February 9th, 2011
“Clear Eyes. Full Hearts. Can’t Lose.”
Perhaps more than any other show on television, Friday Night Lights is actively concerned with the notion of legacy. The Dillon Panthers were one, the East Dillon Lions are becoming one, and the show itself has formed its own sense of legacy with distinct notions of past, present and future despite a relatively short five season run.
In politics, or even in sports, the final moments are when the legacy is at its most vulnerable. As unfair as it might seem, the legacy of Friday Night Lights could very well come down to how “Always” brings the series to its conclusion. This will be the final time we spend with these characters, their final actions and reactions, and Jason Katims’ challenge is finding that balance between progress and consolidation.
He found it. “Always” is not perfect, getting a bit too cute for its own good towards its conclusion, but it all feels so remarkably “right” that it captures in an hour what the series accomplished over the course of five seasons. It is uproariously funny and incredibly moving, and those moments which resonate emotionally are not simply those which have been developing over the course of 76 episodes. The weight is felt across the board, with characters old and new finding self-realization amidst a larger framework.
They are legacies within legacy, as “Always” captures the emotional current of what will go down as one of the decade’s finest drama series.
February 2nd, 2011
Friday Night Light has never really been interested in the challenge of coming home. The vast majority of its story arcs are about the idea of moving beyond Dillon, Texas, of taking that next step towards the rest of your life. Despite the fact that the series opened with Jason Street and Tim Riggins sitting over a fire swearing that they were ‘Texas Forever,’ the show has to some degree indicated that one must leave before they truly find themselves.
Tim Riggins would be the one exception, really. While Jason Street has returned to Dillon, it was only as a successful sports agent who could comfortably connect with his former hometown from a privileged position. By comparison, Tim Riggins has twice returned to Dillon with no sense of direction, and considering that the last time resulted in an illegal chop shop resulting in an extended jail sentence there is plenty of evidence to indicate that it’s not easy to try to reintegrate into society.
“Texas Whatever” brings the notion of coming home to the forefront more than perhaps ever before, pulling together two people who are having to deal with the question of what being from Dillon, Texas, means to the rest of their lives. And while the conclusion of the series is obviously concerned with the idea of saying goodbye to Dillon, understanding what it means to “go home again” seems just as important to closing off this particular chapter in the life of a small Texas town.
January 19th, 2011
If Friday Night Lights had ended after three seasons, I would have been incredibly disappointed. The fourth and fifth seasons of the show have featured some tremendous moments, introducing new characters and offering more opportunities for Kyle Chandler and Connie Britton to demonstrate their command of the Taylor family dynamic. The idea of losing the tragedy of “The Son,” and never meeting Vince Howard and Luke Cafferty, is the sort of televisual counterfactual that I don’t even want to consider.
And yet, “Don’t Go” made me consider it. While the episode demonstrates the degree to which these two short seasons have made a considerable impact, it also demonstrates how far one character in particular has fallen. While the series may be reaching its conclusion, there has been no attempt to sugar coat the fact that not everything is going to turn out in the end. In fact, “Don’t Go” is very much about the interrogation of what exactly would constitute a happy ending for this series, questioning if there is any combination of conclusions which won’t simultaneously touch our hearts and break them in half.
January 12th, 2011
Thanks to a particularly busy schedule and some difficulties getting access to the episodes in question, Friday Night Lights’ fifth season has been mostly absent from Cultural Learnings. And yet, this is about to change, both because of greater access and because there is a growing sense of urgency.
Not really within the show itself: while there is certainly plenty of tension on the series right now, it continues to follow the slow burn mentality it always has. And yet my relationship with the series has taken on a certain tension, as it is becoming more and more clear that this is a show which is about to come to its end. I could have waited until the NBC airings to cover the show, but this is going to be the real ending: this is when critics will write their posts on the series’ legacy, this will be when the fans will respond to the fond (or, who knows, potentially tragic) farewells, and this is when I want to say goodbye.
And so I’ll likely be checking in with the series weekly from now until the finale – for now, a few brief thoughts on the season as a whole and a more detailed review of “Gut Check” after the jump.
August 6th, 2010
The best compliment I can pay Friday Night Lights right now is that I left its fourth season finale wanting so much more than I received.
I know this is normally considered a negative statement, in that the show was somehow lacking in something that I desired, but that’s sort of the point of the ensemble drama: by showing us the lives of so many characters, there will inevitably be plots we don’t get to follow, relationships we don’t get to spend time with, and stories that could have had broader implications. The mark of a good ensemble drama is that we actually wanted to fill in those gaps, and the mark of a great one is that even with those gaps we are enormously content with the story that has been put on screen and want to see more.
Friday Night Lights hasn’t had a perfect fourth season, trapped between interesting new characters and paying service to those who came before, but the world of Dillon, Texas remains as vibrant and empowering as ever before. “Thanksgiving” is neither a definitive goodbye to original cast members nor a defining moment for the new characters who arrived earlier this season, but rather a series of moments that define this ensemble and the world in which they play football and, more importantly, live their lives. And while some part of me wanted a three-hour finale, giving us the scenes that it felt like we needed before the various stories came to an end, the selective gaze which Jason Katims adopts in the episode feels satisfying as a whole, bringing to an end an uneven but affecting season of network television’s finest ensemble drama series which bodes well for the final chapter this fall on DirecTV.
