Category Archives: American Idol

American Idol’s ‘Crying Girl’

Tonight’s episode of American Idol had its usual range of performances. Melinda finished the show off strong, Blake tried to mix things up a little (And honestly, I don’t think he has the range to sing that chorus), and most performers certainly did better than in recent weeks. However, despite it being British Invasion Night, it didn’t seem like that was the theme at all. Because, you see, the real theme was: “Aww, look at the crying girl!”

I don’t believe we got the girl’s name [Ed. – It was apparently Ashley. They didn’t mention it very often.], but Ryan felt like pointing out the amount she was crying during all performances. She’s your usual little cutie-pie, even with the stereotypical pigtails. As her favourite, Sanjaya, took the stage, she couldn’t contain her tears. While the audience struggled to find the melody, the tune or the singing, period, within the song, she seemed content to cry and ogle his…hair? I don’t know what makes him cute, he’s so strange.

After the performance, Sanjaya headed into the crowd to hug her, and she had her little moment in the spotlight. Now, to this point, the show was certainly turning to her for an emotional tug, which is something which I discussed during the audition episodes. However, they weren’t done yet! As a I sat down to write this blog post during Melinda’s performance, they cut to her again! She was balling, of course, and while I know ‘Oliver!’ is kind of sad I don’t think it’s nearly that depressive. By this point, I was convinced that they should seriously consider psychological counselling for this girl. It can’t be healthy. Continue reading

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American Idol – Recapping the Top 8 Guys

There’s only 8 guys left, which 6 go through to the finals? At this point there are only a few who stand out as egregiously horrifying, which is an improvement over the last few seasons. Also of note: Ryan promises a long-awaited announcement on Thursday’s show, which could be one of many things. If FOX was smart, they’d throw together an All-Star edition of the show for the Fall starting in August.

Anyways, onto the singers on this our last single-gendered week of competition.

Blake Lewis
Song: “All Mixed Up” – 311

This one took some google searching, and then some downloading, but this appears to be the song. It let’s Blake do some hip hoppin’, some beat boxin’, and no one can deny that it’s engaging. It’s not quite a song one can sing easily, or clearly, but it’s a performance more engaging than one could imagine. The judges seem pleased, although none of them knew the song.

Sanjaya Malakar
Song: “Waitin’ on the World to Change” – John Mayer

I don’t want to alarm you, but he honestly looks like a woman tonight. Between the hair (Which Simon calls a “Paula Hairstyle” so it isn’t just me) and the lipstick, and the John Mayer song, it’s not doing him any favours. As for the singing itself, his tone is as perfect as ever in the weaker parts of the song, but when he tries to bring in some energy…it’s terrible. It’s a screechy noise explosion that is honestly frightening, and the judges agree: not as bad as last week, but still most unfortunately bad.

Sundance Head
Song: “Jeremy” – Pearl Jam

While I spent quite some time trying to figure out what Pearl Jam song it was, I was a little shocked to realize that it was actually a song I knew (One of very few). The singing was admirable, if unmemorable, and the judges agree that his unique qualities came through. Simon feels it wasn’t quite charming enough, felt it was a bit too indulgent and bar-singer. Personally, I think it was unoffensive, and Sundance continues to rebound well from his disastrous first week. Continue reading

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Thursday Night TV Club – February 22nd, 2007

 

The Office

I gasped. When Pam told Roy that she had kissed Jim a month before their wedding date, I gasped. Directed by J.J. Abrams, the episode was one built almost entirely around drama, really quite simple drama at that. Much like Joss Whedon worked for last week’s action/vampire oriented episode, Abrams worked well for this episode that was all about the drama caused by two budding relationships (Jan/Michael, Pam/Roy). At episode’s end, Roy went batshit crazy (Which was a bit sudden considering his recent character change, but his sobering down at the end at least put his moment of anger into perspective), and Michael and Jan find themselves at a crossroads where their secret relationship doesn’t work so well going public. It was a good episode, though, even though it focused almost entirely on the dramatic aspects. 

Scrubs

Scrubs continues to settle in around the good but not great area. There is still some solid comedy here, but it just seems like it isn’t going anywhere. J.D. is lacking a purpose, Turk and Carla are lacking drama, Eliot is lacking any real spark with Keith, and even Dr. Cox has lost any sort of drive. It’s really not much more than any multi-camera sitcom at this point; heck, I’d say it has even less of an overarching plot than a show like How I Met My Mother. Still, it has some fairly good jokes here and there, and it’s certainly still enjoyable to see these characters interact. I like recurring patients on the show, and Brian works well, but it just isn’t giving us anything new. 

