NY-LON

Right, this programme was quite simply terrible. I mean, just so bad. The leads were totally wooden, had no chemistry and were totally unsympathetic, so the whole will-they-won't-they dynamic never really seemed to matter; these people are so uninteresting and didn't even seem to like each other, so why the hell would any viewer want them to get together? The bloke, however, was at least fairly entertaining to watch, due to the fact that with his abnormally large head, he was obviously a Thunderbird puppet, whose Pinocchio-like wish to become a real boy had been granted... In fact, all the characters are fairly uninspiring, especially the Thunderbird puppet's nephew, who is in the film solely to allow other characters to reveal their sensitive sides. Perhaps if he'd been a baby seal, who made eyes at the camera (with a studio audience obediently 'awww-ing') he would've been more bearable. There were only three characters who actually came across as anything more than insubstantial twats: Macaulay Culkin's ex-wife, who gets her bits out on several occasions; Thunderbird's sister, who actually seems human, rather than a hologram of a pretty person, as the rest of the cast; and Thunderbird's ethnic minority best friend, solely because he was in Teachers and is, in Teachers, a top actor. Apart from these honourable exceptions, the characters are dreadful finger puppet people, anxiously trying to be cool and do cool stuff (never before have I seen so much self-conscious smoking). You can almost imagine most of them lying in bed at night, unable to sleep, as they fret and worry: "Am I cool?" The writers made a real stab at making the people do interesting things, or utter interesting, quotable lines, but these were so obvious, almost signposted, that they just seemed to be trying too hard. Believe it or not, there were actually some small parts of the series that weren't too bad: the music is cracking, though it has obviously been picked to hammer home the fact that the characters are hip, happening, cosmopolitan bright young things. Don't watch this. No, actually do, its very funny. Shame it wasn't a comedy.

Unlike the other review... I think this show is innovative and very interesting...

I have gotten my friends into the show and can't wait to see more episodes..

Everyone who I know that watches the show finds it entertaining and well worth searching for it..

It is a TV show not an Oscar winning documentary... So I find the 1st review very brutal.

Tivo it and make up your own mind about it..

The characters are interesting and multi-faceted.

This is as it's producers describe: cool with a capital "C". It helps that the entire cast are beautiful, especially Edie, and the two lead roles are played by very talented actors who clearly have a long and successful road ahead of them. I guess this is not aimed at a 30-something audience, but I am enjoying it nonetheless.

It's a really a joy to see the use of split-screen, largely pioneered by Kiefer Sutherland's '24', and I really enjoy watching events from a number of different characters' points of view.

The settings of the grungy second-hand NY record store, Michael's docklands loft apartment, Edie's tiny boho NY.flat and the impersonal environment of Michael's overcrowded open-plan City office are all very well thought-out. The character development is also very intelligently planned. I am only onto the third episode, the plot is a bit thin so far, but I have been drawn-in and I hope that it develops with greater depth and complexity over the rest of the series.

This fascinating piece of television drama reflects the reality of the fact that the world is getting smaller and affairs of the heart are increasingly spanning the globe and there's no stopping it. It also speaks volumes about the need for innovative and creative direction and camera work which can grab the attention of an increasingly critical audience.

...though that's about as far as it goes for this series. The whole program just seemed to scream that the makers desperately wanted it to be the hippest creation EVER and oh-so-cool but the result was flat, anti- drama with little to recommend it. The acting was passable though certainly not electric by any means. Production valued were generally good but the script just tried too hard to be daring and shocking but it's core ended up coming across as simply tepid, lacking in substance and with a negative moral outlook some of the time. I didn't see the whole series, admittedly, but when something starts to simply bore the pants off you there is nothing much left to do but put this series of the shelf and file it under 'dull'.

I don't have an awful lot to say about this sorry romantic drama.

A hugely uninteresting story about a transatlantic romance between two very dull characters.

Edie is a hard-up yank who has been in a relationship with a complete loser. Michael Antonioni (yes, MICHAEL ANTONIONI) is a hard-working, hard-living obscenely well-paid Brit with a heart of gold under the tough exterior.

I don't want to be too hard on this fella cos he really is a nice chap (no really, he is) but for a guy in a dynamic, highly paid job where image counts for so much it was something of a mystery why he always wore the same suit that was at least one size too small for him....

To be honest, from what I saw (because I gave up after episode 4) Rashida Jones was OK as Edie but Stephen Moyer was uncharismatic and simply dreadful as MICHAEL ANTONIONI.

Some people may admire split-screen drama but ever since watching The Andromeda Strain and The Boston Strangler ages ago, I have always felt that the use of the split-screen is simply a flashy tool with the sole purpose of glossing over a director's inability to edit scenes into a coherent story.

Ny-Lon used the split screen a great deal and I found this incredibly annoying.

The romance between the two lead characters fails to convince purely because there is no chemistry at all between the actors leaving viewers totally disinterested in the supposed drama of their love life.

Worst of all was the embarrassing reference to Italian art-house cinema in the characters names of MICHAEL ANTONIONI and his nephew ANGELO.

I was almost expecting Michael's chums Frederick Fellini, Bernard Bertolucci, Luke Visconti and Peter Pasolini to be introduced at some point.

Thankfully this did not happen, at least not in the first four episodes...