Tag Archives: Midseason Finale

Mid-Season Finale: Breaking Bad – “Gliding Over All”

“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.

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Midseason Finale: Doctor Who – “A Good Man Goes to War”

“A Good Man Goes to War”

June 11th, 2011

My choice not to review “The Rebel Flesh” and “The Almost People” is partly due to the awkwardness created by BBC America making the idiotic decision to take a one-week hiatus over Memorial Day Weekend, but I’ve also got to be honest: I didn’t think they were very good.

I saw a Twitter conversation go by, I think involving Jeremy Mongeau, and it really captured what I think the problem was. He made the argument, if memory serves me correctly, that serialization has actually damaged the show through the first half of the sixth series: everything has been so caught up in laying groundwork for future events or setting up the seasonal arc that it doesn’t really have time to breathe (or, if you’re “The Curse of the Black Spot,” was kind of just too dull to stand out).

Even if we argue that the serial elements have remained intriguing (which I would), and even if “The Doctor’s Wife” was a really compelling standalone that spoke to overarching themes in a strong fashion (which it was), “The Rebel Flesh” and “The Almost People” were like a narrative fetchquest. The Doctor needed to learn more about the flesh, and therefore traveled to where it first originated in order to better understand it, and a story had to be created around that particular event. It just seemed like Matthew Graham’s script never quite managed to make the characters compelling enough, implying a sense of depth instead of actually showing it to us.

Did the two-parter lay some important groundwork for explaining the Doctor’s “death” back in the premiere? Absolutely. And did it quite effectively transition into the reveal that Amy has been flesh since the beginning of the season? Yes. But it becomes a two-hour exhibit in exposition when “A Good Man Goes to War” begins, a too-long detour in a season that seemed to lose its momentum. Mind you, Steven Moffat regains that momentum in about three minutes and forty seconds, give or take a minute or two, and “A Good Man Goes to War” is a stellar effort that benefits from having some truly substantial exposition to relay.

It also tells a compelling story to go along with it, one that we can be certain will resonate both in the fall and beyond.

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Mid Season Finale: Huge – “Parents Weekend – Part Two”

“Parents Weekend – Part Two”

August 30th, 2010

In case you haven’t been paying attention, Huge has been my show of the summer: the show embodies the potential for programming aimed at teenagers which doesn’t speak down to its audience, mining the complexities of adolescence instead of exaggerating its most dramatic moments. Staying true to its observational camera angles (reminiscent of Friday Night Lights, soon to be part of the ABC Family…family), the show has allowed characters to develop independent of earth-shattering revelations, just as interested in silence as in outbursts or monologues.

I’ve seen some criticism of the show for being too close to various cliches, a criticism which I don’t think is entirely unfair: there is no question that Huge has hewed fairly close to the traditional expectations of summer camp fiction, and there have been moments (see: “Spirit Quest”) which lost the series’ focus on investigating the life-changing moments, both big and small, which have nothing (and everything) to do with the central mission of Camp Victory. However, when the show was at its best, this focus transcended the tropes it has played with, and the show is certainly flirting with my Top 10 for the year thus far.

The second part of “Parents Weekend,” scripted by series co-creator Savannah Dooley, does nothing to change my love for the show, as the episode perfectly sums up the ways in which the nuances and subtleties of these stories defies the predictability of its log lines; it’s a strong end to a damn strong half a season, and all we can hope now is that ABC Family is as interested to see the other half as we are.

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Season Finale: Caprica – “End of Line”

“End of Line”

March 26th, 2010

While I hadn’t seen “End of Line” before writing my post about Caprica’s memorable scenes and their impact on its storytelling earlier today, I could feel myself posturing towards the finale throughout writing it. While I liked “End of Line” just fine, its position as a hackneyed [mid]season finale designed to allow SyFy to split up its original programming across different quarters meant that it would be pretty much forced to push the stories that haven’t had the same sort of thematic dialogue and striking sequences as Zoe’s story to some sort of conclusion sooner than might be ideal.

And while I know Battlestar Galactica got a reputation for its cliffhangers, I don’t think Caprica is particularly good at them, especially with its pacing as it is. The result was an episode that forced every story along like it was a high speed chase, leaving no time to really stop and consider the consequences or the thematic ramifications in the process. The few stories that had a chance to stop and slow down turned out alright, and those desperate for plot advancement are probably somewhat appeased, but “End of Line” is very clearly not the end of the line, and the usual slow build that defines the series was entirely absent in an episode that offered some good thrills but left out the chills.

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Scene-ic Storytelling: Philosophy and Memorability in SyFy’s Caprica

Scene-ic Storytelling in SyFy’s Caprica

March 25th, 2010

I was listening to last week’s episode of the Firewall and Iceberg podcast, where Alan and Dan were explaining how hard it is to pick your favourite episode of a television show. I concur with their evasion of the question at hand, as picking a favourite episode of a serialized television series seems disadvantageous while picking a favourite episode of a comedy is so highly subjective that it’s a bit dangerous, but I have a followup question: could we pick a favourite scene?

I find this, when I think about it, considerably easier. While picking a single episode of The Wire is impossible, picking a favourite scene seems like it’s possible: sure, there’s still too many to choose from (McNuggets, Chess, FuCSI, Co-Op Meeting, etc.), but we’re more comfortable singling out scenes because there’s an expectation that what we select will capture the quality we most admire in the show being discussed without the baggage that comes with an episode of ensemble, serialized drama which goes in various different directions.

There is a lot of power in scenes to tell a story, or to capture a viewer’s attention. The Hurt Locker and Inglourious Basterds, both nominated for Best Picture this year, are effectively a series of vignettes which rely on being making both collective and individual impressions, building character by creating unforgettable tension and suspense from various circumstances. And on the comic end of the spectrum, Noel Murray’s fantastic A Very Special Episode series at The A.V. Club turned its attention on The Simpsons’ “22 Short Stories About Springfield” episode this week, and the wealth of comments on the post demonstrate that its collection of short vignettes are perhaps amongst the most quotable and memorable scenes in the series’ run precisely because they are part of an episode which admits to being a collection of scenes rather than a cohesive episode.

I raise this question because I want to talk about SyFy’s Caprica, a show that has thus far been more successful at creating memorable scenes than at creating memorable characters or stories. Ending the first half of its first season with a finale of sorts this evening on SyFy and SPACE, the show has used scenes with deep philosophical meaning and implication in order to create a lasting impression that makes me want to see more even when I don’t have as much of a vested interest in what I see in the rest of each episode. These scenes, at times single-handedly, have made Caprica into a show I admire a great deal, but at the same time they are doing nothing to alleviate concerns that some viewers seem to have about plot and character in the show’s universe.

Some thoughts on why this is, and why I think this sort of “scene-ic storytelling” is good for the show in the long run, after the jump.

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