Tag Archives: ABC

Cougar Town – “Rhino Skin”

“Rhino Skin”

January 6th, 2010

I think a lot of people have chosen to judge Cougar Town entirely based on Courteney Cox’s performance as Jules, which was perhaps fair early in the season – the show was about Jules dating younger men, which was a premise with very little room for growth for both the show and Jules as a character. And yet, something has happened over time that has evolved the show into something very different, a show with a fairly deep ensemble that isn’t afraid of mixing them up to create different pairings.

In other words, Cougar Town has become a show about a community, a group of characters who are capable of interacting with one another in social situations without things seeming chaotic or dramatic. While Grayson was once an antagonistic neighbour, he has become a reluctant participant in more age-appropriate social interactions, and while Bobby was once a deadbeat ex-husband he’s become someone who Jules cares about despite his use of a fish tank as a boat toilet. Ellie and Laurie were once actively antagonistic of one another, but they’ve now come to unite as Jules’ friends even if they maintain a six-foot distance between them when she’s not around.

And while some could argue that this is contrived, it’s given the show a sense of effortlessness with its story lines: it doesn’t feel like a stretch for new characters to interact with one another, and even if it makes for a definitively “small world” it’s one that has been effective both at delivering some strong comedy and, perhaps more importantly, accommodating guest stars like Scott Foley and Lisa Kudrow without feeling as if the show is changing in the process.

Cougar Town is simply a place I want to visit now, and I’m really enjoying what Bill Lawrence and company are offering.

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Modern Family – “Up All Night”

“Up All Night”

January 6th, 2010

For a show that likes to wrap up each episode with a lesson that defines the show’s themes, I’m somewhat disappointed that Modern Family seems to be unable to learn lessons based on the first part of its season. Now, don’t get me wrong: the show is still early in its run, so I’m not expecting the show to have ironed out all of its problems. However, for a show that is often considered such a “well-crafted” comedy (a quality that I would not challenge in terms of the show’s best episodes/scenes), there’s a point where some fairly serious structural issues are coming to the surface for me as an audience member, and I’m concerned that the level of critical praise for the series will keep them from investigating these problems further so long as the ratings stay strong.

So when episodes like “Up All Night” seem particularly flat, I want the writers to notice that it’s because they separated the families, and that as a result one story felt like an extended comedy sketch, another felt like a series of comedy sketches, and the other rested on its laurels due to the presence of the week’s guest star. There were some token efforts to tie the three stories together, but in the end the show told three stories that felt like they were only firing on one cylinder.

And while, as always, the show is capable of being quite funny on occasion, there are episodes like this one which indicate that the writers aren’t willing to go the extra mile to push the boundaries of their characters or their situations each week. And the Modern Family we see in “Up All Night” is not the show at its finest, and I have to wonder if the creators will bother to recognize that so long as the show remains an “unqualified” success.

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Better Off Ted – “Beating a Dead Workforce” & “Change We Can’t Believe In”

“Beating a Dead Workforce” & “Change We Can’t Believe In”

January 5th, 2010

To define a show based on a single episode is unfair, especially when that episode is as great as Better Off Ted’s “Racial Sensitivity.” And yet, when the show came out of the gates feeling somewhat “off” this year, our collective go-to in terms of expressing our disappointment was lamenting that the show wasn’t reaching the heights of that episode. And while it’s understandable that we would want the show to live up to its best episode, and it’s true that part of the early season struggles (relative to the show’s standards, not comedy in general) have been the result of moving too far away from corporate satire the show does best, I think we need to stop judging Betted Off Ted based on that standard.

Except that we can’t. Watching an episode like “Beating a Dead Workforce,” you can’t help but feel that is an attempt at capturing the same greatness of “Racial Sensitivity,” trying to create another out of control corporate reaction to a particular problem. And while the episode has some great lines, and some enjoyable sequences, it just isn’t going to live up to that episode, so a potentially great episode feels just…solid. And when we get an episode like “Change We Can’t Believe In” that skews too close to basic “A/B/C Plot” Thematic sitcom structure, it’s just a reminder that the show now has two primary modes: a comedy which aims for something novel but feels (perhaps unfairly) just off the mark, and a comedy which delivers a funny take on largely pedestrian stories.

Neither show is bad – in fact, they’re both actually quite good – but neither show is “Racial Sensitivity,” and while I want to be able to get past that and enjoy the last few weeks we’ll ever have with the show for what they are, I just don’t know if it’s going to happen.

