“Chuck vs. the Subway/Chuck vs. the Ring: Part II”
May 24th, 2010
I don’t know if I have that much to say about the Chuck finale, primarily because it isn’t a finale to anything in particular. It’s intelligent for Schwartz and Fedak to draw from the series’ overall premise and mythology to drive this two-part finale, as “Chuck vs. the Subway” and “Chuck vs. the Ring: Part II” are both emotionally satisfying, intelligent hours of television, but it means that it doesn’t necessarily feel like it’s bringing anything to a close so much as it’s finally addressing long-standing issues.
The plot of the two episodes draws from elements earlier this season, like our discovery that John Casey has a daughter, the return of Brandon Routh’s Daniel Shaw, or the potential damage done by the Intersect for the human psyche, but it also makes the argument that fairly substantial chunks of the season (and, arguably, earlier seasons) were not what we thought they were. The conclusion to the episode, more than ever last year’s cliffhanger, introduces the idea that Chuck was destined to be this way, and that the circumstantial elements of the series have all been part of a broader function and purpose.
This makes this much more of a premiere than a finale, using what little momentum the pacing-challenged third season could muster in order to launch the series on a much more interesting trajectory. The result has me much more excited about a fourth season than I was when it was announced a few weeks ago, although no more appreciative of the third season’s narrative stumbling blocks – so long as next season lives up to the hype, though, I’m willing to forgive them for the year’s struggles.
“Chuck vs. the Honeymooners”
April 26th, 2010
“Chuck vs. the Honeymooners” is not an episode about “Chuck and Sarah.” It is an episode about Chuck, and Sarah, and their independent personalities; the argument the show makes is not that they should be together (although it does sort of implictly make this argument through its quality), but rather that they each independently want to be with the other, and that this is a conclusion which they have come to as human beings rather than as much-shipped television characters on a network series.
I’m not one of those people who particularly cares about “Chuck and Sarah,” but I am one of those people who cares about Chuck, and Sarah, and their own journeys through this crazy life they’re living. In an episode which has a lot of fun moments which play into the lengthy period of romantic tension which led to this inevitable conclusion, there are also a lot of fun moments which are just the result of how much chemistry that Zachary Levi and Yvonne Strahovski have independent of a relationship, and how great the show’s stunt team is at making a low budget show look like an action film when it comes time to throw down.
The show can never be exclusively “about” Chuck and Sarah’s relationship, but so long as the show’s investigation of its potential results in episodes like this one which are damn entertaining entirely independent of the shipper mentality, I’d say that this little six-episode mini-season could be quite the ride.
“Chuck vs. the Tic Tac”
March 15th, 2010
There have been numerous traces throughout Chuck’s third season that the producers were really working overtime in order to get all of this material into thirteen episodes. This has been a tremendously consistent season from a thematic standpoint, to the point where it’s almost overwhelming: in case you haven’t realized it, the season is about Chuck’s changing identity and notions of trust and belief within our group of individuals.
“Chuck vs. the Tic Tac” is one of the most direct examples of an episode that isn’t about Chuck, perhaps, but is unquestionably part of this ongoing development. This is a Casey episode, and quite a good one, but it is actually probably the most subtle and effective movement in the Chuck/Sarah story that we’ve had in a while. When the show becomes “about” Chuck and Sarah, it sort of slows to a crawl; when it uses other stories to bring to light issues that help offer depth to that whole situation, it seems more natural, comes across as less dominant within the show’s universe.
This is a highly micro-managed episode, one which resists any sort of subtlety in its core story, but it does some nice work where it needs to, and I’ll forgive its bluntness due to its success at setting the show on the right course heading forward.
“Chuck vs. the Beard”
March 8th, 2010
Tonight, apparently, was a night where television appealed to the Myles demographic. After watching an episode of How I Met Your Mother that dealt with my lingering frustration over events earlier in the season, Chuck delivers an episode which confirms everything that I’ve said since the beginning of the season in terms of how the Intersect 2.0 operates, how Chuck is evolving as a character, and how that affects the world around him.
And yet, sort of like with HIMYM, I’m left somewhat underwhelmed by “Chuck vs. the Beard” even though it went down a checklist of many of the things that I like so much about this show. The problem, I think, was that it tried to do so many of them simultaneously without any really grounding the episode in any particular threat. There were too many coincidences, too many contrivances, and too many scenarios where the fun of “Viva Buy-Moria” took over from (rather than added complexity to) the fairly serious consequences of The Ring’s latest plan to take down our intrepid heroes.
