Monthly Archives: February 2010

Parks and Recreation – “Galentine’s Day”

“Galentine’s Day”

February 11th, 2010

I wrote about Valentine’s Day episodes on Wednesday night, and in the process I argued that I prefer shows which use the holiday to service their existing universe rather than forcing their universe to conform to the holiday. Accordingly, I was legitimately excited about how Parks was going to handle the holiday, because the show has a lot of characters in love, falling in love, or in a position where love is possible but perhaps not materializing as they might have wanted.

“Galentine’s Day” manages to handle those relationships with a subtlety beyond most shows in their second season, building the episode around a romantic story which loses its romance once it enters reality, in the process shedding light on the state of the show’s various relationships. And since, as noted, I’m more invested in these relationships than I had realized, it made for a great episode for a lot of different characters.

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Community – “Communication Studies”

“Communication Studies”

February 11th, 2010

There’s a scene early in “Communication Studies” where Jeff is asking Michelle about her Valentine’s Day expectations. What he wants to know is whether he has to change anything to make the day more special, whether there is something he can do (flowers, chocolates, etc.) to better fit her expectations. However, she says she wants things to remain the same, even though we later learn that she would like some small changes (like Jeff being willing to pick up ice cream before Law & Order nights).

In this metaphor, Jeff is the show’s writers, Michelle is the audience, and their relationship is Community. Like Michelle, as an audience member, I don’t want the show to change in any major way to improve upon itself, as I quite like the show it has become, and it certainly doesn’t have to go out of its way to be quite clever with its attention to Valentine’s Day (the Cupid Being was more than enough). However, this doesn’t mean there isn’t room for improvement, even if “Communication Studies” ended up pretty satisfying.

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I’ve Been In This Town So Long: The Serial Subtexts of Survivor’s “Heroes vs. Villains”

“Slay Everyone, Trust No One”

February 11th, 2010

Every season of Survivor is effectively the same as the one before: the players might change, but more often than not they bring nothing new to the game that hasn’t been seen in some form before. For every “twist” the producers have tried to throw into the game, it all ends up being the same in the end, which isn’t really a problem since the game is at its most compelling when it finds itself in familiar territory. Because we know what’s happened before, and because we have no idea whether the players involved know what’s happened before, we get to watch them walk in the shoes of the players who came before, either triumphing where they failed or tripping up where others succeeded.

What’s interesting about “Heroes vs. Villains,” the twentieth season of the show, is that it simultaneously reduces the game to a simple battle between good and evil while creating a game structure that is without question the most complex the show has ever seen, layered with subtexts (previous alliances, previous rivalries, personal experiences, etc.) that stretch back far into our memory of the show’s early seasons in a more overt way than ever before. By bringing the tribal competition to the surface, along with the binary that often emerges between those the audience loves to hate and those the audience wants to see go to the end, the show is creating the ultimate mind game: they are forcing characters with more emotional and gameplay baggage than ever before into a game which threatens to rigidly define them, ignoring the various subtexts in such a way that they can’t help but surface the first time anyone dares mention the word alliance or whispers about how successful some players have been in the past.

The result is Survivor at its most confident, pushing all the right buttons and getting some all-time great moments, some substantial comedy mixed with some engaging drama, and enough introspection to quite literally sink any other reality show that wasn’t build for just that sort of psychological inquisition.

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That’s AmorĂ©: Modern Family and Cougar Town do Valentine’s Day

“My Funky Valentine”

“When a Kid Goes Bad”

February 10th, 2010

When a sitcom does a special “holiday” episode, especially in its first season, it’s the ultimate test of the show’s understanding of its character dynamics. For some shows, the show adapts to fit the holiday, while in others the holiday adapts to fit the show: it’s a subtle difference, and both can create entertaining episodes, but I tend to prefer the latter for two key reasons.

