June 10, 2007 · 11:56 am

For Your Consideration: Supporting Actresses – Julie Benz and Perrey Reeves

[In Week Two of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actress awards in both drama and comedy. Today, we present our third set of candidates. For last week’s Supporting Actor candidates, and an index of all candidates, Click Here]

Supporting Actress in a Drama

Julie Benz (Rita)

Dexter

Showtime’s Dexter is a fascinating character study, a drama that blurs the line between procedural and serial while investigating more its characters than its crimes. At the centre of that conflict, no doubt, is Dexter Morgan himself, but I have to hope that Emmy voters will be able to realize how important the supporting cast is to this series. Each of them portray a similarly damaged individual, just in different ways: there are no characters without some level of emotional distress, and they deserve to be considered. However, the nature of this series is that there is limited room, and decisions must be made. As a result, we shall consider Julie Benz, who portrays the emotionally damaged Rita. Attacked by her husband, raising her kids on her own, her relationship with Dexter is one of the show’s most important elements. As Rita’s own insecurities begin to evaporate, Dexter’s resurface. Benz matches the fabulous Michael C. Hall scene for scene, and the result is a powerful supporting performance worthy of Emmy consideration.

From the show’s very first episode, Rita’s character was clear: Dexter dated her because she was afraid of intimacy, having been assaulted by her husband. Benz brought to Rita a sense of insecurity that felt just as it needed to. She loves Dexter because he’s great with the kids, dependable, and an all-around good guy. She knows nothing of his vigilante justice, and that is what makes her character so powerful: she reacts to Dexter purely as a human being. But Dexter isn’t human, he’s damaged, and Rita is just an extension of that in his mind. This creates a gap: she believes them to be in one place, when inevitably he believes them to be in another.

As they came together throughout the season, eventually reaching much better terms, Benz remained the consummate supporting actress. Rita needed to be someone we can see Dexter loving, who we could see loving Dexter, and who we could see as someone damaged and yet trying to fight back. Benz managed to create someone who could be loved by a murderer, who could love a man who for some time could not show love, and who could be damaged at her core but hide it from her children. When she breaks down, it seems like she is shedding layers that she will pile right back on as soon as the discussion is over. Not enough people have seen Benz’s performance, perhaps, but more people need to be made aware: Dexter was one of the best new shows of the season, and Julie Benz was an integral part of the series’ dynamic.

Episode Selection: “Truth Be Told” (Aired December 10th, 2006)

While Dexter’s finale ended the season-long Ice Truck Killer mystery, it didn’t have room for a resolution for Rita. As a result, Truth Be Told was really the final hurrah for Rita within the season. And, for the most part, the episode provided her with a lot of dramatic movement: faced with a druggie ex-husband being framed by Dexter (Quite excessively, too), she has to balance her new relationship, her old one, and being a parent amidst it all. Unfortunately, I can’t use YouTube to show you that performance, but just imagine that it was powerful and vulnerable. It’s a good choice because there’s a torrent of frustration: her anger with Dexter never turns into a full-fledged fight, but their relationship is different from their happier moments. For the sake of something, here is one of those happier moments.

YouTube – “Rita and Dexter”

Supporting Actress in a Comedy

Perrey Reeves (Mrs. Ari)

Entourage

Most television characters without a first name are unlikely to make a dent in our collective memories. Being known as “Mrs. Ari” in Entourage‘s credits certainly hasn’t given Perrey Reeves any sort of fame boost, and for the most part I would say that she’s a marginal player at best. However, and this is a big however, when she is on screen it is fabulous to watch. While Jeremy Piven rants away, giving Ari a sense of insanity and fortitude so very powerful, Reeves always matches him. Her responses are just as sharp-witted, just as biting, just as strong. She goes toe-to-toe with Ari in a way that often seems almost unnatural. We see so little of her life: we rarely see the kids, and we never see “Mrs. Ari” on her own. However, as a supporting player in the life of an overpowering character, she always manages to get a word in edgewise where so many others would not. And, for managing to do so without even a first name, Perrey Reeves deserves Emmy consideration.

