June 2, 2010 · 12:17 am
June 1st, 2010
I focused a lot last week on the show’s unwillingness to embrace its continuities, and while I hate to be repetitive “Funk” runs headfirst into the same problem: airing out of order (originally intended to air before last week’s “Theatricality”), the episode has a number of chances to connect its at times random storylines to previous developments, and yet resists at every turn.
It’s especially strange in that the episode returns a couple of recurring characters into the mix, which seems like a great way to justify looking back a bit. The result is an episode which feels like the show spinning its wheels, shifting sharply from some intense dramatic storylines to a pretty stock “guess what? Regionals is coming up next week!” episode.
And even with the joys of song and dance, those episodes just end up being a bit of a snoozefest, and in this case an occasionally problematic one as the show makes a couple of key decisions which take some strange routes to get to some fairly interesting conclusions.
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Filed under Glee
Tagged as Analysis, Beck, Cory Monteith, Dianna Agron, Episode 21, Finn, Funk, Good Vibrations, It's a Man's Man's Man's World, Jane Lynch, Jessalyn Gilsig, Jesse St. James, Jonathan Groff, Loser, Mark Salling, Marky Mark and the Funky Bunch, Merceds, New Directions, Out of Order, Pregnancy, Puck, Quinn, Review, Sue Sylvester, Television, Tell Me Something Good, Terri Schuester, Theatricality, TV, Unwed Mothership Connection, Vocal Adrenaline, Will Schuester
January 23, 2010 · 2:48 am
I’m sorry, Conan.
I didn’t watch your Tonight Show. At 11:35, I’m more likely to be writing about television than watching it, and for that I truly have to apologize. I was part of the problem, part of the group of people who celebrated Conan O’Brien’s rise to the Tonight Show but who never bothered to keep tuning in. I watched a few episodes early on, and enjoyed the feeling of pride that “my” host pushing out Jay Leno, but then when push came to shove I was content with knowing Conan was there.
I know it’s not my fault: even if Conan’s ratings had been incrementally better, chances are that NBC still would have made the decision to push his show back, and this whole mess would still be happening. And considering that Conan is walking away with an enormous severance package and will likely be back on our televisions within a year, it’s not as if the man himself is truly losing his job and left without a chance of success.
But there is something tragic about seeing someone robbed of doing what he loved, and robbed of doing it on the stage he always dreamed of. He left this job because he felt as if NBC was disrespecting its legacy, and like the consummate professional he is Conan showed an enormous amount of respect for both the Tonight Show’s legacy and his time at NBC in the midst of his final goodbye to the network and the show he feels he is leaving a decade too early. While no one is crying for Coco, considering the severance he received, I don’t think any of us can deny him the right to cry: his tears felt genuine, a love letter to the people who brought him to where he is and a final curtain to a run at NBC that took him from comedy writer to national sensation.
His final episode (and mine) of The Tonight Show was one hundred percent Conan, one hundred percent heartfelt, and hopefully just a small percentage of what’s to come.
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Filed under Late Night
Tagged as Andy Richter, Band, Beck, Ben Harper, Billy Gibbins, CoCo, Conan, Conan O'Brien, Cowbell, Farewell, Finale Episode, Freebird, Jay Leno, Long May You Run, Max Weinberg, NBC, Neil Young, The Tonight Show with Conan O'Brien, Tom Hanks, Will Ferrell