Credits where Credits Are (or Aren’t) Due:
Why Nurse Jackie has the Worst Credits Sequence in Television
January 3rd, 2010
When you write about television as much as I do, there are always ideas for posts floating around in your head – you get to the point where you can’t watch something without constructing a post around it, which can be somewhat daunting when you watch as much television as I do. However, through episode reviews and Twitter, most of those ideas get to the surface, which is usually enough to satiate my critical appetite enough to keep them from overpowering the rest of my life.
However, I don’t think I’ve ever quite said enough about one particular subject, because every time I think about it my blood figuratively boils. And so when Daniel Fienberg and Alan Sepinwall prompted a discussion on Twitter this afternoon about opening credits sequences (in particular the apparently quite good opening to FOX’s Human Target, debuting later this month), I knew it was finally the chance to discuss in further detail the degree to which I despise and loathe the opening credits sequence to Showtime’s Nurse Jackie.
And how, while I understand why Alan would lament the loss of the credits sequence to both supposed audience impatience and shorter running times, there are some shows where all the opening credits do is hearken back to an identity that the show is either no longer associated with or, worse yet, was never associated with to begin with.
Fall 2008 Pilot Preview
[As per pilot screener regulations, this is a preview and not a review. The content of the series may change between now and the show’s official airing, so all thoughts are of a preliminary nature pending said changes. For a full review, tune in for the show’s September premiere.]
Having recently made my way into Six Feet Under’s fifth season, I’ve started to better understand the work of Alan Ball. That HBO series was known for its dramatic performances, its death-riddled plot points (Seriously, a lot of people die), and also its inability (for better or worse) to keep a consistent tone. One moment you’re laughing at two characters, and the next you’re getting punched in the face by a cold reality. It’s a visceral television experience, and one that I’m still kind of torn on. I’m capable of appreciating the work I’m seeing, but there’s something that keeps me from really engaging with it, likely out of fear of “getting hurt” in the process.
That left me at least mildly tentative heading into Ball’s latest project, an adaptation of the Southern Vampire novels by Charlaine Harris. HBO’s True Blood is the story of Sookie Stackhouse, a young waitress with a special power who is making a living in an exciting time for America. Vampires have “come out” as it were, emerging as real citizens with their own lobbyists after the Japanese were able to manufacture synthetic blood that “suits their dietary needs.” It’s a strong setup that seems like it’s got a lot of broad potential, but it’s intriguing to see that its trajectory is far more fantastical than I had imagined.
And that, I think, is a good thing considering Ball’s history in television.
As far as TV months go, you’d think that June would be pretty dead.
All the finales have ended, there is largely still a lack of quality in summer network offerings, and enough major films release that it seems that other media formats are outweighing my personal favourite.
However, at the same time, June is a month in which I have a fair amount of time: summer is here, DVD prices are continuing to drop rapidly, and after pontificating to great length over various finales there is a desire to continue on the same path. As a result of this, perhaps even more than last year, I have every intention on keeping busy during this month.
Most pressing is tonight’s guest spot on the /Filmcast, the official podcast of SlashFilm.com. My old pals from The Watchers have gone corporate, but with good reason: /Film’s a great site, and the podcast remains a great community in which to discuss film and television. I’ll be on for the first half hour of the show or so to discuss Lost’s season finale, so tune in @ the live uStream Channel at around 10 EST to listen to me attempt to condense 5000 words of analysis into quippy contributions to a group discussion!
Elsewhere, however, there’s plenty of other things to chat about.
First off, I’m in the process of what I’d like to call “Myles Meets HBO,” a chance for me to catch up on shows that aired on a cable network I didn’t get, and to a certain extent pre-date my interest in television. First and foremost, I am now 2+ seasons into Six Feet Under, a show I picked up on DVD and have been enjoying greatly (I’ll probably talk about this later in the week, maybe once I hit the official halfway point).