February 10th, 2011
Perfect Couples is, ironically enough, rife with terrible couplings, or at the very least dichotomous components. The theme song, from Carl Newman of The New Pornographers, is catchy to the point that I want it for a ring tone; the opening credits, meanwhile, are a hideous mess. I am legitimately a “fan” of Kyle Bornheimer, while Olivia Munn is quickly becoming a form of kryptonite. The show is all over the map, and thus each episode becomes about parts rather than the whole; however, since the show actually wants it to be about the whole in the way it links the three couples together, there’s an inherent tension there that makes watching, and liking, the show quite difficult.
And yet I sort of like enough of it to be on board. “Perfect Jealousy” isn’t brilliant, and parts of its broad humor don’t work, but I wonder if this might be as close as we can get to balance in the force.
“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.
April 1st, 2010
In its promotions for the show, FOX sells Fringe based on the tagline “New Cases. Endless Possibilities.” But what’s interesting, and ultimately enormously compelling, about “Peter” is that the possibilities aren’t endless at all: we know what happened to Peter at the age of 7, and we know the key parties involved, so the show isn’t interested in endless possibilities so much as it is interested in interpreting what we already know.
There’s a challenge in this type of episode, especially for a show that has created such a strong dichotomy between its standalone episodes and its mythology-driven stories; fans may go in expecting answers to big questions, and while “Peter” offers a couple of interesting tidbits and some neat connections it is first and foremost a story about the limits of humanity as opposed to the potential of technology. It is a starkly human story, largely taking for granted its science fiction premise in favour of a fantastic depiction of a man struggling against the inevitable and risking everything to save a life that wasn’t his to save, to right a wrong that was not his fault.
In the process he changed the course of time and space, and this show became both possible and extremely compelling, but for this hour none of that mattered compared to the love shared between parents and their children. “Peter” is a stellar negotiation of Walter Bishop and his dances with the dark side of morality, and in the hands of John Noble and with some nice stylistic flourishes, it is certainly one of the show’s strongest hours, if one that they’ll never be able to duplicate again.
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.