Monthly Archives: October 2009

Cultural Learnings On the Road: Starstruck, Broadway’d and HBO’d

As my Twitter feed has indicated, I am currently in the Big Apple, New York City, on a brief adventure. And since this means a lack of traditional reviews (I guess I’d call this a vacation in that respect), I figured I’d blog a tiny bit about the trip itself, as well as some of the TV I watched when I was dead tired and had not the energy to do much else.

So, thoughts on Broadway’s Next to Normal, being starstruck on the subway, and HBO’s Curb Your Enthusiasm, Bored to Death and Entourage after the jump.

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Community – “Introduction to Film”

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“Introduction to Film”

October 1st, 2009

I feel a little bit awkward writing a review of “Introduction to Film,” as if I should be out impulsively making out with someone or climbing a tree or telling 10 people I love them. The week’s class, considered a bird course and a chance at an easy grade, is all about “carpe diem,” with a professor straight out of Dead Poet’s Society and the kind of class that seems like the ideal fit for this cast of characters in that it is in fact that most awkward fit imaginable.

It’s an episode that, like the class in question, lulls us into a false sense of awareness, making us believe the episode is about one thing when in fact it’s about something else entirely. It does it in a really subtle way, like a sneeze that just keeps threatening to arrive but doesn’t, as the show demonstrates a mastery over the sneeze that one did not expect.

All in all, it’s a simultaneously funny and kind of heartbreaking episode that continues to show some really great tones to the show’s brand of humour.

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The Office – “The Promotion”

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“The Promotion”

October 1st, 2009

After last week’s co-manager reveal, we knew this was the next logical step. Michael doesn’t deal well sharing power, and Jim has never actually been in power and when he has been it’s been a pretty big disaster. So, when this episode begins, we find Michael and Jim in a power struggle that shows no signs of ending easily, and which confirms what we knew about both men.

That’s not a terrible plan for an episode, but it’s problematically reductive and didn’t end up bringing anything new to these characters. While it comes to some sort of conclusion, it doesn’t feel as if it really proves anything, and the comedy throughout the episode was too scattershot for me to really claim that the largely transitional episode was as well-executed as it could have been.

At least it was a great Oscar episode, right?

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FlashForward – “White to Play”

FlashForwardTitle“White to Play”

October 1st, 2009

At the opening of “White to Play,” we open on a shot of children lying on the playground out cold. We have reason to believe, of course, that this is a flashback to the blackout, until we see Charlie, Mark and Olivia’s daughter, standing. The show wants us to believe that Olivia is unique, or that perhaps she had some other sort of vision, but it turns out that it was the kids playing a game. They were playing “Blackout,” where everyone pretends they were out cold and then wakes up and tells everyone what they saw.

While the initial feeling is that this is a particularly ominous opening, there’s a problem: instead of appearing dichotomous to the show itself, it seems a fitting metaphor. In its second episode, FlashForward largely treats the viewers like children, repeating themes over and over again and actually managing to flash back to a flashback of a flashforward in the process. The investigative process feels like random happenstance, sprinkled with odd comic tangents and explosions in place of plot development, and the show struggles to recapture anything even approaching the tone that made its pilot stand out from the crowd.

There are a lot of interesting questions at play with this premise, and on occasion the show quite intriguingly interacts with some of them, but when it’s not thinking big its conversations turn into microcosms of overall themes, never allowing characters to act human in the process.

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Review: Stargate Universe (Premiering October 2nd)

SGUMy experience with the Stargate franchise is somewhat limited: I’m fairly certain I’ve seen the movie, likely stumbled upon SG-1 at some point, and saw quite a few random episodes of Atlantis while home during holidays. It is a series that, for me, has always failed to keep my interest largely because of the repetitiveness of its procedural construct, especially with Atlantis. While there were some interesting ideas on that show, and even some interesting performances, I found that the universe being constructed wasn’t interesting enough for me to come back week after week for very similar storylines that would either end quickly or, at the most, develop into a 2 or 3 episode arc.

However, like any show of this nature, by the end of its run Stargate Atlantis had built up a large following based on a cast of characters that audiences related with, characters which would prove capable of sustaining repetitive storylines. It is for this reason that the decision to end Atlantis somewhat prematurely, before fans had felt its time was up, seemed particularly strange: yes, Stargate Universe (which debuts tomorrow night at 9pm on Space in Canada and SyFy in the U.S.) offers many of the same procedural elements, albeit with a twist, but because this cast of characters is completely different it means that audience goodwill starts all over again.

The biggest problem with tonight’s two-hour pilot for Stargate Universe is that I felt absolutely no emotional connection to these characters, or this story, and perhaps most importantly nothing the episode accomplishes makes me feel as if this is going to change in the immediate future. I won’t suggest that over time this group of characters couldn’t be engaging, but in the pilot their actions feel contrived and lifeless with a thin back story and an overbearing sense of helplessness which should bring them closer together but actually just operates as a false tension.

Free from the pressure of establishing a whole host of characters and the show’s premise, it is possible that these kinds of issues will be ironed out. However, even then, there is something about this Universe that feels muddled in a way which seems inherent to creative decisions that have the franchise starting over with a direction both too clear and too unclear.

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Glee – “The Rhodes Not Taken”

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“The Rhodes Not Taken”

September 30th, 2009

I want you to imagine an episode of television programming which features the following: a guest appearance from Kristin Chenoweth, a battle between Kristin Chenoweth and Lea Michele on a song from Cabaret, a duet arrangement of Heart’s “Alone” featuring Kristin Chenoweth, Kristin Chenoweth in full on rodeo mode during a Glee Club performance, and a full cast rendition of a really great Queen song.

And then I want you to imagine me, someone who enjoys every single one of these things, not enjoying the episode at hand. Crazy, no?

Well, unfortunately, that’s how I feel about “The Rhodes Not Taken,” an episode that suffers from a rapid-fire plot development and misplaced emotional emphasis. While I loved Chenoweth’s performance in the episode, and all of the musical elements, it suffered from the fact that every bit of realistic character development was saved for a character who isn’t actually in the show at all. By placing so much of the episode’s impact on the temporary replacement for Rachel as opposed to Rachel herself, her bizarre indecision is never framed as anything close to character development, left to feel like sheer plot contrivance.

It’s an episode that wants to be like “Preggers,” but in perhaps a cruel twist of fate the genius of Kristin Chenoweth only sets them back in the grand scheme of things.

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