A Day Fo(u)r Movies: Black Swan, Tangled, True Grit, Harry Potter 7.0

A Day Fo(u)r Movies: A Field Report

January 5th, 2011

It is not really a secret that I’m not much of a moviegoer. I like movies, and even like going to the movies, but it was never really part of my social fabric growing up, which made it more of a family activity (and thus something that I didn’t do often once the family was dispersed into various locales in the post-secondary years).

While I’ve written about a few movies over the course of the blog’s existence, it hasn’t happened very often. This is both because I haven’t seen very many movies while they’re in theatres, and because I don’t necessarily respond to movies the way I respond to TV shows. While I generally tend to lean away from highly evaluative discourses when looking at TV, perhaps objective to the point of stripping away my own opinion on occasion, with film I lean even further away from the subjective: usually I end up really wanting to have a discussion about a film instead of wanting to “review” it. And since there are various other locales to have conversations of that nature, this blog rarely ends up hosting them.

However, I figure that I tweeted enough about by moviegoing adventure yesterday that I should at least offers some reflections. Taking advantage of the $6 tickets available on Tuesdays, I figured it was time to get to the theatres for the first time since Inception in July – however, since I’m only on holiday vacation for so long, I was in a bit of a rush. As a result, I lined up a four-movie marathon: four movies in a single day is difficult to juggle at even the largest multiplexes, but I found the four films that made it work.

And so, some thoughts on Black Swan, Tangled, True Grit, and Harry Potter and the Deathly Hallows Part One after the jump (and some thoughts on what it was like to see them all in one day, as well).

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How I Met Your Mother – “Bad News”

“Bad News”

January 3rd, 2011

How I Met Your Mother is willing to make sacrifices.

In its balance of a long-running serial narrative and episodic storylines, the show is always looking for ways to balance one with the other: sometimes heavy mythology means slightly weaker standalone work, and sometimes a lack of mythology creates a lack of meaning to a particular story. Often, the mythology is emphasized to evoke pathos, and yet in the process the series has sort of fallen into certain patterns: the show can still hit Ted’s romantic notes well, for example, but it’s hit them enough times that the novelty may well have worn off.

In “Bad News,” we have an example of sacrificing coherent storytelling for the sake of slowly revealing an ongoing gimmick which, once fully comprehended by the audience, becomes the driving force behind a moment which was legitimately affecting. In doing so, the writers all but admitted that “Bad News” wasn’t going to be an all-time classic, but that seemed a conscious decision which allowed for that final moment to hit as hard as they wanted it to hit.

It was manipulative, to the point of damaging the structural integrity of the episode, but that final moment was perhaps worth that sacrifice.

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The Imaginary Forest: Cultural Learnings in 2010

The Imaginary Forest: A Cultural New Year

January 1st, 2011

Starting a blog is a lot like playing pretend. Just as you have to pretend that you’re in the middle of an imaginary, magical forest fighting some unknown evil, your plastic sword a piece of forged steel, you sort of have to imagine that there’s someone out there reading. Before you ever receive your first comment, you need to imagine someone out there who might write that comment. Before you ever recognize that first regular reader who keeps coming back, you need to imagine that someone will come in the first place.

Cultural Learnings, for quite some time, felt like a form of pretend: I was a pretend television critic, a blogger who spent his free time doing what critics do. While we sometimes associate pretend with our childhood, and our obsession with the imaginary and the escape from reality it offers, it can easily extend into adulthood. We are still capable of aspiring to things, and sometimes we need to stretch “reality” in order to keep our goals even vaguely within reach. For me, this blog was an opportunity to feel connected to the medium of television in ways which went beyond forcing my English professors to allow me to write about it, a chance to at least pretend to be part of a broader community of like-minded people when I was instead surrounded by people who thought I was obsessive (which, while not untrue, was still somewhat marginalizing).

And just like when we play pretend, there are moments in blogging where a brief brush with reality invades the imaginary: there’s something visceral about swinging a plastic sword and colliding with a nearby tree, just as there’s something visceral about finding your post on the front page of Digg – back when, you know, Digg was relevant – or receiving a particularly intriguing comment. They’re the moments that keep you playing along, the moments which start to make you think that maybe pretend could become reality with time.

