“Feel a Whole Lot Better”
May 5th, 2010
In Scrubs’ first season, J.D. and Elliot were two people who should logically be together: they were clearly attracted to one another, they were both young and attractive, and they were the male and female leads on a television comedy series. However, in the span of a forty-minute episodes entitled “My Bed Banter & Beyond,” the two characters decide to embark on a relationship after spending a day in bed having sex and chatting about the future of their relationship. The episode cuts back and forth between their time in bed on that first day and their attempts to make the relationship work in the real world, and at the end (spoiler alert), they realize it was all a mistake, and just as we finally see them part as young lovers on that first day we see them broken apart a few weeks later. It was a really fantastic episode of television in terms of breaking down and psychoanalyzing the show’s decision to not follow through on that pairing, and it was the sort of subtle and effective storytelling that would abandon the show and that relationship until the show’s eighth season.
I was just saying to my friend Colin yesterday that Cougar Town is shaping up into a spiritual successor to Scrubs in certain areas, so it’s fitting that the show would introduce its own play on that episode and its functions with “Feel a Whole Lot Better,” another in a pretty long line of really strong episodes for the show. Playing out the “Will They, Won’t They” outside of the thralls of young love and within the dynamics of two divorcees trying to keep from being lonely for the rest of their lives, the episode plays out the consequences from Jules and Grayson’s hookup last week by having the characters lie to themselves about the dramatic conflict apparent in the story. While the episode skips over some of last week’s subtexts that could have made this even more complicated, they manage to squeeze in a lot of story which transforms last week’s hookup into something definitive.
And thus the transformation from “What the hell is this” to “the new Scrubs” continues.
“Our Stuff Gets Real”
January 12th, 2010
I think we might owe Zach Braff an apology, or a qualified one at least.
A lot of us placed the blame of Scrubs’ struggles on the return of obnoxious J.D. in the earlygoing, leading some of us to suggest the show would have been far better off without him, but what we learn in “Our Stuff Gets Real” is that the problem was not so much the presence of J.D. and more the absence of Elliot. The writers’ mistake was not so much having J.D. return but rather taking away the element which grounded him to reality (his pregnant wife): in the context of that relationship, both J.D. and Elliot are able to remain helplessly neurotic without becoming insufferable, and there’s something there which is both poignant and meaningful (if, of course, not nearly as poignant or meaningful as what they left on in Season 8).
The rest of the episode is similarly on point, delivering another strong installment not only based on the return of the most original cast members yet but also by demonstrating some keen awareness of its new characters and their place within both the original cast and the show’s new dynamics. It wasn’t perfect, but the problems seemed dialed down and the positive seemed dialed in, and that’s the right place for the show to be.
January 6th, 2010
I think a lot of people have chosen to judge Cougar Town entirely based on Courteney Cox’s performance as Jules, which was perhaps fair early in the season – the show was about Jules dating younger men, which was a premise with very little room for growth for both the show and Jules as a character. And yet, something has happened over time that has evolved the show into something very different, a show with a fairly deep ensemble that isn’t afraid of mixing them up to create different pairings.
In other words, Cougar Town has become a show about a community, a group of characters who are capable of interacting with one another in social situations without things seeming chaotic or dramatic. While Grayson was once an antagonistic neighbour, he has become a reluctant participant in more age-appropriate social interactions, and while Bobby was once a deadbeat ex-husband he’s become someone who Jules cares about despite his use of a fish tank as a boat toilet. Ellie and Laurie were once actively antagonistic of one another, but they’ve now come to unite as Jules’ friends even if they maintain a six-foot distance between them when she’s not around.
And while some could argue that this is contrived, it’s given the show a sense of effortlessness with its story lines: it doesn’t feel like a stretch for new characters to interact with one another, and even if it makes for a definitively “small world” it’s one that has been effective both at delivering some strong comedy and, perhaps more importantly, accommodating guest stars like Scott Foley and Lisa Kudrow without feeling as if the show is changing in the process.
Cougar Town is simply a place I want to visit now, and I’m really enjoying what Bill Lawrence and company are offering.
September 23rd, 2009
Pilot season is really kind of an awkward time, when you think about it. If you’re going to be a “breakthrough” show (like Modern Family, which aired before Cougar Town), you need to move outside the bounds of the traditional pilot to surprise and excite. However, part of the nature of a pilot is tempering expectation, creating a template for your series which won’t always be smooth and which in some instances might not even be that compelling. It’s an episode where you open the episode with a conceptual scene that establishes your premise set to a hip indie music selection, and the result can often be a sense that this is “just another pilot.”
But there’s nothing inherently wrong with that. Yes, Modern Family deserves its accolades, but Cougar Town is a solid if unspectacular pilot for a show that has amassed a pretty impressive supporting cast, a fantastic lead actress, and sets up a premise which could on the surface result in diminishing returns and yet could just as easily turn into a really engaging premise for a sitcom. It is certainly not subtle, but with Bill Lawrence behind the scenes and some elements of interest I’m definitely willing to stick around Cougar Town for a while.