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June 10, 2007 · 10:12 am

Confessions: Why I’ve Never Watched ‘The Sopranos’

Forgive me, television fans, for I have most certainly sinned. Here we are, on the eve of the series finale of ‘The Sopranos’, and I must admit to you all that I’ve never watched a single episode of the series in its entirety. So here I am, as an intrepid television blogger, forced to be woefully ignorant on what is likely to be one of the biggest series finales of the past few years. Part of me always worries that Tony Soprano will abduct me and I’ll end up like the corpses in the above photo.

In a perfect world, I would have watched the series. I should, then, be writing all about how I feel The Sopranos was as a whole, I should be writing a review of the finale…but I can’t. But, I feel like I should nonetheless spend some time reminiscing about The Sopranos, although in a slightly different way. As a result, I present the five reasons why I never got into The Sopranos.

5. I Am But a Youngin’

Yes: I was but 13 years old when the series first premiered, so let’s just say that it wasn’t exactly standard viewing for someone in that age group. At that young age, I was fascinated that CTV was eventually able to pick up the series and air it censorship free considering its content. My only memory of the series from this period was flipping onto CTV, finding strippers, and being very confused. (Not by strippers in general, but by them being on CTV at like 10:30 pm on a Sunday, just to be clear).

4. Canada, eh?

Living in Canada means that HBO isn’t standard, and The Movie Network was a bit slow on the uptake with the series’ first season. More importantly, however, I don’t think we actually got The Movie Network at that point. This made it somewhat difficult to follow the series even as I grew older and more into the show’s audience range.

3. The Ridiculously Overpriced DVDs

The Sopranos, it seems, is not a series that HBO wants people to get caught up on. While the earlier seasons are now down to $40 American, new sets remain at ludicrously high prices. Considering that the TV DVD craze hit when it did, HBO remains a highly priced brand that makes it nearly impossible to catch up on their series without breaking the bank.

2. The Timing of my TV Revolution

With University came a new obsession with television, and it also meant catching up with old series I hadn’t quite watched on a regular basis. However, The Sopranos happened to be decidedly on hiatus during my first year of university. At the very time I was opening my world to other series (Such as The Office (US), Arrested Development, etc.), The Sopranos was not on the cultural radar enough for me to consider it an option.

And the #1 Reason I’ve Never Watched the Sopranos is…

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June 9, 2007 · 12:04 pm

For Your Consideration: Supporting Actresses – Autumn Reeser and Jane Krakowski

[In Week Two of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actress awards in both drama and comedy. Today, we present our second set of candidates. For last week’s Supporting Actor candidates, and an index of all candidates, Click Here]

Supporting Actress in a Drama

Autumn Reeser (Taylor)

The O.C.

I’m basically going really far out on a limb here, but there is a definite theme with today’s selections and Autumn Reeser fits right in. Introduced as a stuck up villain for Mischa Barton’s Marissa who hooked up with the evil Dean Hess (It was embrassing for all involved), Taylor was a character left as almost purely one-dimensional…but then something happened. As the third season progressed, she began to change; her mother was seen as a tyrant, and she began to pursue a friendship with Seth, Summer and the gang. As the show progressed into its 4th season, now Marissa free, Autumn Reeser was made a regular cast member. And, as a result, she became the scene stealer the show was clearly looking for. She was smart, funny, insanely charming, and she managed to make a relationship between Taylor and Ben McKenzie’s Ryan work far better than it should have. Basically, Autumn Reeser was one of the main reasons for The O.C.’s creative resurgence, and even though it’s a long shot and I once found her insufferable, I am going to put her under consideration for an Emmy Award.

The challenge for any new regular cast member, even one who was recurring before, is integrating into the existing cast. This, it seems, was Reeser’s calling. She managed to have memorable scenes with pretty much every single character. She had fantastic banter with Kirsten and Sandy, unconventional girl talk with Summer, the usual humour from Seth, and, of course, an actual relationship with Ryan. There was even some fantastic Julie/Taylor moments in there as well. And every single time, she stole the scene: when Taylor was in a scene, chances are she was the focal point.

