Tag Archives: Analysis

Lost – “Walkabout”

losttitle3“Walkabout”

Aired: October 13, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost next Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

There is no more iconic flashback than “Walkabout.” It was the flashback that showed what the flashbacks could do, the first sign that something supernatural didn’t need to mean something destructive, and a tour de force performance from Terry O’Quinn.

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Lost – “Tabula Rasa”

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“Tabula Rasa”

Aired: October 6, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost next Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

On the one hand, the second-pilot-syndrome in “Tabula Rasa” seems to fly in the face of our conception of Lost as a highly serialized show. In the context of the mythology-heavy show it became, the idea that it would so pander to the idea any viewer tuning into this episode would have no idea what happened in the previous episode is absurd, particular when it’s now watched in a binge-viewing environment where it’s likely someone has just watched the pilot.

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Lost – “Pilot”

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Aired: September 22, 2004/September 29, 2004

It seems probable that I revisited parts of the first season of Lost back in 2005, when I received the first season on DVD for Christmas. I have a distinct memory of watching some of the DVD bonus features, at the very least. But as life and the show grew more complicated, time grew shorter, and I’ve never revisited the show in any detail since despite writing about Seasons 3-6 in some detail here at the blog.

This is changing now that I’m stepping in to take on The A.V. Club’s TV Club Classic coverage of Lost’s first season this summer following the exit of esteemed former editor—and a big part of how I got into this episodic television criticism racket—Todd VanDerWerff. He’s completed coverage of the first six episodes of the season, and I’ll be stepping in to handle the rest, but in part for the sake of my own momentum and also to offer some perspective, I wanted to write at least some brief thoughts as I work my way through the episodes leading up to “The Moth” and “Confidence Man” next week.

And while I suggest above that I haven’t rewatched Lost, that doesn’t mean that there aren’t specific episodes—like “The Constant,” which is what Netflix told me was the last episode I’d watched—that I’ve revisited over the years. The “Pilot” is foremost among those, one of those episodes of television that I could recount almost beat-for-beat. It’s strikingly familiar, which is exactly why it’s so interesting to revisit it while knowing you’re about to embark on the journey of writing about the first season of the show while most viewers are still caught up in its sixth.

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Heart-Shaped Hole: Game of Thrones Season 4 and the Death of Reader Certainty

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Season 4 and the Death of Reader Certainty

June 15, 2014

Here at Cultural Learnings, I’ve been writing Game of Thrones reviews intended to be read by both those who have and haven’t read the books, but they’re unavoidably written from the perspective as someone who has. For the most part, this hasn’t been a big problem, as I’ve never been one to be too concerned with the series deviates from the books.

I remain mostly nonplussed by changes, but they’re tougher to avoid after a fourth season that has shot the books full of holes on numerous occasions. Although the season by and large ended without an outright cliffhanger in “The Children” (which I reviewed in full here), it nonetheless has left book readers in limbo when it comes to at least one major development. It’s an important turning point for the series as an adaptation, and one that will test whether or not those book readers are willing to embrace an environment where the books are no longer a reliable indicator for the story about to unfold, and where their position as arbiters of knowledge is in question.

[Warning: I’m speaking to Book Readers here, so unless you want to risk spoilers for future seasons, stay away if you haven’t read the books.]

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Season Finale: Game of Thrones – “The Children”

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“The Children”

June 15, 2014

“You remember where the heart is?”

Each season of Game of Thrones has been an exercise in selective adaptation, but its fourth season has been a feat of adaptive engineering. Working primarily with material from the third book but leaning heavily on the fourth and fifth in certain storylines, it is the season that has emphatically taken the “book-to-season” adaptation comparison off the table.

At the same time, though, the season has been organized around key climaxes taken directly from the third book in the series. Moreso than in other seasons, you could tell the writers were having to stretch storylines to maintain the timing they had established, creating material to flesh out the scenes on The Wall to justify the Battle of Castle Black taking place in episode nine or finding things for Arya and the Hound to do so that their scenes in “The Children” wouldn’t take place until the end of the season.

