“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 Other Guy”
April 5th, 2010
I’ve taken to referring to “Chuck vs. the Other Guy” as the “FormerFinale,” if only because I want to bring as much attention as possible to the fact that this week’s episode was written as the final episode of the show’s third season. The thirteen-episode order has been the cause of most of the show’s problems: the limited characterization of Daniel Shaw, the sporadic motivations of Sarah Walker, the forced characterization of the “changes” in Chuck’s personality, and the disappearing and reappearing cast members have all been a result of the original episode order and the budget cuts that came with it.
None of these problems, individually, have taken this season down, or fundamentally ruined the show’s premise or anything of that nature – I’m not the person who threw a stink when Chuck/Sarah weren’t immediately brought together, or someone who has been entirely against the character of Daniel Shaw (or Brandon Routh’s work in the role). However, collectively they have formed a sort of distance between the show and I, both as a critic (where certain episodes have struggled to pull things together) and as a fan (where the “fun” of the show has sort of disappeared in the rush to advance the show’s plots).
And so the “FormerFinale” was always going to be a turning point: before it was the point where the show would enter into the limbo of whether or not it would get an unlikely fourth season, and now it’s the point from which the final six episodes of the season will depart from. And for the first time all season, “Chuck vs. the Other Guy” lives up to every possible point of evaluation: as a “FormerFinale,” as a launching pad for the rest of the season and as an episode of the show overall, it delivered enough to turn a somewhat shaky start into an extremely promising future.
But it wasn’t perfect, and it wasn’t enough to make me forget some of the missteps earlier this year.
Irrational Actors: Chuck/Sarah Shippers
February 9th, 2010
There’s been a lot of talk on the Twitter today regarding the storm of angry comments about last night’s episode of Chuck, in particular what some fans are viewing as a betrayal of the relationship between Chuck and Sarah (the comments on Alan Sepinwall’s post are the most telling).
Now, I have two immediate impulses in response to these comments:
- Write a lengthy treatise on the inherent positivity found in “shipping” a particular couple, arguing that the practice turns ugly when it shifts from celebration of a couple’s promise to anger over that couple remaining apart.
- Slap these people upside the head.
Since I don’t quite have time for the former, and technology has not advanced far enough for me to dole out the latter electronically, I’ll settle for an amalgamation of the two: let’s look at the three reasons why these fans are being entirely irrational, both in terms of general shipping logic and in terms of the content of the actual storyline.
“Chuck vs. the Nacho Sampler”
February 1st, 2010
We like to talk a lot these days about shows in which the creators take control of their own destiny: Lost, for example, decided it was going to end the show at a certain point, and it gave them a clear goal to work towards, leading to some great dramatic television. It’s one thing to laud a show for making the right creative decisions in the moment, writing good plots and the like, but it’s another when they make decisions that affect the show as a whole in a way that helps steer the ship as they sail onwards.
“Chuck vs. the Nacho Sampler,” while a somewhat weak episode in many ways, signals the start of the period where Chris Fedak and Josh Schwartz are making a move to take control of their destiny. While the story of Chuck stepping further into the world of being a spy, in the process reflecting back on his own experience as an asset in his earliest days with the agency, is a bit on-the-nose thematically speaking, the episode lays the groundwork for the show’s biggest secret to be revealed.
Whether they actually go through with it is a completely different question, but the setup is under way, and it raises some questions of how the show plans on ending its third season, and whether the show will have the narrative drive to move onto a fourth.
“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.