October 14th, 2010
The most common word I’m seeing in evaluating tonight’s 30 Rock is “experiment,” which is more evaluative than you might think.
We call it an experiment because it wasn’t actually very good. This is not to say that I didn’t enjoy tonight’s 30 Rock (I did), or that the episode was a failure (it wasn’t). If the episode had actually lived up to expectations, we’d call it a risk worth taking, or a ballsy decision, but instead we consider it a one-off experiment in order to better reconcile its struggles within the show’s larger creative efforts.
As noted, I thought “Live Show” was fun, and think that there were parts of the way the episode was designed which worked quite nicely, but any deeper commentary built into the episode was killed by the live format. Many of the jokes landed, and a couple of the meta moments were successful, but any character development and much of the potential meta-commentary were lost in the midst of audience laughter.
“The Damage You’ve Done”
October 13th, 2010
When Cougar Town changed (for the better), it could have completely ignored its past: considering that Jules dating younger men was a failure, there was every ability for the show to just pack up and move on.
However, while the show did change its focus to the community developing amongst the characters, “The Damage You’ve Done” actively unearths the show’s past. Jules runs into one of her ex-boy toys, someone who I had completely forgotten existed, and the show returns to an event that I had no recollection of which it could have swept under the rug.
And yet, in some ways it’s Lawrence and Biegel showing off: they’re sticking their tongue out at the skeptics, proving that the community they’ve developed is strong enough to withstand explosive secrets. However, at the same time, the episode is not without its consequences, maintaining the sense of weight that the show has carried even as it has established its casual atmosphere.
October 12th, 2010
I’ve talked a lot about the “Three Glees” theory in the past (TM Todd VanDerWerff), where each of the three co-creators have a different perspective on the series. However, in most instances we focus on the whiplash between the various different episodes, a sort of multiple personality disorder, but what I don’t think we’ve theorized on as much is the way in which these Glees comment on one another. I think this was because, before “Duets,” I don’t think there had ever been an episode of the show which so clearly commented on the work of one of the other writers.
Since the show is basically serialized, there is always an element of connection between the episodes, but “Duets” offers direct commentary on both long-term characterizations and specific events from “Theatricality,” an episode which I had some serious problems with earlier in the year. Ian Brennan, scripting his first episode since the premiere, has created an episode which adds unseen depth to previous storylines, makes pretty substantial strides with characters both old and new, and in the process convinces me that in a scenario where one writer is to take over the series, Brennan is without question the show’s white knight.
“Duets” is not the most daring episode of the series, but it is unquestionably the most consistent, and that alone makes this one of the series’ finest hours.
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.
Mad Men the Weekend After: Critics accept “The Rejected”
August 20th, 2010
I was without access to a television on Sunday evening, and in the chaos of moving I wasn’t able to get to this week’s episode of Mad Men, “The Rejected,” until yesterday. It was a bit nerve wracking to be in the dark regarding the episode, but this was a particularly strange episode to experience this with: I kept getting cryptic tweets about pears showing up in my Twitter feed, and every time I went shopping I had people asking if I had purchased pears at the store. It created an intriguing sort of mystery, a clue which I figured must be pretty important to have resonated so much with the audience.
Of course, the pears were an oddity, resonating with the audience because of how abstract that final scene seems in relation to the rest of the episode. This is actually one of the most thematically consistent episodes of the series in recent memory, leaning heavily on broad thematic material (in the form of a consideration of the value of marriage) and on our knowledge of previous events (in the form of Pete and Peggy’s divergent paths). It was an episode which rejected the series’ traditional sense that past and present relate to our own time and the nostalgic view of the 1960s, instead reclaiming past, present and future for these characters and their glimpses into the future.
And now, before I end up reviewing the episode in its entirety, let’s get onto “The Rejected” in a bit more detail and see what some critics thought about it.
July 19th, 2010
Summer camp is a very small world, and a television show set at a summer camp is even smaller. If someone tells a lie, chances are that lie will come to haunt them, and if someone is keeping a secret there’s a good chance that it will bubble under the surface until emerging. Huge is a show about vulnerability, about how these campers struggle to open themselves up to the potential for change while not opening themselves up to the point where they feel like their lives are on display, and secrets and lies are one of the ways in which they shield themselves from ridicule, reprimand, or simple exposure.
“Talent Night” doesn’t reinvent the wheel when it comes to how talent shows force their participants to face their fears, but Winnie Holzman very successfully owns this particular trope, delivering two empowering moments which are in some ways polar opposites but share one important trait: neither moment is played as universal experience. For every moment of collective reflection there is one subsection of the camp which has a different interpretation, or who is busy dealing with a different crisis at the time, and “Talent Night” does a very good job of bringing those stories together without forcing them to the same conclusions.
“Breach of Faith”
June 25th, 2010
This review doesn’t really exist to talk that much about the Burn Notice-y “Breach of Faith” (for a review of the episode, check out Alan or Todd) so much as it exists to talk about the season as a whole. I realized after watching this episode that I haven’t actually written about the show yet this season, an oversight which I shall now rectify.
…I like it, I guess?
What, that isn’t enough for you? Okay fine: some more detailed thoughts on the season’s arc after the jump.