Tag Archives: Game Changer

Cultural Catchup Project: “Surprise,” “Innocence,” and the Art of the Game-Changer (Buffy the Vampire Slayer)

“Surprise,” “Innocence,” and the Art of the Game-Changer

April 29th, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

One of the interesting buzz words to emerge over the past few years within the television industry has been “game-changer.” Used to describe episodes which fundamentally alter our perspective on a particular series, or which send a series in a completely different direction, it’s become a common term which producers or networks will use if they want to drum up interest in a struggling series, or try to regain lost glory with a series beginning to lose its luster.

However, I hate that “game-changer” has taken on an almost wholly promotional context, because episodes which actually “change the game” are a really fascinating part of the television landscape. There is great benefit in a reinvention of sorts, as the producers of Lost learned when the Flash Forward structure brought new life to a series at its halfway point, but it is just as easy to fall off the rails: J.J. Abrams learned this lesson the hard way when his game-changing second season finale of Alias was a stunning hour of television but sent the show in directions it wasn’t capable of supporting.

What makes a good game-changer is something which lives on potential rather than mystery, which not only changes the game as we know it but also gives us a glimpse of how the new game is going to benefit the series moving forward. The change needs to feel like something which springs from the story rather than from a network note, and the consequences need to be something the show won’t live down but that it can also live with.

In other words, a good game-changer needs to be everything that “Surprise” and “Innocence,” the thirteenth and fourteenth episodes of Buffy the Vampire Slayer’s second season, embody: by merging romance with tragedy, and by turning its central character into an unwitting agent of terrifying change, Buffy moves beyond the limitations of teenage drama to something that strikes deeper into the limitations of the human condition.

Or, put more simply, Buffy the Vampire Slayer just got real.

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Modern Family – “Game Changer”

“Game Changer”

March 31st, 2010

I’ve written a few times in the past about how Twitter can create certain expectations about a show before I get a chance to watch it, and this was very much the case with “Game Changer.” I didn’t know anything about the episode going into the day, but the people I follow on Twitter were all very interested in discussing the appearance of Apple’s shiny-new iPad on the series.

As I tweeted after watching the episode late last night, I don’t necessarily get the outraged response from some people: product integration is something that we need to start accepting as part of this television era, and the iPad is precisely the kind of product that Phil (who has to money to support his every technological impulse) would be desperate to purchase. My general view on product placement is that if it fits the show and the character then there’s nothing to be outraged about; as long as there’s congruity, outrage is simply not an emotion I’m likely to feel.

However, what we should be focusing on with “Game Changer” is that it didn’t really make me feel anything at all: rather than focusing on the product replacement as an easy target, let’s focus on how the Claire/Phil story was dangerously close to stories the show has done before, or how the rest of the episode felt just a bit “lazy.”

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