And yet, Reeser always gave her a certain vulnerable side, never quite becoming entirely the neurotic mess Taylor usually is. On a show that often fell apart, Taylor was always consistent in her actions, and I think that any Emmy voters who see an episode of The O.C. for Emmy consideration will see her as a shining beacon of hope amongst teen soapiness. Even as an admitted fan of the show this season, I know that she has little chance of standing out. But, she basically knocked every scene out of the park, and in terms of supporting performances I can’t help but consider her seriously. A lot of things saved The O.C. this year, but Autumn Reeser deserves a large portion of the credit.

Episode Selection: “The Sleeping Beauty” (Aired November 30th, 2007)

This episode isn’t actually her Emmy submission, as she decided to submit one of the more dramatic performances from the utterly awful story arc with her French husband showing up. However, this early season episode proved to me that this reboot of the show could work, and basically make the Taylor/Ryan relationship believable in one fell swoop. She has funny scenes with the Cohens, with Kaitlin Cooper, and of course with Ryan. She is funny, engaging, heartbroken, nervous…it’s a tour de force performance, and isn’t all caught up in annoying French husbands like she is in The French Connection. She manages, here, to be an emotional connection for the audience. The fact that she makes a contrived relationship work in this manner is deserving of Emmy attention, simple as that.

YouTube – “The Sleeping Beauty”

Supporting Actress in a Comedy

Jane Krakowski (Jenna)

30 Rock

I have said some unkind things in the past about Jane Krakowski’s Jenna. I believe, at multiple points, I wondered whether she was really necessary for the show’s dynamics after she was absent for a few weeks. And, to be honest, the show was better without her. However, in retrospect, I think that my favourite 30 Rock episodes feature Jenna in some capacity. It’s weird, because while I dislike her character in comparison to Liz, Jack, Tracy…she’s still a part of this cast. She’s almost always the butt of the joke, but I think that you need someone like that to be around. Often the victim of poor writing, when the writing was good Krakowski always lived up to the material. While part of me feels she was extraneous to the show’s best elements, the episodes that featured her brought some of the show’s best comedy. It wasn’t the most individualistic comedy performance of the year, but I think it should at least be considered.

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June 8, 2007 · 12:52 pm

Character Suicide: Considering Why Isaiah Washington was Fired from ‘Grey’s Anatomy’

When we last left ABC’s Grey’s Anatomy, Dr. Preston Burke had left his fiance at the altar and had moved out of their shared apartment. As the source of a great deal of controversy over the past year thanks to the use of a hateful slur against gay castmate T.R. Knight, actor Isaiah Washington‘s job was often in jeopardy in the eyes of television media, but Shonda Rhimes always stuck by her star. With the season over, however, that has changed: as of this moment, Isaiah Washington has been fired from Grey’s Anatomy.

There is something fascinating about this whole saga, and I think that it goes beyond the question of homosexual actors in hollywood. Over the past year it seems like “Coming Out” is becoming standard practice: Lance Bass, Neil Patrick Harris, T.R. Knight and most recently David Hyde Pierce have all done so. T.R. Knight, however, was the only one to really be forced out of the closet thanks to a tabloid story, which makes him the most distinctive case. Despite a much more open society, it seems being gay is still seen as an oddity, as something that (when revealed) changes everything. Washington’s use of the ‘f-word’ was certainly an instigative act that resulted in him going into counseling and taping a PSA on the subject of equality.

The media has beaten this angle of the story to death, although not unjustly so. Washington’s statement was hurtful, juvenile, and unacceptable, and if this is punishment for that act then there is reason to be pleased with this retribution. However, I think that Washington’s problems did not stop there, and that as an individual his actions AFTER the event have gone somewhat unanalyzed. If you are Shonda Rhimes, how do you handle an actor whose actions off-screen affect his on-screen character to the point of overshadowing the show itself? And, if you’re that actor, how could you possibly return to work in that scenario? It’s an important question, and one that has been raised in the past. And one that Cultural Learnings will now analyze.

