The Ex List: "Pilot"
Before we get into it, there are two things I wanted to say up front:
1) This show is pretty good.
2) That news couldn't have come at a worse time.
Adapted from Israeli sitcom Mythological X, The Ex List was created by Diane Ruggiero, who cut her teeth primarily on Veronica Mars as a writer. (If you haven't seen seasons one and two of that show, you're missing out.) She gave the show her own flair and edge, and all was well with the world. But CBS started meddling, and told Ruggiero she was diverging too far from the original X plots, and requested she get back on track. This proved too much to ask of Ruggiero, who left the show for creative reasons a few weeks ago. In her place, CBS hired Rick Eid to executive produce, and made sure everyone knew the creator of the original Israeli show was going to be consulting. Given that Eid's credits include no comedy and mostly crime drama–namely, plenty of Law and Order–I'm not quite sure how long this show can last.
But Ruggiero worked on six episodes before leaving, so we've got a bit of her work to look forward to–if this Friday night death slot doesn't kill the show first, that is.
It's a shame, really, because upon first glance, The Ex List has legs. The set-up itself is quite crafty: Thirtysomething Bella takes her sister to a psychic as part of a bachelorette party, but receives her own reading–she needs to meet the man she's destined to marry within a year, or she'll be alone forever. The catch is that she's already met, nay, seriously dated him. This opens the door naturally to infinite guest stars–a simple way to drum up ratings and excitement–and allows them to structure the episodes differently each time, depending on the ex being featured.
Front and center is Elizabeth Reaser, most notable from her guest star stint on Grey's Anatomy as Broken Face/Ava. Thanks in large part to her, the show's premise works. Her Bella doesn't totally buy into the whole psychic thing, but shows frustration when the signs keep coming. She also has a tendency to brush through the dialogue, which has the danger of coming off as disengaged; but here, Reaser makes it seem conversational, so even Big Message Lines–all the stuff about how she was ready to get married to her latest ex, and the ensuing repeat jabs at his inability to commit–feel natural.