June 27th, 2010
There is a half-finished draft of a post wherein I vowed to give up on Entourage this season sitting on WordPress’ server, written late last week as I wrestled with this decision. I thought that this was going to be the season when I would finally break down and stop watching a show that I’ve unfairly subjected to indepth critical analysis despite the series’ complete lack of interest in any of the qualities which would warrant such indepth critical analysis. There’s a point where I would have to accept that the show I want Entourage to be is never going to exist, and that for better (or, far more likely, for worse), the show will remain as airy as it has ever been without any sense of consequence or real dramatic stakes.
And yet I think the necessary intervention is less about the twenty-two minutes a week I spend watching something so trifling and more about the half hour I sometimes spent analyzing it. While I would never defend the series’ quality, and certainly feel that it has devolved considerably since its initial potential, the show’s seventh season has started off without any pretensions as it relates to what kind of show this is. The show’s problem in the past is that it has contained elements which could be a more interesting series if they were only allowed to play out until their logical (and complicated) conclusions, but “Stunted” has no such elements: it’s quick, it’s simple, and its entire plot can fit comfortably into a cable listings logline.
And so, both because I won’t be alone and because Autumn Reeser personally told me I should continue watching on Twitter, I’m going to keep watching, albeit without taking out my critical frustrations on a show completely disinterested in changing.
“The Excelsior Acquisition”
March 1st, 2010
Sheldon Cooper is much more intelligent than he is smart.
What’s so strange about this character is that for all of his unquestionable intelligence, he is rarely smart about how he uses it: his lack of knowledge of social conventions means that he is often blinded to how cruel he is acting, which means that the character can often seem extraordinarily harsh. The show has struggled with a number of balance issues throughout its run, but when it comes to Sheldon the real question comes down to this: at what point would Sheldon’s intelligence outweigh his stubbornness or self-centeredness and force him to take a step back and consider what it is he is about to do or say?
I would argue that it is one thing for Sheldon to make a rash decision in search of a “once in a lifetime” opportunity, and I think it’s quite another for Sheldon to be willing to go to jail over insulting a Traffic Court judge. I understand that Sheldon will sometimes make mistakes, and that sometimes he will pick strange battles, but there’s a point where the character makes decisions not because they’re realistic but because they will make for better comedy.
And while I’d normally be fine with this if the comedy really delivered, the few jokes that the show managed to get out of the storyline weren’t enough to justify the borderline idiocy that Sheldon seemed to exhibit in order for it to happen.
March 1st, 2009
There are two stories in “Prime Minister,” and each of them is absolutely perfect for this surrealist world we’ve created. The show has leaned heavily this season on the humour to be found in New Zealand’s low level of cultural awareness, and less on the Conchords as an actual music duo: here, both of these elements are brought together with Bret and Jemaine spiraling into the world of cover bands while we get to meet Murray Hewitt’s own Murray Hewitt, the Prime Minister of New Zealand.
They end up coming together better than one might expect, especially late in the episode where the “lookalike” culture moves from one storyline into another, and both end up going in directions that are awfully nutty but in a way that is always noticed by the characters, either because they were responsible for its execution or because they are sober enough to realize that Art Garfunkel showing up at your girlfriend’s door while you’re in an Art Garfunkel wig is about time to hightail it out of there.
Yet, the episode was nonetheless another sign that while the comic foundation of the show is perhaps better than other, the songs just aren’t there: here is an opportunity to potentially have the episode soundtracked by Simon & Garfunkel-esque hits, and yet instead we get a Korean karaoke song and a 90s rock song with a nice hook but nothing to really connect it to the episode’s identity. And while I’m all for the show projecting such comic confidence on one end of the spectrum, I’m still left wanting for an episode that brings the two parts together.