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Better Off Ted – “Battle of the Bulbs”

“Battle of the Bulbs”

December 22nd, 2009

How far can a show get on wordplay alone?

It’s a question that Better Off Ted seems to really want to answer, because there have been points early in the second season where there hasn’t been any glue to hold the one-liners together. Even the show’s corporate satire has been weaker than usual, as the Veridian Dynamics commercials have entirely disappeared and left behind a solid show with funny character and witty writing but not, unfortunately, the same comic sensation we fell in love with earlier this year.

And “Battle of the Bulbs” doesn’t fundamentally change this trajectory, although it works harder than past episodes at tapping into the show’s strong points while also managing to feel more cohesive. However, there is still something missing here, something that shows that Victor Fresco’s attempts to push the show outward from its first season bubble has largely proved an inconsistent experiment that relies heavily on the characters involved.

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Scrubs – “Our Mysteries”

“Our Mysteries”

December 22nd, 2009

As Scrubs continues into its ninth season, one can’t help but feel as if the greatest mystery is why said season needs to exist.

It’s not that “Our Mysteries” or any other episode of the season thus far is terrible, but rather that what we’re seeing lacks any sort of emotional punch beyond a desperate play at some sort of nostalgia. And unfortunately, that was already the focus of the show’s creative resurgence in its eighth season, which I found myself absent-mindedly revisiting over the weekend. There, the show used a new crop of interns in order to raise questions of maturity and “moving on” in the characters we knew and loved, which was a good strategy for transitioning a character like J.D. from buffoon to father/husband.

However, the problem with the ninth season thus far is that it seems to want to go beyond that, to actually build these med students into characters, and yet the only parts of their stories which are really connected on an emotional level (Scrubs’ strong suit) have more to do with the returning characters than Lucy, Cole, or Drew.

And what that is, precisely, is still a mystery to me.

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Season Premiere: Better Off Ted – “Love Blurts”

“Love Blurts”

December 8th, 2009

Better Off Ted came out of nowhere. It was a mid-season comedy on a network that didn’t do comedy, from the creator of a previous comedy that everyone liked but very few people watched. There was nothing inherent in its premise that really drew me in, and while its cast wasn’t bad on paper it didn’t seem like something that I would actively tune in to see on a regular basis.

And then I watched it, and it was one of my favourite new shows of the year.

The show was never even close to a hit, pairing with Scrubs and drawing decent but uneventful ratings. And then, after a surprising renewal, the show’s remaining first season episodes were burned off in the dead of summer to even worse ratings. It was a strange journey through the show, but through it all my love for the show carried me through.

And yet, Better Off Ted returns out of somewhere. It returns with expectations from viewers and critics alike who fell in love with the show, and it also emerges on a network that does do comedy and actually draws quite spectacular ratings for said comedy. As such, the stakes are now significantly higher, and debuting against the Biggest Loser’s finale and airing out of a deflated Scrubs is not going to help matters.

“Love Blurts” is a solid episode of the show that suffers based on these expectations, as I spent much of the episode imagining how the situation the show was presenting would have been better if they had done this, or implemented that, or gone back to past episodes and did what they did there. The show has become its own curse, and it leads to a premiere that kept me at a distance while doing more than enough to remind me why I missed this show and why I will continue to suggest it to anyone and everyone.

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Season Premiere: Scrubs – “Our First Day of School / Our Drunk Friend”

“Our First Day of School”/”Our Drunk Friend”

December 1st, 2009

“Everything’s new, except for the title.”

When Scrubs returned for an eighth season on ABC last year, I was a naysayer.

In my eyes, the show had worn out its welcome with a number of problematic seasons that became problematically silly in a way that ruined the heart that made the show so compelling in earlier seasons. I got to the point where I felt the show did not even deserve the chance for closure: no matter what I once felt for these characters, I had no desire to see them continue on thier problematic path.

And then season eight happened, and my point of view changed. The show literally went back to basics, rewinding back into the earlier seasons and starting to tell stories about our beloved characters maturing and a new crop of interns learning the ropes and in need of mentors. The show was breaking no new ground, relying on the same combination of cutaway humour/blind sentimentalism that defined seasons one and two, but it grounded the show to a sense of identity that reminded me what I missed during the dark years. So when it had its beautifully executed finale, season eight proved itself to be the perfect endnote on these characters’ journey.

