Season 4, Episode 10
June 23, 2017
[With its final week, Skam is adjusting its format to shift perspective on a daily basis, moving between a range of supporting characters to bring the show to its conclusion. Given the promise of daily clips, I’ve decided to review each clip as it is released, with a final reflection on the week and the series as a whole to follow over the weekend. You can find the rest of my reviews of this season’s episodes here.]
The choice to start with Vilde is an easy one: she is the character who was most likely to have a POV-season who will never get one, given how the show has played with the vulnerabilities she hides from her friends. Her eating disorder was built into season two through Noora’s observations of it, and what we’ve gleaned of her home life has seemed challenging. There is clearly a season’s worth of material in understanding Vilde, whose ignorance has always come alongside surface-level insecurities distinct from the more guarded POV characters.
Perhaps this is why Vilde never got a POV season: it was always evidently clear that Vilde was never truly “chill,” and thus there wasn’t necessarily a façade to break down in the way we saw with the other characters. Learning that Vilde is struggling to take care of her depressed mother helps put parts of the character into context, but it doesn’t really transform our understanding of the character, or push the show into new territory (especially given it’s not dissimilar to Isak’s relationship with his mother, although the show never explored that directly). In making the choice for the final season, Sana offered a richer thematic palette, while Vilde offers a tragic but perhaps a bit rote take on a teenager forced to be the responsible adult in the wake of mental illness.
“One Last Ride”
February 24, 2015
“Leslie always has her heart in the right place, but just needs some help along the way.”
I wrote this six years ago. At that point, Parks and Recreation was a show still in search of its identity, existing in The Office’s shadow and week-by-week discovering more about its characters as we were. It says a lot about the show that now, six years and seven seasons later, “One Last Ride” puts a button on this initial judgment made three episodes into the series’ run. Leslie’s heart was always in the right place, but she truly found herself when she found her team to help along the way.
There’s always a lot of discussion about the change that Parks went through after the short first season, but returning to that review—and my collection of reviews from the first three seasons—in light of tonight’s finale made me realize that it didn’t really change at all. From the very beginning, this was a show that asked the audience to follow an optimistic, hard-working civil servant as she struggled to navigate a world that did not want her to succeed, slowly breaking down the barriers that were placed in front of her. We wanted her to succeed not just because we liked her, but also because she was operating with a moral imperative, one so powerful that it could overcome even Ron Swanson’s fundamental disbelief in the value of government. She was a hero, in truth, in ways that would make sustaining her drive the show’s biggest challenge.
March 21st, 2011
“Is that why I’m here? To tell stories?”
In reviewing last week’s penultimate episode of MTV’s Skins, “Tara,” at The A.V. Club, I sort of offered my general take on the show thus far: while it has not lived up to the British original, it has made enough variations to define itself as largely independent from that series’ successes and failures. While it remained uneven throughout its run, things started to gel towards the end: actors improved, plots became more interesting, and the branching out into Tara’s perspective was a welcome departure from the British model.
Of course, just because the show is now being considered largely based on its own standards does not mean it won’t fail to live up to those standards in “Eura/Everyone.” In some ways, the finale is the ultimate test: as stories reach what more or less resemble conclusions, the strength of the series’ storytelling is challenged. Skins is a show that tells stories by limiting its perspective, as individual episodes are framed by one narrative while intersecting with others. As a result, an episode like “Eura/Everyone” where the frame character is notable in her absence asks the series’ collective cast to fill in the gaps, never quite allowing any one of them to fully take over (as evidenced by the “Everyone” side of the title).
Ideally, the characters will have taken on such a complexity that the ensemble feel should feel like a culmination of a season’s worth of development. More realistically, however, “Eura/Everyone” will reinforce the hierarchy between characters, their “resolutions” revealing which of them became three-dimensional teenagers and which were left to feel like characters in a story.
That hierarchy is strikingly evident in this finale, although I’d argue that “Eura/Everyone” is more successful than not when it counts the most.
February 24th, 2011
Of the first six episodes initially sent to critics, “Indianapolis” is the most subtle. It’s a straightforward pairs of comic setpieces: a dinner party and a night out at the Snake Hole have the characters moving away from the Harvest Festival in order to get some time to focus on the characters themselves. While the commendation for the Harvest Festival technically draws Leslie and Ron to Indianapolis, the episode investigates what happens after the ongoing storylines which have dominated the show since Ben and Chris’ arrival start to come to a close.
This is actually the last episode that I screened in advance, and it’s also the last episode to air until March 17th, but I think it’s a very strong note to go out on. Without a major guest star, and without a standout “scene” of the likes of “Stop. Pooping” or Ben’s breakdown on Ya Heard with Perd, “Indianapolis” is just a very funny episode of what is clearly a very funny show.
And yes, that’s apparently the extent of critical analysis that a show in this much of a groove inspires.
“Ron & Tammy: Part Two”
February 10th, 2011
The most basic approach to a sequel is to make everything bigger: by taking everything one step further, you therefore make everything one step better.
However, I don’t know if this principle works for Tammy Swanson. I love Megan Mullally in this role, and I even enjoy this character and its impact on Ron Swanson, but the execution in “Ron & Tammy: Part Two” just didn’t connect like I think the show thought it did. It’s funny enough, I guess, but it feels like a trope: like one of those sequels where they just repeat what worked before and add a few bells and whistles (or, in this case, some cornrows and a genital piercing).
I actually thought the rest of the episode worked pretty well, and the show is still in good shape, but it felt a bit regressive if I’m truly being honest. The show is better when it’s subtle, at least for me, and the balance of this episode seems to have been a bit out of whack.
But just a bit.
February 3rd, 2011
When pre-air reviews of Parks and Recreation’s third season emerged, Matt Zoller Seitz’s column at Salon stood out for me. This is due not only to its quality, which is top notch as per usual, but also because it focused very specifically on tonight’s episode, “Time Capsule.” At first, I was sort of thrown: having seen them all myself, the first episodes to come to mind were those featuring more character-driven humor and which dealt with ongoing plot developments, and to some degree “Time Machine” felt comparatively…small.
However, Matt’s comments were in my mind when I went back to rewatch the episode, and I think that he’s right on the money. While “The Flu” was perhaps the funniest of the first six episodes of the season, and the premiere had the most going on in terms of ongoing storylines, “Time Capsule” is very much the encapsulation of the series’ general charm. Its conclusion is just incredibly satisfying, a simple statement of what it means to be from Pawnee which resonates more strongly than any single joke. This is still a funny episode, in what continues to be a very funny season, but that it ends on something meaningful instead shows the side of the show that Matt responded to, and which certainly deserves recognition.