30 Rock

“I would like to be Michelle Pfeiffer to your angry black kid,” “I want to take this cornbread behind the middle school and get it pregnant,” and Kenneth and Tracy harmonizing to Annie: all in the cold open to tonight’s 30 Rock. The fact that the episode’s writer, Matt Hubbard, came from Joey of all places shocks me, because it was very sharply written. Kenneth as the awkward Entourage member who stirs up the shit, Liz and Jack v. Josh and Agent, Jenna and her unfortunate political knowledge (The ol’ Osama/Obama slip. If it can happen to CNN, it can happen to everyone)…it was all pretty much amazing. Oh so much drama, oh so many cultural references…the fact that this show is in danger of being cancelled hurts me. It hurts me deep. “Television on. PORNOGRAPHY!” The entire thing was an incredibly well orchestrated piece of comedy, right down to the Bodyguard moment to end the episode.

 

The O.C.

In a show that was often about relationships, about the connections between two people, it was somewhat refreshing to see a finale that was more about individual characters than it was about Seth/Summer, Ryan/Taylor or Julie/Frank or Bullit. It wasn’t about these pairings, but rather the individuals at their centre. In the end, Ryan is happy, Seth is happy, Summer is happy, Julie is happy. Sandy and Kirsten are happy, connected as a unit, with a new daughter in tow.

Flashing forward six months skips what would have been unnecessary drama. While I thought that they turned Taylor into a bit too much of a spazz compared to the past few weeks, the fact of the matter is that it all makes sense. In the wake of the Earthquake, everyone looked to settle for what seemed easiest. Taylor and Ryan abandoned their relationship, Seth and Summer gave up on their passions, Kirsten settled on Newport as their home, Sandy settled his dreams, Julie settled on Bullit.

The episode, more than about creating happy endings, was about creating happiness for each individual character. It was about fixing the problems that caused as the earth, and the characters, settled after the Earthquake, not about fixing all of their problems in one fell swoop. Sure, there were the occasional contrivances designed to make everything sugary, but they were plot-based only; the characters reached natural, relevant conclusions.

I didn’t say much in my obituary piece about how I really felt about the show’s quality. The fact is that I didn’t pay much attention to the 3rd season, I stopped watching during the whole Johnny saga. And yet, I tuned into Season Four, and continued watching. I liked the addition of Taylor, and the character of Kaitlin was a pleasant surprise. Bullit was grating at first, but he grew ever so charming in the end. Season Four saw Ryan become more emotional (and funnier), and gave Summer a purpose she hadn’t had before.

Whether it was perfect or not, I think Season Four did a great job of leading us to a conclusion that was satisfactory. It’s tough to really complain with any of the conclusions found within the episode; we see Ryan as a successful architect, Sandy as a professor, Seth and Summer marrying, Taylor and Ryan’s relationship remaining ambiguous but friendly, Julie graduating from college (Bullit/Frank & Son/Kaitlin on Team Julie was incredibly powerful for the character’s trip from trailer park to Newport), and Ryan offering assistance to yet another hoodie-wearing youth on the streets.

Schwartz kept the nostalgia for the end, spending the rest of the episode on personal revelations in the present. That nostalgia was all through Ryan, his trip through the Cohen household for the first time intercut with his last. However, perhaps most importantly, the use of Marissa’s character was incredibly well handled. The locket with her picture was subtle, not overbearing, and her appearance in Ryan’s memory was brief, poignant. While I believe that her death was positive for the show, her importance to its narrative can’t be ignored.

So, a toast to Josh Schwartz and company for a job well done. You’ve left these characters in an existence where they seem happy, fulfilled. Yeah, Seth didn’t really get a real purpose and some things came together all too easily, but it was fulfilling. Much like Alias, which may not have ended perfectly but left its characters in the right place, so too has Ryan and the Cohens and everyone else found their happy place in TV Heaven. Things will never be the same for hoodie-wearing young offenders of future generations.