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June 8, 2007 · 12:07 pm

Ratings Update: Sharks Circle Around ‘Pirate Master’

I might not be watching the series anymore, but I certainly am still watching the ratings for CBS’ Pirate Master. And while it isn’t the huge decline that hit FOX’s On the Lot earlier this summer, it is certainly bad news for the struggling reality series.

PIFeedback.com – Thursday June 7th Fast Nationals

Week two of CBS reality dud Pirate Master lived up to that description, with a disappointing 6.34 million viewers (#2) and a 1.9/ 7 among adults 18-49 (#2t) from 8-9 p.m. Comparably, Pirate Masters opened on May 31 with 6.99 million viewers and a 2.3/ 6 in the demo, based on the final nationals.

That means that the show dropped roughly 10% of its premiere viewers, while dropping a more disastrous 17% or so in the key demos; and this is without the same level of competition as last week! CBS, like FOX with On the Lot, is likely to stick with it to avoid admitting defeat, but Pirate Master will certainly not be returning for another voyage any time soon.

Also of note: ABC’s Fast Cars and Superstars failed to ignite racing fans:

Earlier in the evening on ABC was the debut of Fast Cars & Superstars at (an also estimated) 5.62 million viewers (#3) and a 1.9/ 7 among adults 18-49 (#2t) at 8 p.m.

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June 8, 2007 · 11:00 am

For Your Consideration: Supporting Actresses – Elizabeth Mitchell and Melora Hardin

[In Week Two of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actress awards in both drama and comedy. Today, we present our first set of candidates. For last week’s Supporting Actor candidates, and an index of all candidates, Click Here]

Supporting Actress in a Drama

Elizabeth Mitchell (Juliet)

Lost

We first met Elizabeth Mitchell’s Juliet at the beginning of season three, as she became Jack’s all-purpose wrangler if you will. She brought him sandwiches, she played him Bob Dylan-style video tapes in an attempt to seize control, and she assisted in surgeries despite only being a fertility specialist. Throughout that six-episode mini-arc, this was all we knew about Juliet. Mitchell’s portrayal was certainly strong, but the character was just another Other as far as we could tell. However, with “Not in Portland” (The first episode back from hiatus), Juliet was thrust into the centre of the Others’ history, and Mitchell was up to the task. Throughout the remainder of the season, she became an intricate and powerful part of this ensemble, and at season’s end she was still as complicated and engaging as ever. Much like Michael Emerson, Mitchell had an incredibly tough task ahead of her. And, like Emerson, she stepped up to the plate with a performance worthy of Emmy consideration.

Juliet could have been a fairly mediocre character in the wrong hands. She has been used as a disruptive influence in the relationship between Jack and Kate, and became “the other woman” to the castaways as well when Jack brought her back to camp following their adventures. And yet, Mitchell always managed to create a character that we outwardly liked, even when they were doing somewhat evil things. When we learned that she was still working for Ben as she took Sun to the medical hatch, we as viewers wanted it to be false, wanted there to be some kind of explanation. Mitchell’s portrayal made us want to like her, something that could have been difficult considering who the Others are.

This season of Lost was all about humanizing the Others, providing them a perspective on this island. Without performance like Mitchell’s, I think the Others might have remained faceless villains, incapable of becoming part of the show’s mythology. Juliet became someone we outwardly liked through a complex back story, a relatable situation trapped between two sides, and by never completely showing her cards. The show asked a lot of Mitchell, and she stepped up every single time. I was never bored with Juliet, and I’m not sure I will ever be. Elizabeth Mitchell is now an integral part of Lost’s ensemble, and her ability to weave Juliet into the show’s complicated storyline is Emmy worthy.

