Series Premiere: Human Target – “Pilot”

“Pilot”

January 14th, 2010

Airing two nights before its American premiere (Sunday at 8pm ET) may seem like a big deal for Canadian viewers of FOX’s new series Human Target, but it’s not as if the show’s pilot has been an unknown quantity. The pilot was basically presented in a condensed form as the show’s trailer back when it debuted at last Spring’s upfronts, and since the show was held for midseason it’s been “out there” for long enough that every beat of the show’s first episode was predictable.

Of course, part of the show’s charm is that every part of it is predictable: even if you had never seen or heard of the show before, chances are you knew that the inaugural voyage of a futuristic bullet train was not going to go smoothly. It is a show that has no intention of being surprising, nor upending expectations based on its genre: this is a lightweight action thriller of a television show that creates weight through intense action sequences and strong production values as opposed to subtle character development. By building that show around three very likeable and talented actors, and by crafting a relationship between them that has just the right balance of mistrust and respect, the show creates the kind of “setup” that promises to be exactly what you expect it to be.

There’s something comforting about that, something that has proved to be an admirable quality with other series that I’ve grown to be quite a fan of – I’m hopeful the same happens here.

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Dollhouse – “The Hollow Men”

“The Hollow Men”

January 15th, 2010

“This world is for people who can evolve.”

We’re going to be waiting two weeks until Dollhouse concludes its troubled two-season run (although scheduled to finish next week, the cross-network Haiti Telethon is taking over primetime on the 22nd), and it’s going to be interesting to see the kind of anticipation that builds around the show’s series finale. “The Hollow Men” is an engaging hour of television that features a strong performance from Harry Lennix, but there is every sense that this is transition episode and little more: the scale of the “war” is at this point still so small that the episode feels more incidental than perhaps it should.

The show has spent much of its second season implying that events which seem small are going to eventually seem very large, aided by the presence of “Epitaph One” as an image of the world’s future dystopia, but the real trick is trying to actually make those small events seem large in the context of a single episode. The work done in “The Hollow Men” is not inelegant so much as it is hampered by the “rush” towards a conclusion, and at times the episode feels like a “greatest hits” collection of the show’s finest moments as opposed to a culmination of ongoing storylines. The episode spends a lot of time talking about characters as a family, which is a fine idea but which fails to capture the evolution these characters have gone through: while the show’s relatively short run precludes the kind of depth that the final episodes of Lost or Battlestar Galactica brought to the table, there is still a sense that the way Dollhouse made its way towards its finale kept it from having the dramatic impact it perhaps could have.

It does nothing to make me less intrigued about how the show wraps up its run next week, but I definitely am not connecting with the ending as perhaps some others might be.

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30 Rock – “Klaus and Greta” and “Black Light Attack!”

“Klaus and Greta” and “Black Light Attack!”

January 14th, 2010

When you double up two episodes of 30 Rock, you get a really skewed perception of the series. In some ways, the two hours offers that many more memorable lines, so if you are judging purely based on the sheer volume of laughs chances are that two is, in fact, going to be better than one. However, at the same time, there are two separate episodes which could go wrong at a story level, and the show is not as consistent as it has been at its finest over its four seasons. (You also get the show’s lowest ratings in a very long time, since the show was running without a lead-in from The Office).

The actual content of “Klaus and Greta” and “Black Light Attack” offered a particularly intriguing double dose of comedy, as the character of Liz Lemon went through what seemed like a sudden sexual transformation while normally overtly sexual Tracy Jordan went through a personal transformation in light of his newly conceived daughter. Both episodes were actually quite consistently funny, and the double dose managed to actually feel more strange for Liz than it did for the usually one-dimensional Jenna, creating a sort of fun bizarro world as opposed to a problematic hour of comedy.

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Parks and Recreation – “The Set Up”

“The Set Up”

January 14th, 2010

After just writing about Community’s handling of Jack Black’s guest spot by calling attention to how distracting it could be to have a recognizable guest star show up on your show, it’s interesting to turn our gaze to Parks and Recreation, where two “big name” guest stars (at least in my circles) debuted. While Community drew our attention to Black’s disruption in order to make a large meta-joke, Parks and Recreation does something similar but different in creating an extra layer of comedy for those who know that Will Arnett and Amy Poehler are married in real life.

