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Gossip Girl – “Oh Brother, Where Bart Thou?”

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“Oh Brother, Where Bart Thou?”

December 8th, 2008

I watched some solid television on Monday: I caught up with Dexter (a solid penultimate episode, but I’ll have some thoughts on the season as a whole after the finale), enjoyed the night’s episode of Chuck (an entertaining if highly improbable outing), and caught up with a bit more of FX’s Sons of Anarchy (I’d suggest checking it out). But, admittedly, I haven’t been limiting my television to more serialized outings: I also took some time to get through the last two discs of The O.C.: Season Two. And, ultimately, this means that despite all of that high caliber television I’ve watched over the past few days, it’s Gossip Girl that sent me to my laptop at 5am.

For those who don’t remember the final episodes from the second season of Josh Schwartz’s other show about elite, rich white people, they featured the tragic (if somewhat bittersweet) death of the show’s patriarch. What followed was an emotional rollercoaster of sorts, the various individuals most affected by his death spiraling into something approximating either utter despair (Kirsten’s alcoholism) or an odd sense of freedom (Julie reconnecting with a returned Jimmy). And while I found both of these developments to be either overplayed and out of character (See: alcoholism), or idealistically portrayed to contrast the season ending gunfire (See: Julie/Jimmy), I nonetheless felt that the death of Caleb Nickel was a death that resonated.

And while some could argue that it is unfair of me to draw this comparison, I would argue quite the opposite: this episode of Gossip Girl followed this pattern to such a degree that anyone with a strong recollection of that series of events can’t help but make the same observations. The problem with the death of Bart Bass, confirmed seconds into the episode if not by last week’s cliffhanger, is twofold: that there are only two people on this show who we really care enough about to sit through their reactions, and Bart Bass was so insignificant and poorly developed that we don’t care about his death enough to make this all matter.

So while Stephanie Savage did what she could to make this seem like a pivotal moment in the show’s trajectory, it was like shining a bright light on the show’s inability to demonstrate anything beyond poor attempts to shock the audience.

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