Monthly Archives: September 2008

Season Premiere: Entourage Season Five – “Fantasy Island”

“Fantasy Island”

September 7th, 2008

When I was a guest on the /Filmcast After Dark last week, we were previewing the shows to look forward to this fall, and I’ll admit to being somewhat negative about Entourage. Actually, scratch that ‘somewhat’: my exact language was that the fourth season of Entourage was, well “sh*t.” And I’ll stand by that statement: opening and closing with interesting bookends of the Medellin journey, the rest of the season was one long waiting game that never went anywhere new, interesting or funny enough to justify its lack of plot.

Of all of the shows I review here at Cultural Learnings, or elsewhere, Entourage seems to be the most resistant to the very concept of criticism: many have argued with me that it’s just a show about adolescent wish fulfilment, about these characters living the Hollywood dream, and that any attempts to read into its depth or its plot are misguided and, at worst, pointless. I won’t attempt to argue that the show, as a half hour comedy, is not attempting to be equivalent to, say, Mad Men, but the show has demonstrated in the past its ability to bring something more than just juvenile comedy to its characters and its settings.

The thing about “Fantasy Island” is that the show has once again reminded me of how good it can be, seamlessly integrating commentary on the state of the film industry with the type of comedy that’s just guys being guys. Transitioning from Vince’s Mexican sabbatical into his new reality as a Hollywood has-been, the episode touches on E’s transformation into a mini-Ari, deals with the continued fallout of Medellin on Ari, Vince and E’s lives, and includes enough small if insignificant moments for Drama and Turtle to feel like the gang is getting back together in a meaningful fashion.

And unlike last season, where everything was downhill after a strong and witty premiere, I feel like the show is actually moving towards something that feels like a story arc related to its characters. And while there’s every chance that it could fall off in the end, for now I have to admit it: Entourage’s fifth season is not, as of yet, sh*t.

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Mad Men – “The Gold Violin”

“The Gold Violin”

September 7th, 2008

Ken Cosgrove is a man of letters, a published writer who sees everything around him as some type of story, some type of allegory waiting to be turned into words. Having such an interpretative individual in a TV show is an interesting mirror for the audience, as when he suggests that an after hours trip into Cooper’s office to view a photograph would make a good short story, we’re in the process of watching a television show about an after hours trip into Cooper’s office.

Really, though, his story of the gold violin, perfect but unable to play a single note, is really more about the rest of the episode than it is about Cosgrove as a character. It’s not a new theme for the series, but the idea of things being entirely for show, form over function, is nailed home with a group of characters who make decisions or take life paths which will eventually come back to damage them.

But there is just something irresistable about a gold violin: as Cooper himself puts it, people buy things to realize their aspirations. The problem, of course, is when their aspirations are as complicated as Don’s emotional stability, or when they are as confused and ultimately misguided as Salvatore’s decision to get married. Really, the only purchase in the entire episode that isn’t an equivalent to the titular instrument is the painting that everyone presumes is such a prized possession: Cooper’s only in it for the money.

And if everyone else was only in it for money, Betty Draper wouldn’t be throwing up in the front seat of Don’s new cadillac, would she?

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Trying to Care About the Production Troubles of 24

When I first started this blog, 24 was starting its sixth season, and I started posts comparing the show with freshman sensation Heroes. How funny is it, then, that here a year and a half later I really have no emotional attachment to either show, not even really blinking an eye at the most recent news that production on the 7th season of 24 has shut down due to unforeseen creative difficulties.

To start with, for the seventh season itself this isn’t exactly bad news: they’re not going to get behind (considering that they already have 18 episodes filmed and aren’t starting until January), and perhaps the break might improve the end stretch, something that was probably necessary last season with the least memorable 24 conclusion yet. But I think that, like any announcement about 24 these days, it raises to the surface the big question: why is this now two productions stoppages in two years, and what exactly is wrong with this series that is quickly fading from the pop cultural radar?

The answer can be found in one thing: expectation.

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Series Premiere: 90210 (2008)

“We’re Not in Kansas Anymore, The Jet Set”

September 2nd, 2008

“That’s what a blog is supposed to do, make problems”

When The CW chose not to send screeners of their latest show out to critics, they were making a statement. Now that viewers have been able to see the show for themselves, we can finally discern what exactly that statement was: was it that the show is so poor that the network didn’t want critics ‘making problems’? Or, more positively, was it just that there are so many reasons to watch this show that they decided the critics were irrelevant?

I can understand the argument: between nostalgia and teen girls, a majority of 90210’s potential audience is probably already aware of the series’ existence. So those of us who either choose to or are employed to look past our personal interest to answer the question of whether or not the series is actually any good are not what they’re interested in.

But I don’t think they really needed to be quite so scared of our kind: no, the show is not a new standard in teen drama, and its various archetypes don’t offer the type of wit or charisma of even the network’s Gossip Girl, but if we’re judging the series on its ability to offer flashy melodrama with just enough substance to keep it afloat, 90210 lives up to its hype.

However, only time will tell if the real people The CW wants watching are going to feel the same way.

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Mad Men – “Maidenform”

“Maidenform”

August 31st, 2008

During this busy period in my personal life, Mad Men is a bit behind schedule, and what thoughts I do have about this week’s episode will be truncated (by my standards at least). The episode is a lot about mirrors, and I just wrote an entire post about mirror universes in regards to the Middleman, so I’m just going to list some of my favourite moments.

