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In the late nineties, a trend began in which a movie coming into a theater faced the need to sell a whole lot of tickets in its very first weekend, or it would get pulled, and the next movie would come along to take a shot at a big opener. No time for the flick to build up an audience via word of mouth. Quality becomes less important than hype. Then, at the early part of this decade, the trend hit hard for TV as well. If a show’s pilot didn’t pull big ratings from the right demo, it might get canceled after only a couple of episodes, investment be damned. Fortunately, the last year or so has seen a few shining examples of networks bucking the trend, and sticking with a show because it’s just good.

Cane is the type of show that will benefit from having time to gestate. The pilot is worthy, but one is left more interested in the potential of the story than what was presented in this first installment. Two families, each controlling a sugar farming empire, are at a time of generational transition. Alejandro, played by Jimmy Smitts, inherits control of his father-in-law’s company, against the wishes of the heir apparent. We catch a glimpse of a complex web of characters, and see some backstory between the two families, but it’s not enough to satisfy yet.

It’s hard not to compare this show to other sweeping, epic, family ensemble dramas like Dallas or Dynasty. Fans of those shows will will find Cane to be their equal, with a 21st century sincerity. It’s not complex. Recite “Sugar is the new oil” and “Family comes first” and you pretty much get it. But overall the characters are well drawn, and there’s palpable tension in every scene.

As for that trend of pilots blowing you away? Well, this one will never compete with Lost or The Riches for huge impact from moment one. But maybe that was a really dumb trend. Shows like Big Love or NBC’s The Office failed to impress me at all in their pilots, but matured into a couple of my favorites. Perhaps Cane will get it’s chance to grow as well.

Best aspect: The rivalry between Jimmy Smitt’s character and That Guy from Suddenly Susan promises plenty of internal conflict.

Worst aspect: Polly Walker’s accent.

Verdict: So far, it’s good–not great–with promise. I’ll tune in next week.

Odds of success: It’s a solid offering as a 10 p.m. drama. CBS is good at making hits out of those. And, saints be praised, this one doesn’t involve scientists solving crimes.