For a few years, Cultural Learnings sat in this liminal – I imagine this is a cheap pop among regular readers at this point – state. There have been readers, regular readers even, for a few years, and 2008 and 2009 each brought their own brushes with respectability. I’ve been incredibly grateful for all of this, and have never felt as if the blog necessarily needed to be more popular (it’s not as if it’s making me any money) or more “real.” The truth is that the blog has always been a sort of personal exercise, an opportunity to feel connected to the medium of television in a way which went beyond the living room (or, in some cases, the classroom), and so the occasional comment and the stimulating conversation which followed were more a bonus than anything else.

And yet in 2010 things really did change. I don’t feel as if I did anything different: there’s nothing I can really point to that led to any sort of shift in the blog’s status, no stroke of genius or groundbreaking discovery to be found. However, as I went on fighting my way through the magical forest, the world did become real: it became a group of dedicated and intelligent Whedonites, it became generous and supportive colleagues within both academic and critical realms, and it became an “audience” of informed viewers of television who wanted to join in on the conversation. Over the past year, it felt as if everything fell into place: while this has always been something I enjoyed immensely, perhaps explaining why I was so willing to keep doing it for free, there was something immensely gratifying about receiving the kind of feedback that I had imagined there might one day be, and to get the opportunities that I always imagined might come.

As the year comes to a close, and a new year begins, I want to thank everyone who has been a part of this new reality – this includes those who gave me those opportunities, those who promoted the blog to their own readers, those who sent me kind emails, those who commented, those who follow me on Twitter, those who simply read the blog, or those who got to this post by Googling “forged steel + magical forest.” It is my plan to keep fighting my way through the forest in the year ahead, and I hope that you’ll continue to join me on this adventure…which, when I think about it, almost feels more like fantasy when grounded in reality than when simply a figment of my imagination.

Happy New Year to you and yours,

Myles

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Rebel Without a Cause: Kurt Sutter’s War on (Some) Critics

Kurt Sutter’s War on (Some) Critics

December 30th, 2010

Earlier this year, I wrote a profile of sorts regarding the role that Kurt Sutter’s Twitter account, @sutterink, was playing in shaping Sons of Anarchy’s image within online communities, and the degree to which its polarizing nature would play into one’s experience of watching the series. When I wrote that piece, I had more or less no opinion on the issue: while I found it academically interesting, on a personal level I felt as if the Twitter account was a logical extension of the kind of renegade spirit which defines the series and Sutter’s personal approach to both storytelling and showrunning. It’s his opinion, his Twitter account, and his show – that gives him every right to say whatever he so desires, and I have no intention of vilifying his activity in this area.

However, on a personal level, my opinion has changed. I am among those who were disappointed in Sons of Anarchy’s third season, a group which includes many of the same people who were so high on the show before the ratings bump in Season Two made it into FX’s biggest hit. It is a group which includes intelligent critics, critics who elaborate on their opinions on a near-weekly basis and whose opinions are well-respected. It is also a group which includes people who may not be as well-respected, and whose opinions may not be quite as elaborate, as is the case with any or all responses to television in the internet age.

My frustration is not that Sutter refuses to admit that Season Three was a failure – that remains, of course, just my opinion – but rather that he seems intent on categorizing and labeling critical response to the season based on broad generalizations which suggest a hivemind incapable of independent, or comprehensive, thought. While there is an argument to be made that trends in online criticism contributed to the negative response to Season Three, suggesting that it is the result of bandwagons or gender determination represents a dismissal and an insult to the very kinds of people who supported the show in years past, and may now be less likely to support the show in the future.

And these suggestions may be the only thing more confounding than the narrative decisions which drove Sons of Anarchy’s third season.