It was a good example of how casting someone recognizable can help a storyline rather than hurt it, as Arnett was simply a fun casting choice: he’s funny, and the marriage added an extra layer to the scene, but it wasn’t dependent on a guest star, just as the show didn’t need to have Justin Theroux playing the aptly named Justin, a friend of Ann’s who Leslie takes a liking to. Both characters, despite being cast with recognizable faces (for me, at least), played roles which weren’t played as the “point” of the episode, but their performances gave them an added weight, which is especially helpful when Theroux might be sticking around for a while.

And so now we can look at the episode less in terms of who was in it, and more in terms of the episode built around them…okay, I’m going to talk some more about Arnett. Sue me.

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Community – “Investigative Journalism”

“Investigative Journalism”

January 14th, 2010

There was a lot of talk early in 30 Rock’s third season about the proliferation of guest stars into the series, which was met with a lot of negative response from critics and viewers alike. The show felt as if it was being dominated by those guest stars, and that the stories were not so much about their presence in the show’s universe than they were about the characters themselves (which, in most instances, were indistinct enough to effectively become the actors playing themselves). It’s not that the show couldn’t write compelling guest stars (Dean Winters’ Dennis Duffy kills every time), but rather that something about the way they were integrating them into the show’s dynamic was off-putting.

Tonight, Community performed an experiment through the use of Jack Black, purposefully testing the show’s characters dynamics in order to see if adding another character to the mix would upend their rhythms. However, like many experiments where the facilitators are controlling every variable, the results are exactly what they want them to be, and Black’s character Buddy is a fundamental distraction who feels distinctly out of place. But by actually tapping into our expectations that the presence of a big star with a penchant for overacting would disrupt the flow of the series, and by allowing Black to essentially play an amalgam of his most annoying qualities without any context, the episode says something about how we react to interlopers on shows which focus on tight-knit groups.

In the process, the show gets quite a funny episode, and reinforces how much we like this study group as it is.

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Friday Night Lights – “The Lights of Carroll Park”

“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.

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Modern Family – “Not in My House”

“Not in My House”

January 13th, 2010

Sometimes, when I write something particularly critical show about a particular show, I wonder if people think I’m difficult to please. Because, while I may be deluding myself, I think I’m actually quite easy to please. I might be very particular about what I want from a show like Modern Family, which I feel isn’t living up to its potential, but that doesn’t mean that when it actually happens I’m just going to find something new to complain about. When a show listens to me like Microsoft listened to all of those annoying people in Windows 7 commercials and does exactly what I tell them to, it’s pretty much enough for me to ignore any other problems and sing from the rafters.

So while I do, yes, have some issues with “Not in My House,” which isn’t as riotous as the show has been in the past, the fact that two of the families interacted in an entirely natural, non-dysfunctional fashion without the show imploding into contrivance demonstrates how this should happen more often. It’s my Windows 7 moment, and it was enough to elevate this far above last week’s episode for me.

Oh, plus it has a Dog Butler. I would NEVER complain about a Dog Butler.

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Republic of Doyle – “The Return of the Grievous Angel”

“The Return of the Grievous Angel”

January 13th, 2010

Over the weekend, I had the pleasure of speaking with Angela Antle of the Newfoundland and Labradour Weekend Arts Magazine on CBC Radio One in order to offer some mainland perspective on CBC’s new series, Republic of Doyle. My review of the show was quite critical, although Angela was more interested in my reading of the show’s cultural depiction of the province as opposed to my frustration with its formulaic 80s throwback structure. You can download the interview in podcast episode form at this link (Opens in iTunes), and hear how I spent about fifteen minutes discussing my way around a central question: what kind of cultural statement does a show make when it proves that St. John’s is just as capable of Toronto of housing a generic procedural private investigation series?

My argument is that it isn’t a cultural statement at all. I’ve written thesis chapters on how Corner Gas and Little Mosque on the Prairie can be read as cultural statements in regards to the position of both rural communities and Muslim populations within Canada’s national identity, and this is achieved through stories that challenge and question stereotypes. The problem with Republic of Doyle is that it has no such cultural statement: while I don’t think the show needs to scream Newfoundland every episode, right now it’s not actually saying anything at all.