Episode Selection: “One of Us” (Aired April 11th, 2007)

Juliet’s second episode worth of back story, One of Us is a tumultuous journey through her time on the island, coinciding with her present struggle to become part of the culture at the beach. It is a fantastic portrayal from Mitchell that gives her a wide range of scenes that would pull any Emmy voter into her direction. She has so many that I had an incredibly tough time picking just one. Her nervousness before she heads to the island? Her breakdown after yet another woman dies during childbirth? Her smackdown of Sayid and Sawyer as she gather the medical equipment? All of them are noteworthy, but the one I must showcase is where she confronts Ben about his tumour. He had promised to cure her sister of cancer, and yet he has it himself: Juliet is unpleased, and Mitchell’s portrayal is honest and just fantastic. This is an acting tour de force, and it cannot be ignored.

YouTube – “One of Us”

Supporting Actress in a Comedy

Melora Hardin (Jan Levinson)

The Office

I believe that one of the greatest disservices of this television season was the character homicide of Jan Levinson on NBC’s The Office. After three seasons worth of strong, subtle performance from Melora Hardin, she was turned into a boob joke and a serious case of the crazies. While it provided some comedy, sure, what was always entertaining about Jan was how she walked the line between neurotic mess and corporate role model. Her relationship with Michael was her trying something new, trying to find stability where there was none. If she was the comedic form of humpty dumpty, she had a great fall at the end of the season. But, I hope that Emmy voters will be able to remember how to put Melora Hardin’s subtle and entertaining comic performance back together when it is time to submit their ballots.

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June 7, 2007 · 9:54 pm

The Five Reasons I am No Longer Watching ‘Pirate Master’

Well, Mark Burnett, I gave Pirate Master two weeks of my time, but unfortunately I am not going to be able to continue walking the plank, dropping the anchor, or rigging the sails any longer, as Pirate Master has outstayed its welcome. I was all ready to follow you from sea to sea, from adventure to adventure (I even made a photoshop template last week, Mark, come on!). However, I’ve decided that sticking with it will only frustrate me further, so I should cut myself adrift before the ship sinks for good. But, of course, I can’t just say goodbye without letting you know my reasons for leading my mutiny.

5. The Confusion

On Survivor, and every other reality show, the rules are usually fairly simple (Or are ever-changing, like on Big Brother). Here, however, everything is left vague. Rules pop up out of nowhere, the Captain starts tossing around money as if it’s a normal strategy play, and the eliminations aren’t surprising but rather completely underdeveloped. It’s one thing to make a thinking man’s reality show, but it’s another to make one that only a doctorate thesis could properly dissect at this rate. They needed to set the rules down in this episode, and all they did was make them more confusing.

4. The Editing

Very simply, Mark Burnett has forgotten how to edit things. In the Eco Challenge era, he pioneered characterizations in reality television through smart editing, making sure that rivalries were fostered and created. Here, none of that seems to be present: the comments chosen for talking heads are often highly cliched, and fail to ignite any sort of character within these people. It is the job of the editing to make even boring people look good, and it just isn’t working here. There are no stories for these people, no identities. It’s not entirely the fault of the editing, but it should be stepping in to save these people. Speaking of which…

3. The “Pirates”

Reality contestants need to be either interesting or outrageous, and this cast consists of neither. When they’re asked to explain things in talking heads, like Cheryl explaining the Black Spot process, they are embarassingly terrible actors. When they were clearly told to dramatically look at the marked crew members and the captain during the elimination ceremony, they were wooden and terrible again. These people just are not good reality contestants. This episode at least showed them doing more of the work on the boat, which was cool, but none of them could even build a story around themselves. This episode boiled down to weaknesses, not strengths, and its highest profile pirate (Azmyth) didn’t even speak last week. That’s a cast filled with nobodies.

2. The Host

Cameron Daddo, you are not funny, charming, entertaining or engaging. I do not care when you’re on screen, and you don’t even try to get me to take your silly chest of Zanzibar seriously. A reality TV host is supposed to make even the most mundane challenege intriguing: when Jeff Probst or Phil Keoghan are stuck talking up a crappy challenge, they damn well make it sound like the best thing ever. Daddo just maintains his monotone perspective, believing that all pirates are soothed by stoic speech. This is not the case, and I certainly don’t tolerate it either. A good host could have steered this ship away from the sharp pointy rocks of suckage, but Cameron Daddo is not that host.