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Doctor Who – “A Christmas Carol”

“A Christmas Carol”

December 25th, 2010

My “first” experience with Doctor Who, at least more than off-handed glimpses of the Eccleston era, was “Waters of Mars.” I received the screener, watched the episode, and sort of decided that I should see more of what the series had to offer. My next step was, not shockingly, “The Next Doctor,” the first of the four Tennant Specials of which “Waters of Mars” was part.

It was my first, and to date “only,” experience with the Doctor Who Christmas Special, an interesting example of television form. They’re a sort of palate cleanser, a way to transfer smoothly from one series to the next: there’s no major plot developments, no huge shifts in character relationships, serving instead as a reminder of how much you like the series and how much you are anticipating its return later in 2011.

And yet, while “The Next Doctor” was definitely a Christmas episode, it was very much affected by the Tenth Doctor’s soul searching, a sort of existential crisis which made that Christmas special a transition into a very particular journey of identity and meaning in the specials which followed. By comparison, “A Christmas Carol” is unconcerned with all of it: writing his first such special, Steven Moffat uses Christmas as a source of whimsy and magic, heartbreak and memory, and a wonderful bit of storytelling from which it seems the season to follow will draw momentum if not necessarily inspiration.

Although I wouldn’t mind if it took some of that too, considering how much I enjoyed this return to Who-Ville.

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Top 10 Episodes of 2010: “Duets” (Glee)

“Duets”

Aired: October 12th, 2010

[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list, click here.]

I have written more about Glee this year than probably any other show – it’s the only network series other than The Office which I reviewed on a weekly basis, a fact which sometimes might seem at odds with my generally critical approach to television. Sometimes, we associate reviewing with appreciation: we write about Mad Men because we love the show and think it deserving of detailed analysis.

And yet, for me, reviewing is about more than just appreciation (as my readers at The A.V. Club have discovered whenever it is suggested that I am unfit to review The Office since I have fallen out of love with the show). Reviewing a television series is about the search for understanding, dissecting our own appreciation or lack of appreciation for something in order to better understand how it fits into television as a whole. I may no longer love The Office, but I really enjoy writing about it, as I want to understand why I fell out of love, and where the show might go from here in response to a general sense of criticism stemming from a weak sixth season and the impending departure of Steve Carell.

I review Glee because it’s a show that I think needs to be talked about in order to understand what it’s trying to accomplish. Something like The 3 Glees theory is not intended to condemn the series, or even define the series; instead, Todd’s theory offers an explanation for why some viewers may find the series erratic, and why some of its characterization may deemed inconsistent by finding three distinct authorial voices amidst the series. I write about Glee not because it’s one of the best shows on television – it didn’t come close to making any lists I made relating to that subject – but because I really enjoy exploring why it’s not (as opposed to simply how it’s not).

And it’s something that I feel reached its apex with “Duets,” the series’ finest episode over the course of the past year. After spending most of 2010 picking apart why it is that Glee failed to live up to its potential, I found myself standing face-to-face with an honest-to-goodness, and actually honest, episode of television that I’d be willing to put among the year’s best. Perhaps it was just the element of surprise, the novelty of suddenly having to write about how much I unabashedly enjoyed an episode of the show, but as the year has lingered “Duets” has remained in my head not unlike a catchy song; accordingly, it rounds out my Top 10 episodes of 2010.

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Top 10 Episodes of 2010: “The Suitcase” (Mad Men)

“The Suitcase”

Aired: September 5th, 2010

[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list as it goes up, click here.]

The atypical nature of nearly every episode on this list was not really something I planned, but “The Suitcase” sort of feels like the apex of that particular trend. On the one hand, it’s everything you expect from a Mad Men episode: it’s moody, it’s emotional, and it features two amazing performances from Jon Hamm and Elisabeth Moss. This is nothing out of the ordinary, and in those terms the episode is par for the course as far as Mad Men‘s “formula” for great television.

However, from the perspective of story and character this is anything but typical. Mad Men‘s entire fourth season was built around the differences between appearances and reality, of the way in which Sterling Cooper Draper Pryce had to invent an imaginary second floor in order to convince clients they were the right agency for the job, and “The Suitcase” makes the logical leap to explicitly connecting this to Don Draper’s personal subterfuge. In an intense battle with the most important female presence of his present, he reveals the wounds felt by the loss of the most important female presence in his past, and the result is perhaps the year’s finest hour of dramatic programming.