By and large, I would argue the show was successful in making the season work despite the delaying tactics. This is in part because the storyline in King’s Landing, arguably the most consistently substantial, was built for this timeline, clearly marked by two major events—the Purple Wedding and the Mountain vs. the Viper—with plenty of political intrigue in between. The other reason is that even if the material at the Wall was a bit thin in ways that even last week’s epic showdown couldn’t make up for, the season as a whole maintained a sense of forward momentum. Did this momentum extend to Bran, forgotten for multiple episodes, or to Stannis and Davos’ trip to Braavos? No. But it extended to pretty much every other storyline, and makes “The Children” the most climactic finale the series has managed yet. The inconclusiveness of “The Watchers On The Wall” may have been frustrating, but it guaranteed that there was still lots to resolve even for those of us who aren’t sitting at home with checklists of what’s “supposed” to happen in the episode.

And “The Children” resolved some of it, left some of it untouched, and by and large served as one big—and mostly effective—teaser for what’s to come.

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Game of Thrones – “The Watchers On The Wall”

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“The Watchers On The Wall”

June 8, 2014

“Blackwater” was about convergence. It was the inevitable collision between Stannis’ claim to the throne and the Lannister powers controlling it. In truth, Stannis’ side of the battle was pretty thin, sketched in without a whole lot of detail beyond Davos and his son. It was really about how Stannis’ attack changed the power dynamics at King’s Landing, whether through Cersei’s steely resolve, Tyrion’s ingenuity and intelligence, or Joffrey’s cowardice. At a stage when this was still ostensibly a show with the Stark family as its protagonist, it was an early example of the richness of stories in King’s Landing, capable of carrying an entire episode on its own.

“The Watchers On The Wall” wants to be “Blackwater.” Neil Marshall has returned as director. Mance Rayder’s not dissimilar to Stannis, in terms of development at this stage in their respective narratives, an idea more than a person. We know characters on both sides. And like that episode, “The Watchers On The Wall” is exclusively focused on the attack on The Wall, eschewing other ongoing narratives in favor of the battle at hand.

The problem with this comparison is that I don’t know why I care about The Wall. Actually, that’s a lie: I know why I care about The Wall, which is the fact that I’ve known where this story is going from the beginning, and have been anticipating it playing out. But for those who aren’t book readers, this season has often struggled to make The Wall an integral part of this narrative. The season went through a lot of effort to flesh out the characterization. There was Jon’s attack on Craster’s Keep to keep the action quotient high and to build more content into the storyline to help delay the battle until the season’s climax. There was moving Gilly to Mole’s Town so she could offer perspective on the early phases of the attack. There was sticking with Ygritte and Tormund to preface the viciousness of the Thenns. And there was Ser Alliser and Janos Slynt conspiring to keep Jon Snow from preparing for the imminent attack in the proper fashion.

The problem is that none of this built momentum. It established the various players that are central to the battle, but it didn’t make it feel important, even though this is undoubtedly an important battle. It just paled in comparison to the immediacy of Tyrion’s plight, or the looseness of Arya and the Hound, or a range of other stories that were undoubtedly more dynamic. This doesn’t feel like the culmination of a season-long storyline. It feels like something that just got delayed, a logical climax to the season (and the book most of the season is based on) that required padding to land in this position.

The result is an episode that has to prove itself without the benefit of strong connections to the characters, or season-long storylines waiting for a climax. “The Watchers On The Wall” needs to be a self-starter, building anticipation for and delivering action that the episode’s pedigree has promised. And while a visceral piece of action filmmaking and a spectacle worthy of “Blackwater,” it proves less a climax so much as long-delayed rising action to finally bring The Wall into play in the season’s narrative.

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Game of Thrones – “The Mountain and the Viper”

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“The Mountain and the Viper”

June 1, 2014

“Traditions are important – what are we without our history?”

One of the perils of being a book reader watching Game of Thrones has been the fact that so many of the biggest moments have been “surprises” in the context of the narrative. We look to events like the Red Wedding, or the Purple Wedding, or Ned Stark’s fate on the Steps of Baelor as key events in the narrative, but we can’t necessarily share the anticipation of those events with viewers who have no idea they’re coming.

This is why “The Mountain and the Viper” is such a fun episode as a reader writing about the show. For once, the show has built in its own hype machine, setting up the trial by combat and building suspense for it over the past two episodes. The week off for Memorial Day could have negatively affected momentum, but it’s worked nicely to give them another week to set up the stakes of this conflict. As readers, we may have the benefit of knowing how the battle between Gregor Clegane and Oberyn Martell ends, but at least our anticipation for seeing how the battle plays out onscreen is something that we can share with non-readers.

