Tag Archives: Season Finale

Season Finale: The Leftovers – “The Prodigal Son Returns”

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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.

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Heart-Shaped Hole: Game of Thrones Season 4 and the Death of Reader Certainty

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Season 4 and the Death of Reader Certainty

June 15, 2014

Here at Cultural Learnings, I’ve been writing Game of Thrones reviews intended to be read by both those who have and haven’t read the books, but they’re unavoidably written from the perspective as someone who has. For the most part, this hasn’t been a big problem, as I’ve never been one to be too concerned with the series deviates from the books.

I remain mostly nonplussed by changes, but they’re tougher to avoid after a fourth season that has shot the books full of holes on numerous occasions. Although the season by and large ended without an outright cliffhanger in “The Children” (which I reviewed in full here), it nonetheless has left book readers in limbo when it comes to at least one major development. It’s an important turning point for the series as an adaptation, and one that will test whether or not those book readers are willing to embrace an environment where the books are no longer a reliable indicator for the story about to unfold, and where their position as arbiters of knowledge is in question.

[Warning: I’m speaking to Book Readers here, so unless you want to risk spoilers for future seasons, stay away if you haven’t read the books.]

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Season Finale: Game of Thrones – “The Children”

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“The Children”

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.

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Cultural Interview: Lauren Iungerich on the end of her Awkward. journey [Part One]

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Earlier this fall, I spoke with Awkward. creator Lauren Iungerich about the beginning of the second half of the third season, which was announced earlier this year as her final year with the series. Since then, Iungerich has been a regular presence in the comment section at The A.V. Club’s weekly reviews of the series, engaging with fans and reflecting on the end of her journey. As the season comes to an end with tonight’s hour-long season finale (10:30/9:30c, MTV), I spoke with Iungerich at length about her experience with the series and the end of her Awkward. journey. This is the first part of that conversation, in which she reflects on her departure and her engagement with her audience. Later tonight after the finale concludes, I will have an additional conversation where we focus on how she chose to bring an end to her time on the series. [NOTE: Part Two of the interview is now up.]

In the comments of last week’s A.V. Club review, you made a point to reflect on the contribution of Erin Ehrlich. As you depart the show, are you reflecting back on your collaborators throughout this journey?

Lauren Iungerich: It would not have been half of fun if I hadn’t had Erin by my side. I had an incredible team of people who helped me make the show. Steve Edwards, who was my supervising editor: editors never get credit the way they should. Editing is such an extension of the writing—sometimes you’re rewriting in the editing room, and he was kind of this magic…I don’t know how to explain it, but he really gets my tone, and the tone of the show, which can go from crazy heightened comedy to this emotional pathos. He really understood and connected with the material—I have to take him with me wherever I go. Also Jamie Dooner, my husband, has been a creative force since I was writing the pilot—his jokes and ideas are peppered in from the beginning (like the now iconic cast from the pilot, which was his idea). I don’t know where I would be without these people—as a creator, you’re the one who makes the final decisions, but I definitely had a lot of consultants along the way.

And yet as the showrunner, you definitely have a lot at stake in the show on a personal level.

LI: As I made the decision to leave my show, which was a very hard decision, it’s so interesting for me to reflect on what’s happened with the show and the ownership that has been taken. For myself and the people mentioned above, this show was personal—it was art. For me, personally—and I speak only for myself here—this was an extension of me and a labor of love, and five years of my life such that I can’t explain the amount of work that goes into it. There are different people who come in and work with us for a few months a year: we have the luxury of an awesome team who comes in every season—including those who are going back without me, which is a gift to be able to leave behind opportunity and jobs for amazing people—but even those who work on the show don’t understand what goes into it for those of us who are with it from day one. It’s not just one person who should get the credit, but I’ve definitely been the lone soldier who carries it from beginning to end, which is why this is so personal and why the choice to leave was so incredibly painful.

Now, though, I see it as a business: it’s not this personal thing anymore. And it is a business, and it’s been the best lesson I’ve learned: should you do anything that gets any kind of adulation, validation, good ratings, or an audience, it becomes this thing where everybody sort of wants a piece of it, and wants to take ownership of it. And the truth is the ownership lies with the people who loved it, and there are a lot of them, it was not just me. It’s still hard for me to see the show as a business, because it was so personal: I cry all the time. I cried last night; I cried writing that post about Erin.

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Mad Men – “In Care Of” and the Narrative Engine of Place in Season 6

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“In Care Of” and the Narrative Engine of Place in Season 6

June 24th, 2013

“This is where everything is.”

Mad Men began with a spatial divide. In the series’ pilot, we are introduced to Don Draper in Manhattan but only get the full picture when we follow him onto the train to the suburbs, and to the family life he leaves behind every day he travels into the city. The show was invested in exploring the distinct ebbs and flows of those two spaces, and on Don’s ability to travel between them. While we could come to learn that Don had been living a double life for most of adulthood, initially we watched a man live two lives separated by the train ride between them.

The show evolved beyond its urban/suburban divide, adding enough complexity to both Don’s family life and Sterling Cooper as a setting that it would seem reductive to boil the show down to this dichotomy. And yet although Don was no longer traveling to the suburbs since separating from Betty, the spatial divide stuck around thanks to characters like Pete, who began the season in his city apartment that would become his primary residence after he proved less agile in his duplicity than Don was. And as Betty explored the life of young runaways or as Peggy let Abe talk her into living in a nascent neighborhood, New York City was no longer confined to the offices of Sterling Cooper, gaining diversity and perspective as the turmoil of 1968 played out over the course of the season.

Mad Men’s sixth season was far from then first time the show has become invested in the meaning of space and place, but “In Care Of” highlights how central the idea of “going somewhere else” has been to this season in particular. For a season that began in the escape of Hawaii, and jetted to Los Angeles and Detroit and to upstate New York in a very tiny plane, it ends with multiple characters imagining what life would be like away from New York. In the process, we can imagine a final season spread across the country, even if we can also picture a season that remains tethered to the Manhattan Mad Men has over time embedded into the fabric of its storytelling.

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Season Finale: Game of Thrones – “Mhysa”

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“Mhysa”

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.

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Season Finale: Orphan Black – “Endless Forms Most Beautiful”

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“Endless Forms Most Beautiful”

June 1st, 2013

When I attended the Television Critics’ Association Winter Press Tour in January, BBC America presented a panel for Orphan Black, a new drama series originating from Canada (where it airs on Space). It was an interesting panel to attend, because none of the critics in the room had no opportunity to watch it: while we were shown a quick trailer to help give us context, most of the questions were actually asking for more information as opposed to specific responses to the series. What we saw looked interesting, and the panel was enjoyable, but it was an exploratory exercise in a space where greater context is necessary to achieve any real insight.

Reading back over the transcript of that panel, and revisiting this fun interview Will Harris did with the three stars in attendance, I couldn’t help but smile. In retrospect, there are plenty of hints there about the show Orphan Black would become: a fearless, balls to the wall science fiction pleasure that’s smart as hell. Co-creator Graeme Manson was asked about the possibility of flashbacks, to which he responded “Yeah, actually, none at all. We really, really like a story that’s like a runaway train that keeps you on the edge of your seat and has you not sure whether the story is going to take a hard left or a hard right.” Tatiana Maslany was asked about the challenge of playing multiple roles, and explained “Yeah, it’s a challenge, the different arcs. You know, there’s so many arcs to it. So it’s a bit of a mind — I keep wanting to say the wrong word.”

The wrong word is the right word in this case: Orphan Black is a mindfuck, and ends its first season with another segment in the runaway train first season, one that becomes four climaxes in one by the time it reaches its conclusion.

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