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Top 10 Episodes of 2010: “A Study in Pink” (Sherlock)

“A Study in Pink”

Aired: July 25th, 2010 (BBC)

[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list as it goes up, click here.]

In making my various lists, it was difficult to determine just exactly what Sherlock is. I decided at a certain point that TV Movies/Miniseries wouldn’t be included in my lists, which means that Temple Grandin and The Pacific will just have to settle for their respective Emmy Awards, and yet what do we call Sherlock? Sold as part of Masterpiece Theater in the United States, and yet very much sold more as a series in Britain (and Canada as well, more or less), its weekly format suggest a short-run series while its running times relate more to Prime Suspect or, to use an American example, Tom Selleck’s Jesse Stone movies.

However, whatever term we end up using to define Sherlock, I’m comfortable considering “A Study in Pink” as a 90-minute pilot for a television series, and thus comfortable with considering “A Study in Pink” one of the 10 best episodes of the year. It’s the one installment in the series which feels as if it needs its running time, using the additional room to great effect in drawing its two lead characters, finding its point of view, and creating a charming yet haunting world in which Sherlock Holmes can enter the twenty-first century.

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My Top 10 TV Series of 2010

My Top 10 TV Series of 2010

December 23rd, 2010

I wasn’t going to make this list.

I did a Top 15 shows as part of The A.V. Club’s Top 25 Shows of 2010 list – which is really fantastic, and features my writeups on United States of Tara and Cougar Town – earlier this month, so I technically thought about what my Top 10 was, but looking back on it I didn’t like it. Knowing that the list was going to be aggregated, I think I steered clear of series I knew didn’t have a chance, or at the very least ranked them lower than I might have otherwise, and the result was a list that wasn’t wrong so much as it was unrepresentative of a broader view of the year in television.

And yet, since I have this particular outlet and have been in a list-making mode of late, I did put together a Top 10. It’s largely the same, although I’ve made a few changes to make it slightly more representative. This does not imply that series were elevated above their station in order to add a sense of diversity: there is no hierarchy here, and I consider these 20 series to be on more or less similar levels (outside of those shows which I clearly label within the writeups as the finest within their respective genres, which should not come as a surprise to anyone).

And I like the sense of diversity. These shows aired in different countries, at different times of year, and on a wide range of networks, and represent the ten shows which make me very glad to have been both obsessed with and paid to write about/study television in the past year.

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Top 10 Episodes of 2010 – “Fly” (Breaking Bad)

“Fly”

Aired: May 23rd, 2010

[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list as it goes up, click here.]

When I first noted that I was limiting this list to a single episode per series, someone (it was either Jeremy Mongeau or Timothy Yenter – you should be following both) noted on Twitter something approximating “Heh, you should pick “Fly” to screw with people’s heads.” I should have saved the tweet, because I had already decided on “Fly” at that point, and got a good chuckle out of it.

I am aware that not everyone will agree with this choice. Those paying close attention may have noticed that, in going in chronological order, I passed over the sheer intensity of “One Minute,” and in picking “Fly” I’m ignoring the stunning pair of “Half Measures” and “Full Measure.” I love all of these episodes, just as I loved Breaking Bad’s third season as a whole, and yet some part of me gravitates to “Fly.”

You may have also noticed that I am attracted to episodes which are somewhat different – in fact, to this point, everything but “Sweetums” could be defined as distinctly atypical for the show in question, suggesting that I’m easily distracted by gimmicks. And yet with “Fly” the gimmick is the lack of distraction, the degree to which the show is stripped down to its most basic qualities in an effort to find something that might have otherwise gone unseen. The result is a fascinating glimpse at what it means to be contained, what it means to be contaminated, and definitive proof that Breaking Bad is simultaneously one of the darkest and one of the most hilarious shows on television.

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