The first is that I kind of resent that holidays actually change people. There’s always that sense that holidays are supposed to change people, that in some way the days are “different” than others, but at the core of any real relationship is a bond which should exist whether corporations have decided that people should exchange gifts or eat chocolates on a particular day. So I want a holiday to feel as if it is being filtered through a particular show, rather than that the characters are in some way conforming to the traditions therein.

The second reason is that I find episodes where the show adapts to fit the holiday reinforce the most annoying elements of sitcom structures. Whatever adaptation happens isn’t going to last, and when it’s related to a particular holiday that structure becomes that much more transparent. Yes, every sitcom has episodes where new conflicts arise based on a particular impulse, but when it’s a holiday it feels particularly inorganic.

I make these points as a way to contextualize my (relative) annoyance with tonight’s Modern Family and my enjoyment of tonight’s Cougar Town, despite the fact that it was neither the worst nor best night, respectively, for the two series.

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Idol and Ellen Go Hollywood: Season 9 Finally (Sort Of) Starts

Idol and Ellen Go Hollywood: Season 9

February 9th, 2010

Like many, I don’t tend to join American Idol until after the audition rounds. Sometimes this means joining at the start of the Hollywood rounds, so that we can see the talent go through the “gruelling” process that narrows down the competition to the Top 24. However, other times I wait until the Semi-Finals, because there are some times (like last season, when Kris Allen had absolutely no coverage prior to the semi-finals and won the entire competition) when these rounds don’t actually matter in the end (not that I’m suggesting the show as a whole matters in any grand scheme of things, but rather in terms of the narratives the show wants to be able to create).

This year, of course, there is reason to tune in for Hollywood, as we see what sort of role that Ellen DeGeneres, she of the sharp wit and daytime talk show, will play as the new judge. What I realized in watching tonight’s episode, though, was that the Hollywood Round is awkwardly positioned as a launching pad and a crash zone, a place where narratives from the auditions come to die and where new narratives leading into the semi-finals are formed. And, in this internet age, I almost feel as if the rounds are becoming more and more irrelevant, in that any new narratives can be followed online while avoiding the resolution to the manipulative clip package narratives the show created in the audition rounds.

Some more thoughts on this balance, and what I thought about Ellen’s judging gig, after the jump.

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Lost – “What Kate Does”

“What Kate Does”

February 9th, 2010

I sat down to watch two early Kate flashbacks from the first two seasons of Lost earlier tonight, and I was struck by a moment in “Tabula Rasa,” an episode that reads very different with hindsight. The episode’s title refers to “blank slates,” and Jack (who just found out about Kate’s criminal past) says that he doesn’t need to know the truth about what she did, because the island offers them all a fresh start. However, the show’s flashbacks were based on the premise that what happened in the past did matter, and the fact that so many characters struggled to live down their past lives makes “Tabula Rasa” a particularly portentous episode in retrospect.

Of course, with the new flash sideways structure the show is taking on, getting a fresh start has taken on a new meaning. Rather than starting a new life, the characters are returning to their old ones without the seasons of development we’ve witnessed, stepping back into the same problems that made the island as much refuge as isolation for some of the castaways. “What Kate Does” is the first episode to go beyond small character changes to ask what would have happened to these characters if Flight 815 had never crashed, and while some seem to have turned on Kate as a character I strongly believe she is the perfect vantage point to usher the show into this new era.

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Irrational Actors: 3 Reasons I Have Little Respect for Angry Horde of Chuck Shippers

Irrational Actors: Chuck/Sarah Shippers

February 9th, 2010

There’s been a lot of talk on the Twitter today regarding the storm of angry comments about last night’s episode of Chuck, in particular what some fans are viewing as a betrayal of the relationship between Chuck and Sarah (the comments on Alan Sepinwall’s post are the most telling).

Now, I have two immediate impulses in response to these comments:

  1. Write a lengthy treatise on the inherent positivity found in “shipping” a particular couple, arguing that the practice turns ugly when it shifts from celebration of a couple’s promise to anger over that couple remaining apart.
  2. Slap these people upside the head.