And then ABC renewed the show. And all over again, it felt like everything was wrong: this was a show that had a chance to leave on a high note after most of us had written it off, and now it’s risking everything to return. And so we had another summer/fall of Bill Lawrence assuring us that the show would be different, this time a distinct enough entity from the Scrubs we knew (he wanted to call it Scrubs Med) to justify returning even after J.D.’s emotional departure.

Watching the ninth season premiere, I’ve realized that the problem is less that this is inherently bad (in fact, it’s quite good) and more that this is absolutely exactly what happened last season. The show presents a new set of med students looking for mentors, and keeps the older doctors around to serve as those mentors, resulting in a show that isn’t actually that different from what they did a year ago.

Which makes it solidly engaging, if not nearly the sort of reboot that it might have been a year ago.

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On ABC, Family Matters: “Fizbo” and “Here Comes My Girl”

“Fizbo” and…

“Here Comes My Girl”

November 25th, 2009

Thanksgiving is a holiday about family, which when deployed in television does one of three things. The first is to emphasize the cohesiveness of a particular group of characters who work seamlessly when brought into the same setting. The second is to emphasize the sheer chaos that results from the show’s personalities coming together, to either comic or dramatic purposes. The third, meanwhile, is to demonstrate that the show is a convoluted mess where bringing the characters together is a futile exercise that will fail to provide interesting television.

What’s helpful for ABC’s 9pm comedies is that both of them have built their identity around the idea of family, to the point where bringing the gang together is like second nature to the two shows. Cougar Town has really started to charm me as of late, and “Here Comes My Girl” is yet another fine episode that brings together this group of individuals into a family of sorts that’s just an enormous amount of fun to watch bounce off of each other. And “Fizbo” is perhaps my favourite Modern Family episode yet, taking advantage of the chaos at the heart of this family and bringing things to a satisfying (and also sort of sweet) conclusion.

It made for a really comforting hour of television comedy, which is what the timeslot has been providing (on average) all season.

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Fall Finale: V – “It’s Only the Beginning”

“It’s Only the Beginning”

November 24th, 2009

“Is this the real life / is this just fantasy … open your eyes / look up to the skies and see”

In addressing the fall finale of ABC’s science fiction series V, I quote Queen’s Bohemian Rhapsody for two reasons. The first is an excuse to link to the gleeful and wondrous Muppets version of the song released to YouTube today (if you need a better justification, let’s go with corporate synergy). The second is that the opening lines of this classic song feel like they capture the basic condition of most of V’s characters when these spaceships descended upon them. The very nature of science fiction that is roughly set in our own world is the question of whether the supernatural elements are “for real” in the sense that they should be trusted, which is perhaps what V has been missing since it debuted a mere three weeks ago. For a show about a race of aliens descending on humanity, the show has jettisoned the period of reflection in favour of drawing a line in the sand between skeptics who form a resistance against them and believers who freely choose to walk among them.

The logic behind the relative speed at which this has been accomplished is found within “It’s Only the Beginning,” which lives up to its cheeky title by confirming that, yes, this four-episode premiere event of sorts hasn’t actually managed to accomplish much of anything. In the show’s haste to define the characters quickly in order to bring in enough plot to tide people over until March (when the show is most likely to return), they forgot to show these characters struggling to come to terms with the Vs and the promises they offer to the world, and as such this finale has nothing to fall back on. The plot twists we see are intriguing (as the premise has not been the show’s biggest problem) if we care about the characters, but by separating the interesting individuals from the interesting stories (outside of Morena Baccarin’s Anna) the show has never tapped into the binary between these two cultures and the potential that lies within this premise.

Accordingly, it’s a good thing for the show’s creative future that it is only the beginning, although whether the series’ ratings future will be able to survive a rocky start is yet to be determined.

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Lost Season Six Premieres Tuesday, February 2nd, 2010

Lost Season Six Premiere Date + Ramifications

November 19th, 2009

Well, there’s finally a date. On Groundhog Day, 2010, Lost returns for its sixth and final season with a two-hour finale on a new night (Tuesdays) and at a new time (9pm Eastern), and…well, it doesn’t really matter.

See, I’m as excited as everyone else is about Lost’s final season, and since my Tuesday viewing schedule is more open than Wednesday I’m pleased to have the show making the move to the night. However, this season isn’t about ratings, or timeslots, or really anything: Lost is getting a final season that is for the fans, not to prove anything to Nielsen or anyone else, and the result is that this move says less about Lost and more about the remainder of ABC’s lineup.

As such, while this is certainly exciting news (only 75 days away!), I want to take some time to discuss what this means for some of ABC’s other shows that will be affected (or won’t be affected) by this change.

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