First off, Duck’s entire storyline is a very strongly guided image of a man fighting alcoholism while another man takes the life that he lost due to that battle. I don’t know if I have been so emotional about a Mad Men scene as I was when Chauncey (The beloved family pet who now only reminds him of his family) was sent out to the streets of Manhattan to fend for himself since Duck couldn’t stand to have the dog watch while he fell back into his old habits. These storylines are signs that, no matter what direction the show takes, it is in very good hands moving forward.

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Season Finale: The Middleman – “The Palindrome Reversal Palindrome”

“The Palindrome Reversal Palindrome”

September 1st, 2008

For a show that is extremely close to cancellation, The Middleman sure didn’t use its first season finale as some type of course correction designed to sell the network on how it can change itself to appeal more to ABC Family’s core audience.

Instead, the season’s 12th episode offered more of what we expect from the series: an intelligent and well-executed episode which played with popular culture conventions and demonstrated just why this series needs to stick around for more time. Playing with a mirror universe on this type of scale should have felt like too much to handle in a single episode, but the episode played to the strength of our emotional relationship with the characters and broader questions of good and evil that the show should be allowed to resolve with time.

And while the episode was a satisfying end to the show’s first season, there is no question that abandoning these characters at this point in time is the type of decision that could earn ABC Family a black mark from critics – a renewal, meanwhile, could prove that ABC Family would be an evil mastermind in the parallel world and a shining beacon of television hope in our own.

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What’s Cultural Learnings Watching?: The New Shows of Fall 2008

To be honest, I’m in over my head answering the question of what shows I’ll be covering this fall. Not only am I extremely busy at the moment (Hence why I’m behind on Mad Men, Burn Notice, Greek, etc.), but we know extremely little about what’s to come. With a rushed pilot season, we have less information and fewer options, a combination that has me going blind. When you bundle this with the “relaunch” phenomenon I’ll discuss later this week, you have a sense that new shows aren’t going to be dominating our television viewing schedule.

But, there’s a few that are on my radar for varying reasons, and ones that I’ll be covering in some detail – others will probably be watched once, and could join the lineup in time.

Fringe (Fox, Tuesday September 9th, 8pm)

I previewed the 90-minute pilot earlier in the summer, and I think the same of it now: this is the fall show that feels most like something I’d want to watch every week, to get wrapped up in and think about long after I’ve watched it. While I love Lost and Alias’ pilots, I find this creation to be Abrams’ most recognizably serial: the setup is less personal and more situational, which could definitely benefit its long term stability compared to Alias’ eventual departure from the rails. Abrams’ shows all seem to be about characters intertwined in something bigger than them, but this group is yet another in the long list of people who we want to see go through these trials.

90210 (The CW, Tuesday September 2nd, 8pm)

Yes, it isn’t being screened for critics, and there are certainly questions about its quality, but I can’t help but think that The CW’s great hope is something to watch this fall. Ignoring the subject matter, which I admittedly enjoy as a guilty pleasure, it stars Tristan Wilds (Michael from ‘The Wire’) and Jessica Walter (Lucille from ‘Arrested Development’); this kind of pedigree can’t go unnoticed. I’m a bit too young to have been sucked into the phenomenon on which the show is based, but there still is room for a show like this should The CW pull it off.

The Ex List (CBS, Friday October 3rd, 9pm)

After doing some really great work on Grey’s Anatomy (as trauma victim and facial reconstruction patient Eva) before her character was sent to crazy town towards the end of the fourth season, Elizabeth Reaser has earned at least some of my loyalty. Combine with Diane Ruggierio, late of Veronica Mars, and you have a potentially engaging combination for a more light-hearted romantic comedy option. The show, which follows a woman who is told that she has already met her true love and must sort through her ex-boyfriends in search of the individual, is the kind of series that could be smart enough to overcome its sappy concept. I am hoping for appeal similar to Samantha Who?, a show that is carried by its star and some strong supporting work.

Life on Mars (ABC, Thursday October 9th, 10pm)

For those following the history of this American adaptation of the hit British series, there’s like ten reasons to be concerned: David E. Kelley fights battle with studio while pilot is shot, new showrunners step in and dump most of the cast, and an entirely new cast is just recently completing a new pilot, with a whole new direction from the one ABC originally greenlit. It could work out in quite an intriguing fashion, though – while the showrunners from October Road bring little experience, they have brought a cast featuring Harvey Keitel and Michael Impirioli. For that reason, and for the potential in the story, I’m tuning in for now.

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Season Premiere: Gossip Girl – “Summer, Kind of Wonderful”

“Summer, Kind of Wonderful”

September 1st, 2008

When a show skips over a period of time between a finale and the following season’s premiere, there is an extremely recognizable phenomenon that rears its ugly head: exposition. Whether it’s through steamy bedroom scenes, long monologues or phone conversations, or just about any other contrivance you can think of, the show will spend more time telling us about the past than actually showing us much of anything about where the show is heading.

As a result, the season premiere of Gossip Girl kind of leaves me not just pondering the future, as Kristen Bell suggested I do as the (literal) fireworks went off at episode’s end, but also questioning whether the show that struggled with consistency last season has gained any new perspective to even things out. From the looks of the premiere, they have made some choices that seem to reflect a knowledge of some of its characters, but when others seem so far off the mark it’s hard to necessarily say that the show has a chance of breaking out into something more accomplished in the year ahead.

If we have some faith, however, let it lie in the fact that all of that exposition and the prequel-like nature of this episode seem to indicate that the real action of the season has yet to begin.

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