American Idol – Top 24 Results

Did anyone else find this to be one of the most awkward results shows in the show’s history? The first person is standing alone at the end of the stage and is told, point blank, that he’s going home, even before Ryan reads the judges’ comments. The second person is picked at random out of the lower line and unceremoniously told she’s going home. There is no time to collect her thoughts, no time to truly deal with the reality that her dreams are over. The second set of eliminations weren’t nearly as frustrating, and we got a video package for all of them at the end, but it still came off as more awkward than it needed to be. (Although that was quite the incestual choice of Chris Daughtry’s “Home” as the song played for the eliminated contestants (Paul, Nicole, Amy, Rudy).

The actual selections aren’t really all that surprising, as boring always loses out to crappy at this stage of the competition. Antonella and Sundance, arguably some of the worst on either side, both had substantial coverage in the earlier auditions; they might have sucked, but they were people that could build fanbases and the like.

The episode itself moved almost too quickly, which is always surprising considering its length. With four eliminations, a special performance from The Colour Purple by Fantasia (She seems well suited to the material, I’d say), the return of the Group Sing (Which wasn’t half bad) and gratuitous recaps, things moved quite briskly. I have to wonder, however, whether or not something a bit slower paced and, dare I say, respectful might be perhaps more entertaining in the end.

Grey’s Anatomy – Some Kind of Miracle

Shonda Rhimes may not be the best writer working in television right now, but she is fantastic at scripting and organizing these event episodes. The same sensibilities which made the two-episode Super Bowl arc last season work so well were in place here; it made for television which changed its characters, had great relevance to the show’s overall themes, and extending the show’s mythology that much further. Continue reading

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Tuesday Night TV Society – February 20th

Perhaps to help organize my TV blogging, I figure I should introduce another weekly feature to cover the breadth of TV on Tuesday evenings. This particular feature might be a bit slow-moving once one of the shows goes on Hiatus, but I can pick up another one or two if necessary to flesh things out. And yes, fancy writing denotes a society.

Gilmore Girls – “I am Kayak, Hear Me Roar!”

Not a show to let the happy train leave the station too soon, Gilmore Girls once again found itself a few problems to deal with as it heads into the end of what could be its last season. While the end result of things (Luke and Lorelai being together, Rory and Logan being together, etc.) is quite clear, it’s also clear that it’s going to take us awhile to get there.

On the Rory and Logan front, we’ve got Logan being screwed over on his patent deal, perhaps losing all of his trust fund. I think a Logan no longer tied to his father’s existence would be in the show’s best interest at this point; it’s clear that he struggles to remove himself from his father’s shadow, what better way to do so than to make Logan financially dependent on Rory? They’ll be remotely happier without Mitchum in their lives. It seems bad now, but this will end up a positive methinks.

The situation with the elder Gilmores, however, is quite foreboding. The drama at the Gilmore household was very well handled, ranging from Richard’s frustration with Emily’s helplessness. Emily relationship with Lorelai has always been tenuous, but her motherly advice while drunk was touching. By the same account, her anger in the morning was realistic. The characters were handled well, and things are back to the status quo.

This status quo allows us to head back to Stars Hollow for some Baby Showers, and likely some Luke and Lorelai drama, next week. With 7 episodes to go, time is running up for their relationship to come to fruition. Continue reading

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American Idol Goes Hollywood

Hollywood Week is perhaps the greatest thing ever. We start with people who think they’re good, and then we take those cocky individuals and throw them into groups where their personalities clash right into the middle of the night.

It’s where people forget their lyrics millions of times, to songs that they really should be able to learn much quicker than this (Harmonies aside). It’s where people who were cute stories back in the other auditions turn into the mediocre singers they are.

It’s also where a ringer, someone like Bailey Brown, gets dramatically cut after remembering about 5 words out of her lyrics. And then one of her groupmates explains that Bailey was cut because “God likes good people.”

It’s also where My Grammy Moment winner Robin Troup shows up in the Group singing competition only to end up being cut…and then months later ending up on stage with Justin Timberlake.

Really, Hollywood Week is perhaps the most satisfying part of the American Idol season. There are no hideously horrible singers, plenty of mistakes to make fun of, and some truly good singers who make it in the bigtime. It’s where we see them singing tough harmonies, weird song choices, and a WHOLE lot of crying.

What was really interesting to me was the difference in the endings of people’s journeys. For some that we might have expected to break down, like the girl who lied to her father, she was oddly calm about going in the first round, happy to have made her father proud. Others, on the contrary, were complete and total messes, fighting to the end.

