I'm conflicted about this show. Seriously conflicted. And it's starting to become a problem. We'll get to that later.
Let's get the synopsis out of the way quickly: Sam and Steven are sent to North Korea to retrieve a scientist and his project, called "the Delta." I'd like to point out that in five episodes, three have followed this basic plot structure. This time, the scientist refuses to leave without his grown daughter. A pair of french agents are thrown into the mix as backup, and Hoyt checks them out and deems them legit. This becomes a problem, however, when they go rogue and swipe dad and daughter to sell the information he's holding to the highest bidder. Sam and Steven save the day, no one dies (not even the bad guys) and everyone returns home happy.
The B plot involves Sam's sister Lizzy hitting a milestone in her battle over alcoholism--she's at her one year clean n' sober mark, and wants Sam to attend (uh...has this plot point come up before...? No? Didn't think so). Sam, however, is busy kicking people in their faces in the orient, which gets in the way and leads to feelings of guilt in Sam and abandonment in Lizzy. A tearful reunion at episode's end assures Lizzy that Sam will always be there for her, and that their dad has passed away and mom is off the radar somewhere (interesting...). We end with some pillow talk about trust and work-life balance between the lovebirds, and that's the end of the episode.
Alright. I want to like this show. I really, really do. But I can see why it's not gaining traction and why it hasn't received the full-season order that the other NBC freshman offerings have. This is structured like what used to be referred to as a "Lunchbox Show"--the kind of prime-time or syndicated show in the 70s and 80s that you'd see on a kid's lunchbox at recess. Like The A-Team, or Air Wolf, or Knight Rider, it's meant to be high-action adventure that anyone can jump right into without lots of continuity concerns. The problem is--I'm not sure audiences want that in their prime-time entertainment anymore. I know I don't. I want my characters to grow and evolve and for relationships to have a sense of continuity. They keep teasing us with elements of secrets in the relationship and checkered CIA pasts, but we haven't gotten any of that yet. I'm frustrated. And I think America is, too.
All I can say is--step it up, UnderCovers. Cancellation is looming, and your cast is too pretty, your writing too polished, and your production values too high to let that happen. Here's hoping the game changes soon.