Just as we can both share the slight impatience created by an episode that waits until the bitter end to get to its eponymous showdown.

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Sitcom and the Standup Experience: NBC’s Undateable

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In January, Warner Bros. Television gathered journalists in Pasadena for an event built around their comedy slate. Although there were screenings for both long-standing hit The Big Bang Theory and freshman success story Mom, the centerpiece of the evening was NBC’s Undateable, which debuts tonight at 9/8c with its first two episodes.

When the event took place, Undateable didn’t even have a release date. In talking to executive producer Bill Lawrence, though, this wasn’t necessarily a sign the show had no support. Even moving beyond the fact that Warner Bros. was using the evening as a platform for the series, NBC was also in then process of greenlighting what would become the Undateable Comedy Tour, a preview of which was offered to journalists to close out an evening that began with the screening of an episode of the series. It’s more support than you’re expect for a show airing at the end of May, a sign of the new state of summer programming and also the basic logic that pervades Undateable as a series and as an experience.

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Negotiating 101: Sony, Hulu, and Community Season 6

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As I wrote in 2012—and expanded on here at the blog—when Netflix was reportedly in talks to resurrect The Killing after it was canceled by AMC, there is reason to be skeptical of reporting that refers to “conversations” or “talks” surrounding a series potentially being resurrected.

It turns out that, in the case of The Killing, those talks were productive – AMC picked up a third season with help from Netflix chipping in for an exclusive streaming window, and Netflix would return once more to pick up a short fourth and final season of the series when AMC chose to end the series. However, for every The Killing there is a Pan Am, or a Terra Nova, which were reported in a similar fashion but amounted to nothing.

There is plenty of logic behind the idea of Hulu having “conversations” with Sony Pictures TV regarding picking up a sixth season of Community. As Joe Adalian outlines at Vulture, Hulu is in need of a big original content splash to compete with Amazon’s money and Netflix’s prestige, and Community has been a strong performer on the service. It’s also the only logical place it could go, given that Hulu purchased exclusive streaming rights, meaning that neither Amazon nor Netflix would be likely to chip in given they would only have access to new episodes. It has long been presumed, since the day NBC chose to cancel the series, that Hulu was its only option.

However, it’s also an option that seems infeasible for a platform that doesn’t have Amazon or Netflix’s deep pockets, and an option that seems particularly infeasible given the contract burden of a sixth-season broadcast sitcom. The value proposition of Community to Hulu sounds great in the abstract, but when translated to dollars and cents behind the scenes it seems likely that the risk may be greater than the reward.

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Game of Thrones – “Mockingbird”

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“Mockingbird”

May 18, 2014

“A lot can happen between now and never.”

This is typically the space where you’d find my review of tonight’s episode of Game of Thrones, but circumstances were such that A.V. Club editor Todd VanDerWerff needed someone to fill in while he was out of town. Accordingly, my review of the episode is located at The A.V. Club instead.

Before I share the link (and a brief taste of the review), though, a warning: while my reviews are typically written for both readers and non-readers alike, this one is definitely more tailored to the specific reader audience, given that Todd does the “Experts” reviews intended for those who had read at least the first three books. So if you’re been reading these reviews as an “unsullied,” be warned that there will be more attention paid to the adaptation and at how it foreshadows future events, even if the outright “spoilers” for what are in a clearly marked section at the end of the review.

Thanks to those who’ve been reading the reviews here this season, and I’ll be back in this space two weeks from now to head into the final three episodes of the season.

Game of Thrones (experts): “Mockingbird” – The A.V. Club

One of the most common complaints about a television season applies to episodes like “Mockingbird.” Whether you prefer “table setting” or “moving pieces into place” as a metaphor, it’s an episode that functions largely to set up events that are likely going to be more exciting or meaningful than the ones within the episode itself.

Such concerns are distinct, however, with Game of Thrones, at least for those of us who’ve read the books (which is most of you, one presumes). Typically, “table setting” episodes are criticized for being too blatant in their machinations, working hard to set up things but resisting pulling the trigger before the stories’ respective climaxes. Personally, I find these episodes interesting when done well, but I will admit that there is something frustrating about an episode that simultaneously feels like a comedown from the episode before and works almost too hard to build anticipation for the episode that follows.

With Game of Thrones, though, we (mostly) know the episode that follows.

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