While I would argue that part of the reason for this shallow representation of place is inherent in the show’s genre, I think the show’s execution is only exacerbating these concerns. By focusing on, and convoluting, the show’s procedural structure, the characters aren’t coming into focus, and whatever chance the show has to actually say anything substantial about St. John’s, Newfoundland, or even Canada as a whole remains absent beyond a Great Big Sea theme song and some pretty scenery.

And that’s not a cultural statement. Or, speaking more critically, a statement at all.

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Betrayal at NBC, Colon, What REALLY happened with my Late Night Show, Question Mark, by Conan O’Brien

Watching Conan O’Brien take to the Tonight Show stage for what might be the final time, I felt emotionally conflicted. On the one hand, I want to be angry that NBC has treated him so poorly, trapping him in the middle of a business dispute and unfairly judging his show far too early for the sake of making other people happy. On the other hand, I want to show support for Conan, and being angry doesn’t entirely reflect how much I appreciate his particular brand of self-deprecation. So when Conan makes jokes about his imminent departure barring some sort of hail mary from NBC, are we supposed to boo to reflect the injustice, or are we supposed to cheer because we want CoCo to know we care?

And then I realized that for all of the emotional conflict I might be experiencing, Conan himself is having to mediate his anger with professionalism, and his sadness with comedy – for all of the verbal gymnastics we’ve been working with over the past number of weeks, trying to figure out how all of this is going to work out, it is nothing compared to what Conan O’Brien has been dealing with inside his head. So it’s that much more miraculous that what emerges in an official statement is pointed but civil, an argument not so much about what is being done to him but rather what NBC is doing to its own reputation, and to the position of the Tonight Show in its late night lineup. And, it’s that much more impressive that he proceeded to go onto his stage and be something that used to be enough to get you somewhere in this business: funny.

I don’t have much further extended thoughts that that, to be honest: while this issue is plenty fascinating, as we see how NBC deals with Conan’s departure and how long it takes Conan to end up at FOX (where it is expected he will be taking over the 11 O’Clock hour), I’m to the point where I simply want to acknowledge the cruel irony that I have paid more attention to Late Night now than I have in a very long time, and to remind everyone that Conan’s money is right on the money: while it might be easy to lay blame at the feet of Jay Leno, the problem here is a network who believes it can turn back time and who is throwing away a potential Tonight Show legacy in the process.

My one goal for the future is ensuring that this doesn’t just become a footnote in the larger story of NBC’s collapse: it is a turning point, a moment where we question the degree to which this network actually wants to craft a new identity, actually wants to climb its way out of the ratings basement. We’ll be debating about this for months, whether in terms of seeing how the network manages its late night situation or discovering just what the network will do with five hours of primetime. And yet at no point in that debate do I want us to forget that this was the time when NBC’s business decisions failed to respect someone who has been with their company for nearly two decades, tarnished the reputation of the man who they rushed out of his job sooner than he wanted in order to respect that person, and managed to end up with a bigger mess than what they started with.

I’m on Team Conan, but I’m also on Team “WTF NBC.” And something tells me that both memberships may be for life.

Cultural Observations

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Scrubs – “Our Stuff Gets Real”

“Our Stuff Gets Real”

January 12th, 2010

I think we might owe Zach Braff an apology, or a qualified one at least.

A lot of us placed the blame of Scrubs’ struggles on the return of obnoxious J.D. in the earlygoing, leading some of us to suggest the show would have been far better off without him, but what we learn in “Our Stuff Gets Real” is that the problem was not so much the presence of J.D. and more the absence of Elliot. The writers’ mistake was not so much having J.D. return but rather taking away the element which grounded him to reality (his pregnant wife): in the context of that relationship, both J.D. and Elliot are able to remain helplessly neurotic without becoming insufferable, and there’s something there which is both poignant and meaningful (if, of course, not nearly as poignant or meaningful as what they left on in Season 8).

The rest of the episode is similarly on point, delivering another strong installment not only based on the return of the most original cast members yet but also by demonstrating some keen awareness of its new characters and their place within both the original cast and the show’s new dynamics. It wasn’t perfect, but the problems seemed dialed down and the positive seemed dialed in, and that’s the right place for the show to be.

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