The 2012 Primetime Emmy Nominations
July 19th, 2012
While Cultural Learnings has certainly been put on the backburner as I spend my summer studying, my willpower to keep myself from writing about television is at its weakest during Emmy season. While you would think that an early analysis of the leadup to the nominations and a piece on the nominations itself—focusing on Downton Abbey’s successful transition to the Series category—over at Antenna would be sufficient, I found myself hitting the site’s word count limit while still having a whole collection of narratives left to play out.
Accordingly, there are two points I want to make here. The first is the way in which this year’s awards demonstrate the capacity for a show to fall completely off the radar, and the other is what this year’s awards mean for the different networks and channels who are always looking to retain a footing within the race for nominations.
January 17th, 2011
Response to “Bad News,” HIMYM’s last original episode, was decidedly mixed. What struck me most was the way the episode-ending reveal that Marshall’s father had passed away became so problematic despite the fact that this is the kind of show which should be capable of handling such delicate matters. I’ll certainly agree with those who felt that there was some potential incongruity between the playful nature of the countdown and the eventual reveal, requiring a sudden gear shift which made the episode considerably divisive.
However, while the series is no so heavily serialized that we need reserve judgment on an individual episode until seeing how it carries over into the next, I would say that “Last Words” is in a position to sort of payoff the buildup offered in “Bad News.” The result, I feel, is an infallible merging of the comic and dramatic elements mashed together two weeks ago – with more time to establish the balance, Bays and Thomas emphasize the way in which well-drawn, longstanding characters offer great potential to take even a fairly rote storyline to a truly emotional place through some sharp writing and some stellar performances.
And that’s the sort of self-actualization the show was missing last season.
January 3rd, 2011
How I Met Your Mother is willing to make sacrifices.
In its balance of a long-running serial narrative and episodic storylines, the show is always looking for ways to balance one with the other: sometimes heavy mythology means slightly weaker standalone work, and sometimes a lack of mythology creates a lack of meaning to a particular story. Often, the mythology is emphasized to evoke pathos, and yet in the process the series has sort of fallen into certain patterns: the show can still hit Ted’s romantic notes well, for example, but it’s hit them enough times that the novelty may well have worn off.
In “Bad News,” we have an example of sacrificing coherent storytelling for the sake of slowly revealing an ongoing gimmick which, once fully comprehended by the audience, becomes the driving force behind a moment which was legitimately affecting. In doing so, the writers all but admitted that “Bad News” wasn’t going to be an all-time classic, but that seemed a conscious decision which allowed for that final moment to hit as hard as they wanted it to hit.
It was manipulative, to the point of damaging the structural integrity of the episode, but that final moment was perhaps worth that sacrifice.
Aired: March 16th, 2010
[Cultural Learnings' Top 10 Episodes of 2010 are in no particular order, and are purely subjective - for more information, and the complete list as it goes up, click here.]
As odd as it sounds, I think the focus on The Good Wife’s complexity is often an oversimplification.
I appreciate that the series engages in ongoing serial narratives, and that it serves as a character/workplace drama along with its legal procedural elements; I love moments when these two worlds collide, like when Alicia finds herself hearing conversations about her husband on FBI tapes she’s investigating for another case. The interplay of these various spheres is a key part of the series’ success, and certainly what sets it apart from the majority of network procedurals.
However, The Good Wife would not be half as successful as it is without the ability to tell compelling procedural stories within that framework; while the show can sustain episodes without the structure of a weekly case, that it chooses not to places immense pressure on those cases to deliver. Sometimes they are fairly generic, but other times they feature compelling judges (like Ana Gasteyer’s “in your opinion”) or compelling attorneys (both Mamie Gummer and Michael J. Fox made an impact in this area) which elevate the episodes regardless of serialization.
“Heart” stands out for me out of the series’ output this year because it holds considerable meaning without overindulging in serialization. The way we’re dropped into the chaos of the emergency trial, and the way Martha Plimpton entirely steals the show with her newborn baby, are what I remember most strongly from the episode: the case was scrappy and distinctive, makeshift and yet emotionally resonant, and the writing was strong throughout. However, in reality, the episode was hugely important to the central love triangle between Alicia/Will/Peter, and even marked a key turning point for Peter’s campaign (which has become a cornerstone of the second season).
Making History: The Race for an All-Female Winner
December 12th, 2010
Tonight, there is a 2 in 3 chance of history being made on The Amazing Race.
