Netflix’s ‘Pulse’ Promises Medical Drama But Delivers a Flatline!
In tough financial times like those currently experienced by Hollywood, established patterns tend to emerge. This might explain the surge of new TV series based in hospital emergency rooms. Among these, the most exciting and talked about is “Max’s The Pitt,” a show that reunites the creators of the original ER drama with one of its stars, Noah Wyle. This series follows an entire shift in real-time, making it stand out from the rest. Meanwhile, NBC offers a humorous spin on emergency medicine through the mockumentary format in “St. Denis Medical.” Lastly, Apple presents a unique perspective with their German-language series, “Berlin ER.
Each series offers a unique take on its genre, except for Netflix’s hospital drama, “Pulse,” which seems to be arriving late and lacking in personality. The story unfolds at a bustling Level 1 Trauma Center in Miami, where the staff finds themselves in a tough spot as a hurricane approaches. Their chief resident, Dr. Xander Phillips (Colin Woodell), has been suspended on charges of sexual misconduct, leaving them without their popular and charismatic leader. The series’ main character is Dr. Danielle “Danny” Simms (Willa Fitzgerald), who becomes interim chief after her intimidating boss, Dr. Natalie Cruz (Justina Machado), makes the decision. As rumors swirl and flashbacks hint at a complex relationship between Danny and Xander, Cruz’s teenage daughter suffers a critical injury in the ER. To add to the series’ list of improbable events, Danny’s sister Harper (Jessy Yates), also happens to be an emergency medicine resident working through the storm.
In a different interpretation, this production might have offered an engaging procedural, but unfortunately, the execution with “Pulse” falls short even more than the original concept. The characters are merely depicted as slit-open chest cavities, and a substantial cast, including Machado and Néstor Carbonell (known for “Lost”), are relegated to one-dimensional roles. Rather than utilizing these talents effectively, the narrative focuses on an ill-conceived #MeToo subplot that exploits the story of Danny and Xander for dramatic effect, with Danny’s problematic past serving as a source of cheap suspense. The audience may find Fitzgerald’s performance adequate, but it would take an exceptional portrayal to salvage such weak material.
In this standard genre production, what stands out as unusual is the fact that it’s a joint effort by debutant Zoe Robyn and former ‘Lost’ co-showrunner Carlton Cuse. Interestingly, two decades ago, Cuse was revolutionizing network television. Today, however, he appears to be drawing on the most worn-out tropes of TV for a cautious era dominated by streaming platforms.
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2025-04-03 11:06