derailment with laughable special effects, that the show lacks the proper budget for that level of CGI. The cast is impressive, at least in print. Hudgens is a recognizable name, as is co-star Danny Pudi (of “Community” fame — another of NBC’s greatest hits), who plays her wisecracking coworker Teddy.
But the acting is uninspired. Every role feels forced, particularly when “Powerless” takes the inevitable sappy turn characteristic of a sitcom’s first episode. No one really seems like they want to be there, which makes the viewer wonder why the show is worth watching.
“Powerless” has frustrating potential to be clever. Focusing on the humans in a superpowered world is pretty original — it’s been done, but not done to death — yet thought-provoking satire is nowhere to be found. For such a smart idea, the writing itself is depressingly idiotic, sacrificing opportunities for witty commentary by inserting sentimental garbage. A romantic side plot hasn’t quite had time to develop, but the viewer can feel it brewing just out of sight.
There’s always the possibility of a late bloomer. Maybe “Powerless” just hasn’t hit its stride yet — but if it doesn’t improve soon, the show is doomed to become its own kryptonite.
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