When I dropped in on an episode of The Leftovers at The A.V. Club earlier this season, it was cathartic: after weeks of watching but not writing about the show, it was nice to have a space to confront the series’ opaqueness.
But as I return to confront the finale, I’m wondering if I had it all wrong. On the surface, The Leftovers struck me as a series that begs us to analyze it, full to the brim with characters with uncertain motives building toward something and yet nothing at the same time. What’s the deal with Wayne? What drives the Guilty Remnant? Those questions at first seemed to bear fruit as it related to the themes of the series: even if we ignore the existential question looming over the entire series, these other questions funnel back into the meaning of the departure and accumulated considerable meaning as the season wore on.
That meaning was a smokescreen. It was a powerful one, granted, but as The Leftovers concludes I’m struck by how little separates a show that begs us to analyze it from a show that resists all analysis. Say what one will about Lost, but it wanted us to be invested in its mysteries, and even in the end sought to give purpose to our investment even if that failed to appeal to all viewers. By comparison, however, The Leftovers built a house of cards that it knew was going to burn away by the end of the season, leaving behind characters we relate to because they too were caught up in the construction. They lived through what we lived through, and must equally confront the landscape that revealed itself when the house burned to the ground. It was in those final moments that the show finally revealed its hand, and for the first time as an entire series became legible, and real, and open to the kind of analysis it had nonetheless inspired while resisting such visibility.
And the result was compelling, if also guilty of building a neater circle than it necessarily needed to.
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.
March 31st, 2014
I want to say upfront that I think the How I Met Your Mother finale was not an abomination. It featured a number of resonant moments, images, and character beats that tapped into what made the series resonate early in its run. When it finally reached the moment the series had been building up to, the chemistry between Josh Radnor and Cristin Miloti was quiet and sweet, and it stands as one of the series’ finer moments. This was a series that set out to tell a non-linear story about love, and delivered a—somewhat—non-linear finale about love, such that no one can claim How I Met Your Mother was a dramatically different show at the end than it was in the beginning.
However, I also want to say that I hated the How I Met Your Mother finale. A lot.
In the second part of a two-part interview with Awkward. creator Lauren Iungerich, we consider the choices she made once she realized she was writing her final episode of the series (which I reviewed at The A.V. Club here), as well as some of the plans she had should she have remained involved with the show in its fourth season. You can find part one of the interview, where Iungerich reflects on her decision to leave the series, here.
[Spoilers for “Who I Want To Be,” the third season finale of MTV’s Awkward., throughout this interview.]
September 29th, 2013
A series finale is different from any other episode of a television show; the biggest test for a series finale is whether or not it feels different from any other episode of that television show.
Breaking Bad has been an often messy show, driven by complex moral agency and characters who seem simultaneously the architect and the victim of chaos. It was a series that continued to grow in scale but largely followed the same principles of tight characterization and almost claustrophobic connections with those characters. In the show’s third season, it delineated between “half measures” and “full measures,” and the series was ultimately a narrative driven by the former: while some were explosive and others were tragic, there was never a moment when one could say that Breaking Bad had solved or even dramatically mitigated its central conflict.
It was this quality that gave the series its momentum, and enabled it to grow an audience of devotees from a series that many people—myself included—had not given much of a chance in its early seasons. It was also this quality that by the very nature of a series finale was forced to change in “Felina,” a clean end to a messy show that very purposefully limits its capacity to embody the series it brings to a conclusion.
June 9th, 2013
“Here only the family name matters.”
As Varys explains this fact to Shae, he’s being pragmatic: he’s trying to help someone whose very existence at King’s Landing threatens her own life and the life of the man she loves. Varys acknowledges that she has made Tyrion better. Varys acknowledges that hers is a true love. And yet Varys also gives her a collection of diamonds, telling her to sail to Pentos and start a new life for herself so that her love can do something good for Westeros without the threat of a single-named woman hanging over him.
It’s dark advice, advice that Shae refuses to take. Despite the fact that we just saw both Robb Stark and Talisa die for following true love over pragmatism, and despite the fact that Jon Snow just took three arrows from the woman he loves, Shae proves what many other characters have learned as well: there is still power in love even when all signs would suggest that trusting in such power will be your undoing.
“Mhysa” is about this love, which may seem strange in light of the fact that last week ended on such a foreboding sendoff for Robb and Catelyn Stark. And yet Game of Thrones needed a new motivation beyond ascending to the throne, a sense of purpose that could evolve beyond the War of the Five Kings and the deaths of Robert Baratheon and Ned Stark which set it off. What “Mhysa” seeks to accomplish is reframe the actions of its characters not as part of a larger power struggle, but rather as actions designed to protect their families or to protect the realm. This is not to say that we are to support the Lannisters’ cruelty or to endorse Melisandre’s sorcery, but rather that we can shift our understanding of their actions away from a part in a larger plot and instead toward what motivated them to take those steps in the first place.
It’s an enriching move that works to build a strong foundation for future seasons, although one that has some issues retroactively making some of the season’s storylines resonate in the way intended. “Mhysa” concludes a third season that was only retroactively revealed—for non-readers, at least—to be the season where Game of Thrones could no longer be simplified to a battle between the Starks of Winterfell and the Lannisters of Casterly Rock, one that did its job without necessarily connecting in the process.
“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.