Everything seemed topsy-turvy. They show us someone who did really well, who was really well-liked…and then they’re crushed. The show ended with people’s tears, all upset with the decision of the judges to cut them from the Top 40. It ended on a brother/sister pairing being split up, as well as a pair of snotty best friends (Including “God likes good people” girl. Touché, big guy.)

I don’t even know how to feel right now. Should I feel sad about the people who lost? Happy for those who won? What do I do with these close relationships? Should I be remembering those we chronicled and then lost on the way through? Or looking forward to some of these people that we never even got to meet? Honestly, out of the Top 40, I recognize almost none of them. All we got to see were those who lost tragically.

It’s really just another example of the schizophrenia within this season. Everything seems so strangely off-key, if you’ll pardon the pun, compared to past seasons. I feel like the rug is constantly being pulled out from under us as we watch, never really able to root for someone without worrying that they’re about to go out in a blaze of misplaced glory. It’s, honestly, quite unsettling.

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Deconstructing American Idol: Manipulation at its Finest

Last week, I wrote about the new season of American Idol, and its penchant towards displaying the lowest of the low, and even dedicating a fair amount of time to their portrayal. While I talked about the whole question of these bad singers and the like last week, this week I want to look at each episode as the manipulation of our senses, a pattern developing to best serve a particular audience. The directors, producers and editors on American Idol, in a way, are like journalists crafting a story. So, let’s analyze last night’s episode to test out this theory.

Act One: Bringing the Funny

Let’s face it, these early episodes of American Idol are designed to make people laugh and make fun of people who can’t sing in the least, or are entirely oddball in their ways. It’s important for them to do so because they want to hook people in their story. People with short attention spans are immediately drawn into the humour of it all, and you can’t really blame them. The segments are lasting a bit long this season, but let’s face it: it’s still funny to watch people get horribly rejected.

But, in terms of power, the judges are in control, and this first person always shows this. The judges are immediately able to say a resounding no to a contestant, which immediately establishes them as the quality control of the operation.

Act Two: The Montage of Mediocrity

Not looking to lose those viewers who entered for the funny, they parade some of the worst singers doing one of a multitude of things. They could all be butchering the same song, all pleading for an opportunity to do better, or all having major problems with their pitch.

 

This places the audience in a position to just sit back and enjoy themselves, and it’s non-stop entertainment. Not only will this keep them from changing the channel, but it also continues to condition them into thinking that these singers aren’t good in the least. It most definitely manipulates us, as it often shows us only the negative parts of their audition, and you wonder if perhaps the rest of the song was better.

Act Three: Hope for Humanity (But not too much hope)

Here, the show provides two things: singers who have potential to be good but fail to live up to it, and individuals who can actually, you know, sing. These include people from previous seasons who are back to audition, people who have training but just try too hard, or people who can belt out a good tune.

 

This helps to keep people around, and shows a vulnerability in the power of the judges. If we had a show of all failures, they would appear too difficult, too rigid. Similarly, an episode of all people like this would remove their power entirely. This section is also there to keep people tiring of the bad singers (Read: Me) watching. Continue reading

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Tabula Rosa: The Blank Slates of American Idol

So, anyone who’s been watching American Idol this season may have noticed a slightly more dramatic tone to the proceedings, especially those auditions that would normally be laughed off. We’ve always seen the people who swear and become extremely angry, and they’ve always been good for a good laugh. However, for some reason, we’re not just seeing the angry ones anymore. We’re starting to see people who are honestly terrible, and who the producers must know are terrible, and yet they give them detailed introduction videos, detailed stories, and then absolutely destroy them from a singing perspective. We’re even starting to see montages of them all performing the whole song, which are clearly being created for the sake of producers. They give the bad singers these songs to learn overnight, and then have them sing them purely for the purposes of making people look silly.

We’ve never seen anything quite like this in the past. I don’t know if it’s that it was always edited out in the past, or if they’re coaching these contestants to be as delusional as possible, but it’s getting quite ridiculous. And, to an extent, one of those crazies (A girl named Sarah) is a perfect example of this, but within her craziness I think she pointed out something quite interesting.

Sarah was a normal girl at first, but then she started singing and was clearly tone deaf. Really, honestly, ridiculously tone deaf. And she knew it. She even said she was tone deaf. And yet, she said, she could still be the American Idol because she was trainable, an empty slate. Tabula Rosa. And she could win American Idol without even singing. Continue reading

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