The episode takes the show to places it should have gone sooner, and places that give the show a lot of great material heading into the rest of the season, and does so within the guise of what seems like an all-time classic episode of the series. And while there’s a compelling case to be made that Chuck, as a character, requires the support structure that the ensemble cast and its different spheres offers, I’m not sure that the episode itself was strengthened by that diversity.
“Chuck vs. the Ring”
April 27th, 2009
“Go with your heart, buddy – our brains only screw things up.”
In considering “Chuck vs. the Ring,” a title with two very different meanings, I think it’s important that we acknowledge just how amazing the accomplishment of the Chuck staff is when it comes to pulling off some of the most expansive material for a dramedy of this nature.
The first half of this episode is more or less an episode in its own right, one laden with numerous jokes, an amazing appearance by Jeffster, and what feels like a climax in and of itself. What is interesting is that, by the end of the episode, that storyline felt miles away, overshadowed by an amazingly epic conclusion that potentially changed everything. However, simultaneously, it was highly memorable and containing some of the best jokes in the episode. But when those elements would have felt overbearing, such as during that epic conclusion, they faded effortlessly into the background, never feeling separate but also never feeling like they were fighting in the same space.
It’s such an amazing balancing act, and when everyone in the cast is on fire, and when the writing is off the charts, and when Jeffster soundtracks an entire sequence with “Mr. Roboto,” it’s an example of how Chuck may not aim as high as some of the stronger dramas on television, or embrace absurdity as much as some of the biggest comedies, but in doing what it does I don’t feel there is a single other show that is this capable of executing this level of brilliance.
Forget about save Chuck – let’s praise Chuck for a while, and think with our hearts instead of our brains.
“Chuck vs. the Dream Job”
April 6th, 2009
Chuck Bartowski really only wants one thing in life: to get the intersect out of his head. However, at the same time, there are things that he needs in his life that always take precedence, his relationship with his sister being one of them. The show has always played it fast and loose as it relates to the way in which Chuck’s life as a CIA asset interacts with his domestic sphere, but in this episode there is little to no Buy More, and we find instead the convergence between Chuck’s most pressing desire and his most constant duty.
The way “Chuck vs. the Dream Job” handles this is, for the most part, predictably solid: this is not a revolutionary hour for the series, both in how the episode was plotted and the level to which anyone with half a brain called its “big reveal” as soon as Orion came on the scene. However, the show deserves a lot of credit for turning the predictable into the effective, and for doing a bangup job with casting as expected: both Scott Bakula, late of NBC’s Quantum Leap, and Chevy Chase provide that ideal combination of levity and potential menace to their respective characters.
It’s also another sign that Zachary Levi perhaps deserves more credit than he gets for his role on the show – that he is able to switch from comic pratfalls to realistic romantic drama to this week’s quite nuanced self-discovery demonstrates that the show’s star is far from a one-trick pony. And while I love the show’s comedy, and appreciate its romance, I often like it best when it finds itself in the family dynamics, the drama built less on drawn out tension and more on the idea that this character was someone before he was the intersect, before his life was a TV show; and it’s that sense that convinces me above all else that a TV show should be his future as well.
“Chuck vs. The Lethal Weapon”
March 9th, 2009
Well, the second time’s the charm.
See, immediately upon watching last night’s episode of Chuck, I found myself preoccupied with just how similar it was to last week’s episode: it involves the same guest character (MI-6 agent Cole Barker), and the ways in which that character interacted with the group were more or less along the same lines. However, I soon realized that the sense of deja vu I was getting wasn’t making me think less of “Chuck vs. The Lethal Weapon,” which came together as a rather great episode by the end of the day, but rather I was kind of even more frustrated with “Chuck vs. the Beefcake,” last week’s tepid and repetitive story.
That’s not fair to “Chuck vs. the Lethal Weapon,” where everything from last week is that much better due to a decision to pair Chuck’s efforts to get Sarah Walker out of his head with his equally strong desire to get the intersect out of there as well. It means that Chuck isn’t just lovelorn or sad about his current existence, but rather that he is striving for a future, hoping for a chance to be normal. It’s something the show felt like it put on the backburner recently, and returning to it in earnest (and, at episode’s end, with a pretty substantial reveal) makes yet another trip to the relationship well completely justified.