Season Four of Friday Night Lights debuts on NBC
May 7th, 2010
Back in the fall, I reviewed the critically acclaimed (to be awesome) fourth season of Friday Night Lights when it aired exclusively on DirecTV – tonight, as I hope someone else made you aware since I was asleep at the wheel, the fourth season made its debut on NBC, so I figured I should direct you to my review from the fall. I didn’t realize that I had written 3500 words about it way back when, but it seems I did, so if you’re looking for some analysis of the season premiere I’ve got you covered for an inordinate amount of time.
Season Premiere: Friday Night Lights – “East of Dillon”
What becomes clear in this fourth season premiere is that the first season wasn’t an underdog story at all, but rather a story of a team recapturing glory that never really left them but for those brief moments when all seemed lost. The story of the East Dillon Lions, handicapped by a biased redistricting that we were once on the other side of, is a true underdog story because this team has nothing. Not only are they handicapped by the inexperienced nature of its players, but they are also crippled by their lack of that community surrounding them – they don’t have lobbyists, they don’t have an experienced coaching staff, and they only have a few storefront signs to bring them together.
All they have is Eric Taylor, a true underdog whose only weapons are his coaching ability and the words (and the emotions behind them) that inspired the Panthers to victory for three years. With them, he needs to build not only a football team but a community around it, the equivalent to Noah’s Ark more than a texas high school football team. “East of Dillon” establishes this challenge, and tells us two things: Eric Taylor is going to make this work, and the people who are going to help him are slowly lining up to be a part of it.
And I’m already in the stands to enjoy the result.
I’ll be posting links to past reviews as the season progresses (perhaps only on Twitter from this point onwards), and I’ll also be filling in some gaps (including, believe it or not, the season finale), so stay tuned.
January 27th, 2010
Friday Night Lights is a show about convergence.
Really, all ensemble dramas end up driving towards climaxes which tend to bring various story elements together, so this may not seem overly remarkable. However, as the show heads towards the conclusion of its fourth season, the show is doing a lot to bring together stories, simplifying in some instances and complicating in others.
And while some of the tension created by this convergence is engaging, what I tend to enjoy more is the sort of indirect effects: this is the first time in a while where the show actively demonstrated the show’s central dilemma of ignoring the football in order to service the characters on a personal, non-football level, and that tension (when used, as opposed to simply created and elided) is part of the show’s tragedy.
“Injury List” is about capturing the tragedy of stories converging at the worst possible time, although the show manages to keep (most of) that convergence from seeming too convenient in the show’s late season push.
January 20th, 2010
If you’re one of the people who are holding off watching Friday Night Lights until it debuts on NBC, you received good news this week: the show returns on April 30th. And I’m going to be really interested to see how viewers respond to “I Can’t” when it airs in early July, because the episode has the show headed in some potentially controversial directions in terms of both cultural and narrative taboos.
It’s perhaps no surprise that the latter are my only real concern, as the show continues to demonstrate a deft hand when dealing with sensitive subjects. However, I don’t know if the same kind of sensitivity could possibly rescue the show from itself in its other major storyline, which is creating some compelling television now but is creating far more concerns than I would like heading towards the end of the season.
“The Lights of Carroll Park”
January 13th, 2010
The problem with episodes of Friday Night Lights which feel overrun by homicide or criminal elements is not that those stories are inherently terrible, but rather that they feel incongruous with the show’s world. This is purposeful, meant to manufacture tension, but I don’t think it’s entirely necessary. It’s entirely possible to confront these types of issues within the show’s particular worldview, demonstrating the consequences of crime in ways which feel less contrived and disruptive of the show’s natural order. The show can be about the conflict between the criminal and law-abiding without the show becoming defined by that conflict (or by characters flirting dangerously between the two worlds), and “The Lights of Carroll Park” is a good example of how that can be accomplished.
It’s a slightly more problematic example, however, of how the show can confront the question of abortion. While I am not judging that storyline too quickly, as I’m sure it will be given more time to develop over the weeks to come (and perhaps into next season), the show sort of stretched the believability of its characters’ maturity in dealing with the situation. While I’m all for level-headed approaches to these kinds of storylines, as it’s one of the show’s strongest qualities, I also feel as if there are certain character who should be responding in ways that aren’t mature, and in ways that reflect how challenging these kinds of moments can be.
I guess me distinction is that I want the show to be challenging as opposed to challenged, and while the revonation of Carroll Park naturally fit into the first category I think the teen pregnancy sort of forced its way into the same position.
January 6th, 2010
Friday Night Lights is a show that, despite various dips in quality, has not fundamentally changed since its first season. It has always been a show about the people in a football-crazy town, revealing both the problems which complicate their lives and the people (and the sport) that helps them keep grounded.
The show’s problem has been those moments (primarily isolated in the second season, but cropping up in the first season as well) where it feels as if the problems are the only thing that’s working about the show. The second season didn’t just struggle because a character murdered someone, but rather because the show simultaneously retreated from the football culture that was its heart: I don’t believe the murder would have ever been a good idea regardless, but it could have been handled much more efficiently if it had been folded into the community rather than remaining a distraction.
While the fourth season started as an homage to Season Three, with Matt Saracen’s farewell arc echoing Smash and Street’s exits, it has quickly evolved into an extended test of whether the show better understands the mistakes it has made in the past. The show has never been beyond having people make mistakes, and delaying the consequences of those mistakes, but the show is stepping into familiar stories, and not in a good way. “Toilet Bowl” is filled with red flags, characters taking actions that come from a somewhat logical place but which for the sake of narrative expediency are coming faster than they probably should.
It’s adding up to a show that I’m not quite as excited as watching, even if (relative to the second season) there are more reminders of the show and the community that elevate that drama to another level.