And finally, the #1 Reason I’m no longer watching Pirate Master…

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June 7, 2007 · 5:18 pm

‘For Your Consideration: Jericho’ Page Now Open

Just a heads up to my regular blog readers: I’ve officially opened the For Your Consideration: Jericho page I have alluded to in far too many previous posts (I’m a whore for the email link recently, apparently).

For Your Consideration: Jericho
https://memles.wordpress.com/jerichoemmys

If you want to submit something, or think that another show might deserve a similar page, send me off an email…well, I won’t post it again, but it’s in the upper right hand corner for those interested.

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June 7, 2007 · 11:00 am

For Your Consideration: Supporting Actors – Terry O’Quinn and Michael Urie

[In Week One of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actor awards in both comedy and drama. Today, we present our last, and seventh, set of candidates. Tomorrow, we’ll begin looking at Supporting Actresses. For all Supporting Actor candidates, Click Here]

Supporting Actor in a Drama

Terry O’Quinn (John Locke)

Lost

I’ve saved Terry O’Quinn until the end not because I don’t know what to say, but rather because it almost feels unnecessary to say it. After unjustly losing the Emmy two years ago, Terry O’Quinn has unfortunately gone unrecognized for his role as John Locke, and in a way it makes sense. The 2nd season wasn’t a big one for Locke, as he lacked a true defining moment. It was more of a general pattern, his obsession with the Hatch being a long, drawn out affair as opposed to a single emotional moment. However, I will make no excuses for the Emmys or any other awards show when it comes to the coming awards season. Because, when it comes to supporting performances, no character had a bigger episode this season than John Locke, and no actor stepped up to the plate like Terry O’Quinn. And for that, my friends, Terry O’Quinn deserves an Emmy.

This season, Locke was given the opportunity to finally reconnect with the island, the very thing that had so tempted him in the first season when he stumbled upon the hatch. Without that hatch to rely upon, Locke was asked to step up to the plate and lead his people after Eko’s untimely death. The result of this was Locke regaining his faith, of sorts, from Eko’s scripture-laden stick, and sending him on a journey to find the Flame Station, the Others’ compound, a certain submarine, a magic box, a gruesome task, a fateful journey, a mysterious encounter, a near fatal shooting, a visitor from his past, and a final plea to Jack to not allow outsiders to enter the sacred island he now calls home. That journey, taking place in the second portion of the season, hearkened back to the Season One Locke we knew and loved.

And O’Quinn was right back with it. Don’t call it a comeback for O’Quinn, though, because he was just as solid in the second season as he was here. However, the content of each season can’t be compared: whereas Locke became marginal in season two, he was the centre of attention in season three. And O’Quinn rose to the occasion, never backing down from a challenge and marking some memorable exchanges with Sayid, with Jack, and with the leader of the others, Ben. At all times, O’Quinn played Locke like the man of faith again, the man who believes when others don’t and, perhaps, might just be onto something. Lost wouldn’t be the same without Locke, and the Emmy Awards will not be the same without Terry O’Quinn. They made a mistake two years ago, and it’s time they made it up to him.

Episode Selection: “The Man From Tallahassee” (Aired March 21st, 2007)

In Season One, Terry O’Quinn should have won that emmy for Walkabout, the episode where we learned he had previously been in a wheelchair (One of the show’s best reveals, perhaps only topped by this season’s finale). In Season Two, O’Quinn was at his finest when sparring with Henry Gale, the prisoner in the hatch who we later learned was the leader of The Others. The Man from Tallahassee takes these two elements (Locke’s past paralyzation and his confrontations with Ben) and puts them into the same episode. The result is a philosophical and powerful hour of television that wraps itself around the island as a character, Locke’s journey, and most importantly: we finally learn how Locke lost the use of his legs. It is perhaps the final chapter in Locke’s journey, that final piece of the puzzle, and Terry O’Quinn knocked it out of the park. If this performance isn’t worthy of an Emmy, I don’t know what is.

