June 03, 2013
The negative aesthetic
As Eric Samuelsen observes in his review, Granite Flats seems
defined by what's essentially a negative aesthetic. By insisting on creating an entertainment that doesn't have certain elements, they haven't really defined what they want to do instead.
One reason Granite Flats is a period piece set in the early 1960s, we're told in the "making of" segment, is because back then there wasn't all that nasty sex and swearing. But having donned heavy-duty blinders to shield us from such social misdemeanors, they left the barn doors wide open for a herd of felonies to stampede down Main Street.
There is a wholesome story buried in Granite Flats, about inventive kids working together to solve a puzzle using science and brain power.
But instead we're shown (repeatedly) that small town America is full of drunks, jerks, bullies, and thieves, everybody lies, the FBI can steal stuff from you without a warrant, the military can't be trusted (and certainly not when it comes to criminal due process), and the CIA wants to fry your brain. Not exactly "seeing the good in the world."
Even when it comes to "traditional family values," Granite Flats turns into a weird outlier.
Police Chief John Sanders is the only principal character with a "traditional" family. Arthur's dad is dead. Wallace's mother either divorced his dad or ran off (or both). Madeline's wackadoodle parents (a 1960's version of Sheldon and Amy from Big Bang Theory) both work and let her do whatever she wants so as not to "stifle her creativity."
These two characters could have been a lot of fun, but Madeline's parents present the same moral conundrum as the incompetent JAG lawyer previously mentioned: as hard as they are to take seriously, it's more difficult to see the point of the humor. Because in-between the sit-com moments, they engage in pointedly unethical behavior.
To give him credit, the pastor only lies once. Or twice. He's just ineffectual. He isn't married either, and I'd swear that in every scene with Beth, he's two seconds away from hitting on her.
I don't doubt that, aside from Jay Leno, Clint Eastwood, Roger L. Simon and a few others, Hollywood is a hotbed of knee-jerk liberalism. But the left-leaning plots you see on the screen are, more often than not, less a reflection of political bias than the need to feed television's insatiable story machine.
Putting "traditional values" under stress and holding them up for ridicule is the quickest, easiest (and the laziest) way to generate conflict and drama.
If BYU-TV can't script eight hours of television without resorting to malevolent government conspiracies, broken families, and milquetoast religious figures, how do they expect anybody outside the reddest state in the country to do so?
When they set out to make Granite Flats, BYU-TV clearly got caught up in the effect they'd imagined it'd have, how it was going to be Touched by an Angel redux, and didn't bother to nail down the script. Busy counting their eggs before they hatched, they forgot to turn on the incubator.
That rotten smell is the result.
Fixing Granite Flats