May 19th, 2013
“I always have a choice.”
“Second Sons” opens with a choice. Arya wakes up to discover that her captor has fallen asleep, and picks up a rock with which she intends to kill Sandor Clegane, a man she believes to be taking her back to King’s Landing. However, as she grows closer, it turns out the Hound isn’t sleeping at all, and he gives her a choice: she can put the rock down, or she can take one shot at killing him with it. The catch is that, should she choose the second option and the Hound remains alive, he’ll break both of her hands.
It’s not really a choice when you think about it, as Arya’s trust in her own strength isn’t quite enough to make her hands worth the risk. It’s also not much of a choice given that she’s his captive, even if he intends to take her to Robb and Catelyn on the Twins as opposed to taking her to King’s Landing and the Lannisters. As much as Arya struggles against the place in life that was determined for her, and as much as she tried last week to go back to the independence she craves, she still finds herself in a position where choices are not available to her.
It’s far from a complicated theme, but what I like about “Second Sons” is the resignation of it all. Arya sitting on the Hound’s lap as he rides toward the Twins is an evocative image, both because of the beautiful countryside mirroring Arya’s hope at seeing her family and because she’s not bound or tortured or anything of the kind. Rather, she’s accepted her fate as the fate put before her, and will comply if only because it’s the most effective way to survive until the day where you have choices you did not have before.
It’s a position that comes to bear on many episodes as the season goes on, as characters struggle with the lack of agency that comes naturally with being born—or being treated—as a second son.
“Gliding Over All”
September 2nd, 2012
It’s actually been two seasons since I’ve written regularly about Breaking Bad—neither last summer nor this summer allowed tackling a show weekly for “fun,” and I’ve now become accustomed to watching the show without having to take notes. It’s a tense show, and something about it becomes less tense when you watch it with a computer screen between you and the television.
I did want to drop in on what we could ostensibly fall the mid-season finale, as “Season Five” will continue on into next summer. “Gliding Over All” is far from the best episode of the season, designed as an epilogue to the half-season and as a transition point into what’s to come. However, while the episode aims to appease cliffhanger fans with a revelation in its final seconds, the episode is more interesting for the way it quite literally glides over months of time. The season started with a marker of time, with Walt’s birthday bacon numbers clueing us in to the fact that Walt’s acquisition of a dangerous weapon was a year into our future. While time has always been a key theme in the show, it’s become more prominent this season, no more so than in this contemplative finale.
“The Prince of Winterfell”
May 20th, 2012
“One game at a time, my friend.”
Tyrion speaks true, in this instance: for the last two weeks, I’ve prioritized my professional responsibilities over what are ultimately my personal ones, meaning that writing about Game of Thrones became infeasible. Accordingly, one might expect that I’d have a lot to say about “The Prince of Winterfell,” the eighth episode of the show’s second season, given that I haven’t had a chance to say anything about the two episodes that came before.
However, in all honesty, we are reaching the point in the season where I don’t have a whole lot to say. With very little being introduced, and with so many storylines fully in motion, evaluating the show at this point is difficult: we have not yet reached the climax, the moment where everything is meant to coalesce, but we are also past the point where new ideas are being introduced. “The Prince of Winterfell” falls pretty much in line with what we’ve seen in the past few episodes, taking us mostly down a logical path toward what previews for next week position as the “Clash of Kings” that the season’s literary origins refer to.
Until we reach that point, though, the show is continuing to ignore Tyrion’s advice and tackle as many games as it possibly can. It’s a strategy that makes “The Prince of Winterfell” a wide-ranging episode which has to do a little work in a lot of places to get the show into position for the next moves in a whole new set of directions.
“Let’s Kill Hitler”
August 27th, 2011
When Steven Moffat threw that title at the end of “A Good Man Goes to War,” I was imagining something…different.
In my mind, it sounded like a right rollicking caper, a piece of historical science fiction and a transition piece from the tight serialization of the first half of the series into something a bit less serialized in the second half.
Technically, “Let’s Kill Hitler” does serve that latter function, but only after an hour that locks Hitler in a cupboard and moves on with the rest of its business without much concern over the historical setting. While the episode has some interesting ideas, it’s one of those episodes that is so preoccupied with ongoing storylines that it never manages to feel satisfying as a piece of fiction. Its broad strokes are meaningful, and ultimately successful, but the episode itself felt like a delivery system more than a story in and of itself.
November 30th, 2010
The performance episodes of Glee have been pretty universally strong: both “Sectionals” and “Journey” avoided relying purely on spectacle, delivering episodes which consolidate season-long developments. The first episode confirmed that New Directions could survive without Will and come together as a team, while “Journey” brought both Sue’s relationship with New Directions and Rachel’s relationship to Finn to a triumphant close.
“Special Education” is notable in that it is the first performance episode that doesn’t serve as any sort of ending. With “Sectionals” positioned as the closing hour of the show’s original 13-episode order (and filmed before the show became an established hit), and with “Journey” as the first season finale, there was always a sense of closure. By comparison, “Special Education” isn’t even closing out the first part of the season (the Christmas episode airs next week), which means that the event is going to be considerably less climactic than what we’ve seen before.
While not perfect, I quite like what Brad Falchuk and Paris Barclay did with this hour. A self-reflexive deconstruction of the balance between the individual and the group within the series, the episode lacks subtlety but resists the urge to smooth over its various conflicts. While the show doesn’t quite commit to the character drama to the point where it avoids the cheery group number at episode’s end, I thought it had some legitimately interesting insight into what that balance means to the series. The spirit of the show may not be broken, but there are enough cracks in the armor that “Special Education” successfully delivers spectacle and transition without resolving anything.
Allowing for the Christmas denouement next week.
“Dash, Flash, Crash”
November 17th, 2010
Last week I posted about concerns regarding Modern Family’s relationship with questions of race and ethnicity (albeit focused on the former), and over at TV Overmind the commenters were…well, they were angry. My point was not to say that the show is racist, but rather that there are moments when questions relating to sensitive issues are located within the production of the series rather than character actions.
Let’s take, for example, Phil’s “If you ain’t white, you ain’t right” t-shirt which angers an African American taxi cab. It’s highly offensive, sure, but it plays into his cluelessness in ways we recognize. It is the intersection of his inability to realize what his words mean with questions of race in today’s society, and its continued presence (“And this year I predict total White domination!”) makes it seem less like that single flashback is necessary in order to construct the joke. It seems like something Phil would do, makes me laugh, and happens to transition into the best episode since “Fizbo.”
In other words, next time you hear me ragging on Modern Family? Manny’s birthday.
November 8th, 2010
Always ostensibly interested in the passage of time, “Natural History” has How I Met Your Mother very purposefully digging into both past and future. In fact, the season as a whole is structured around the passage of time: the Arcadian was once a beautiful building, and yet it stands in the way of urban progress and has decayed to the point of ill repute.
Here, through a trip to the Museum of Natural History, that storyline is merged somewhat awkwardly, but ultimately effectively, with two more storylines that deal with memories of the past and their relevance in the present day. It’s one of those rare episodes which in and of itself doesn’t necessarily resonate, but the way in which it consolidates the entirety of the season is a really sharp pivot heading into the remainder of the season.