Have you ever wondered what would happen if a soap opera crashed into a firehouse? 9-1-1: Nashville is here to give a masterclass in how NOT to blend the two. The newest addition to the 9-1-1 franchise is drawing attention—not for its exciting rescues or compelling storylines, but for its absurdity. 

Let’s start with the writing. The plotlines are so thin you could use them as dental floss in Alabama. One episode features a child being whisked away by a kite—yes, a kite! It’s as if the writers were playing a game of “What’s the most ridiculous scenario we can conjure up?,” and the prize for the winner was a one-way ticket to cancellation. Spoiler alert: they might win it.

And then there’s the acting, too many over-the-top performances, featuring actors delivering lines that sound like they were pulled from a cheesy high school play. There’s a charm in that kind of enthusiasm, but it’s the kind that makes you want to root for them to land a better project. Chris O’Donnell deserves more; even LL Cool J can’t make the save here.

Of course, we can’t ignore the show’s tendency for unrealistic scenarios. You know you’re in trouble when the most believable thing in the episode is the fire truck itself. One moment, our heroes are fighting fires, and the next, they’re caught up in soap opera-like family drama that feels more suitable for a daytime talk show than a first-responder series. It’s as if someone decided that the heart of Nashville should focus more on family squabbles than heroic rescues, leaving us all wondering if we accidentally switched to a different channel.

Despite the criticism, a few brave souls have risen from the wreckage, declaring their love for this chaotic mess. They fluctuate between pragmatic hopelessness and cautious optimism, believing that every bad show can be redeemed. Maybe they see a glimmer of hope beyond the chaos, or maybe they just enjoy shouting “plot twist!” when a character’s life takes a wild turn. Good for them; we need people who can find joy in the strangest places. Maybe if they marketed this as a comedy and animated the characters, it might stand a better chance?

So, what’s the outlook for 9-1-1: Nashville? If it doesn’t improve quickly, it seems destined for cancellation, and the alarms are blaring. If this show were a patient, first responders would be rushing in with a defibrillator. “We’re here to save you!” they’d shout, only to find that even the paddles aren’t working. Yes, we like the fact that the city of Nashville is the real star — maybe bring back the original Nashville, a show that at least had the decency to focus on music rather than melodrama. 

In the end, if you do find yourself tuning into 9-1-1: Nashville, keep a remote control nearby. You might need a quick escape from this melodramatic rollercoaster. And if all else fails, remember there’s always the option of rebooting because, let’s face it, even a show drowning in its own drama deserves another shot — a chance to find its footing. Here’s hoping they can add some realism to the chaos, but until then, we’ll keep our fingers crossed and lower our expectations. 

Hank P. Donovan, TriStar Daily Entertainment Opinion