For a show in its seventeenth season, it sorts of seems like it should be past the point of “making history,” but the fact of the matter is that no all-female team has ever won The Amazing Race (or at least the American version of the Amazing Race).
The show has been building towards this piece of history for a while now: Dustin and Kandice, arguably the “strongest” all-female team the show ever had, had two shots at the title before eventually losing out in the finals of their All-Star season (Season 11), while Jaime and Cara are the most recent team to make it to the finals in Season 14. However, the narrative hasn’t been particularly strong within a given season, I would argue, since the All-Star year: there, Dustin and Kandice had no other narrative but the notion that they should have been the first female team, and their eventual loss was one more step back for gender balance within this program.
For the record, I do not particularly care who wins tonight, which probably sounds like I haven’t been invested in this season. However, it’s more that I have no real preference: I like both Brook and Claire (who grew on me as the season went on) and Nat and Kat (who don’t need the money but have proved fierce competitors) enough that I’d like to see them break the streak, but Jill and Thomas rode that fine line between intensity and enjoying themselves which makes them a perfectly acceptable winning team along the lines of Meghan and Cheyne as opposed to a dissatisfying winning team like Freddy and Kendra.
But after the jump, I do want to look at this “all-female team” narrative, specifically the ways in which that narrative could overwhelm all other narratives as they race towards the finish line. [Note: now updated with post-finale thoughts, so Spoiler Alert]
October 26th, 2010
That’s more like it.
Thus far, I’ve been disappointed in the quality of The Good Wife’s second season, if not disappointed in the season as a whole. There has yet to be an episode which really lived up to the potential of the first season when it comes to its legal procedural elements: the show’s serialized elements have remained present, but the series was at its most effective when the legal story was novel or particularly well organized (I’d argue “Heart” was the season highlight).
For me, “VIP Treatment” is the best episode of the season and certainly a standout in the series as a whole primarily because it is driven by a legal case as opposed to ongoing character interaction. Like last week’s episode, it features some work regarding Peter’s campaign, the love triangle, and Kalinda and Blake’s feud of sorts, but it’s all done in service to the standalone story. It’s an episode which makes its standalone storyline feel like something much more substanthe episode worked really welltial, and which embraces the show’s uniquely well-drawn workplace environment to tell a small story with potentially huge ramifications.
October 19th, 2010
The Good Wife was the best new network series of last season, without a doubt: the show was smart, sophisticated, and comfortable in its balance of both procedural and serialized elements.
This season, The Good Wife is a considerably worse show, objectively speaking: the weekly plots are over-written, the serial arc has swapped character drama for fairly rote political maneuvering, and tensions which might have remained subtexts last year become baseball bat attacks this time around.
Normally, I’d chalk this up to a network note about wanting to draw in younger viewers with a more exciting product; while I do think that this is likely part of it, I’m reticent to speak too critically because I’m finding this new version of the show a whole lot of fun. This is not to say that I don’t wish that the scripts could be a bit sharper, or that the show would avoid playing so heavily to the relationships between Will and Alicia as well as Cary and Alicia, but “Cleaning House” demonstrates that there are times when manipulative plotting can be delightful enough to quell most, if not all, of my critical concerns.
October 11th, 2010
This is precisely the kind of episode which is particularly dangerous for a show in How I Met Your Mother’s position. “Subway Wars” feels like a gimmick from the very beginning, and the show is at a point where it risks seeming unsubstantial. Back in the second season, something like “Subway Wars” might have seemed novel, but in the context of a sixth season it seems almost a bit desperate.
That being said, I think “Subway Wars” ends up working because it quite successfully ties the race towards Woody Allen into a personal journey for each of its characters. By grounding the journey in Robin’s belief that New York is turning on her, and Marshall and Lily’s struggles to conceive, the episode manages to make broad subject matter transition into legitimate character stories without too much difficulty.
It isn’t quite as well-oiled as it may have been four seasons ago, but I think that the risk ended up enough reward to make “Subway Wars” a solid entry.
September 28th, 2010
I will admit to loving a good ironic title, and I’d argue that “Taking Control” somewhat misrepresents the state of The Good Wife heading into its second season.
I’ve seen a lot of divergent thoughts on the premiere: some seems to think the show is still in fine form, while others felt that it was “off” in some way. I’ll admit to being slightly in the second camp, albeit with a better sense of how, and more importantly why, the show feels this way. While I do think there are a few creative missteps here, I think the general function of the premiere was a good way to enter into the season (if not necessarily conducive to a particularly strong premiere).