Since I don’t quite have time for the former, and technology has not advanced far enough for me to dole out the latter electronically, I’ll settle for an amalgamation of the two: let’s look at the three reasons why these fans are being entirely irrational, both in terms of general shipping logic and in terms of the content of the actual storyline.

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Life Unexpected – “Bong Intercepted”

“Bong Intercepted”

February 8th, 2010

Ahead of the show’s premiere, Liz Tigelaar warned that Life Unexpected was going to suffer from “Pilot-itis,” in that most of its early episodes would play as restatements of the show’s premise in order to appeal to potential new viewers who might be tuning in for the first time. Her argument was that, while it’s a bit frustrating in that some viewers could get impatient, it at least makes creative sense in this instance: considering the complexity of the premise, and the emotions tangled up between these characters, the “plot” would continue to have an impact beyond a single hour. In fact, it might have been more problematic if the show had moved on too quickly without first plumbing the depths of the complications at play here.

The problem is that, with “Bong Intercepted,” we’re reaching that point where the show is staging some engaging scenes but keeps coming to the same conclusion, and the premise is starting to wear extremely thin. It’s job has been done: the show has some engaging characters, and I want to be able to see them grow and move on. Instead, the show is hitting the same beats over and over again, proving itself capable of creating some interesting dynamics but wasting them on stories that are doing little to help the show moving forward.

There’s a couple of things here that signal some momentum, but for the most part things are pretty darn predictable rather than unexpected around these here parts.

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Chuck – “Chuck vs. the Mask”

“Chuck vs. the Mask”

February 8th, 2010

I was pretty down on “Chuck vs. the Nacho Sampler,” and I was in the minority on that one: many called it one of the best episodes of the season, and I’ll admit that I just don’t see it. I had a day to sit on the episode, which meant that my concerns festered overnight, but I do think that it failed to really capture the show at its strongest, losing a lot of its momentum by keeping Chuck and Hannah apart, and by sidelining Shaw in an effort to keep things moving. The Manoosh story was solid, but it seemed like it wasn’t saying anything new, and the story seemed to be actively delaying the inevitable (with Hannah) rather than integrating her into the stand-alone story.

And based on some early responses, I might be alone yet again in much preferring “Chuck vs. the Mask” to last week’s episode. While it wades into dangerous waters with its engagement with romantic entanglements, it uses that drama to its advantage, and crafts a story that sells some pretty important transition points as the show heads into an Olympics hiatus. The episode is a bit insulated, and it resolves one of its potential long term story threads a bit too quickly, but it’s all extremely well executed, and continues a string of good episodes that gives me plenty of creative faith in the show heading into the post-Olympics episodes.

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The Big Bang Theory – “The Large Hadron Collision”

“The Large Hadron Collision”

February 8th, 2010

Generally speaking, I consider myself a “Sheldon’s Advocate.” While the show often suggests that Sheldon is acting selfishly, that his ignorance to social norms is sometimes replaced by a cruel elision of interests other than his own, I tend to give Sheldon the benefit of the doubt, taking his side in those situations because the show so often pits the other characters against him without any logical reason beyond it being funny when they make fun of him.

However, I don’t want it to seem like I believe Sheldon is entirely without fault, or that only episodes which paint Sheldon in a positive light are enjoyable. I thought “The Large Hadron Collision” was a solid episode, one which had Sheldon at his most selfish but seemed like it used that to its advantage, with Sheldon making arguments which hinged on his ignorance to the influence that having a girlfriend would have on Leonard’s decision. It isn’t a complex depiction of the character, perhaps, but it’s a consistent one, and the resolution to the story was clever enough that even without Sheldon having a redemptive moment it felt true to the character.

And in the end, that’s all I ask for, other than a quick death to Bazinga.

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