YouTube – “The Man from Tallahassee”

Supporting Actor in a Comedy

Michael Urie (Marc)

Ugly Betty

After watching the pilot for Ugly Betty, I felt that the show was far too vindictive. At that time, the various intricacies of the show were tossed aside in favour of fish out of water at its finest. The staff at Mode magazine were downright mean to hapless, unfortunately dressed Betty, and the result was that they all became instant villains from that moment onwards. And, thus, it is to the show’s credit that they managed to take these people and turn them into human beings who we empathize with on a weekly basis. One of those individuals is Wilhelmina’s flamboyant and biting secretary Marc, and Michael Urie’s portrayal of the character has managed to turn heartless into heartfelt. In a show that has transformed itself along with its titular heroine, Urie’s performance is absolutely part of that reason, and for it he deserved to be considered for an Emmy Award.

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June 6, 2007 · 7:16 pm

Why Saving ‘Veronica Mars’ is Different Than Saving ‘Jericho’

In the wake of the impressive ‘Nuts for Jericho’ campaign, Herc over at Ain’t it Cool News is calling out to fans of another canceled show, Veronica Mars, in an attempt to bring them together to bring back their own favourite show. Now, the amazing success of the Jericho campaign is something that should be inspiring fans of all sorts of canceled shows, and I believe that this is both natural and productive. And, as a fan of Veronica Mars, there is little I would enjoy more than to be able to enjoy one of the most enjoyable TV shows in recent years on a weekly basis again. However, all of this being said, I have to make something very clear to fans getting on this bandwagon:

Veronica Mars is not Jericho.

Jericho was a freshman drama which opened with strong numbers and due to a variety of factors lost those numbers after a midseason hiatus. It was booted from the schedule without really getting a fair shake: it never had a chance to rebuild, facing off against American Idol, and even CBS admitted they never gave it the proper treatment it deserved. As a result, after enormous fan outcry, CBS is giving it a chance and giving it a chance to prove itself at midseason.

The problem for Veronica Mars is that this situation happened…two years ago. When, after weak ratings in its first season, fan support from sites like TelevisionWithoutPity and the show’s creative potential convinced UPN head Dawn Ostroff to save the show from cancellation and give it a better spot on their schedule. It was in the same situation just last year, when Ostroff again saved the show in the move to The CW, pairing it with Gilmore Girls in a last-ditch effort to boost the show’s ratings.

In other words, Jericho and Veronica Mars were in the same position, yes, but Veronica Mars has gone past that point. It has had two years to show UPN and The CW its potential, and both times out it has failed to improve its ratings. As a result, fans of the show can’t claim (As Jericho fans could) that the show wasn’t given a fair treatment, and deserves a fourth season. In fact, I think that they have to admit that Veronica Mars had two more seasons than its ratings dictated. And, as a result, fans need to go into this with lowered expectations: Saving Veronica Mars will not be easy, and it certainly isn’t the same situation as the one CBS faced for the past three weeks.

However, this does not mean I believe they should stop fighting, or that I won’t be fighting with them. Instead, unlike Jericho fans, I believe that Veronica Mars fans should be focused on getting resolution and resolution only. Left with a finale that was meant to lead on to bigger things, fans want to know what happens next. They were left wanting more, and I don’t think it is unreasonable that they should get it. I just don’t think that the show’s ratings, or its three previous lives, dictate another kick at the can entirely.

Rather, what fans need to be fighting for is the opportunity for the show to conclude with a TV-Movie or, preferably, TV Movies. Veronica, as a character, has a lot of life in her. She is complex, youthful, energetic, intelligent, and yet is able to also handle more dramatic work thanks to the deft acting of Kristen Bell. She is powerful and unique, and for me represents a fantastic character to analyze further. And, I believe that the TV Movie genre, something that The CW’s corporate family member CBS enjoys greatly, might just be where Veronica can find a home.

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