“All Children Grow Up”
March 29, 2010
Despite having been in college when the show began, I have never really “related” to ABC Family’s Greek in the way that you might expect. While I certainly have met people like the characters in the show, I went to a school without a greek system, and so I was sort of like a pledge myself when the show began. One of the show’s best qualities is how they’ve managed to turn the fraternities and sororities into an integral part of not only the show’s universe, but also each individual character: while no character is solely define by their position in a fraternity or sorority, it remains an integral part of their identity that the show has given depth over the course of three seasons.
While the show has its love triangles and its relationship drama, and its fraternity drama can sometimes boil down to simple concepts of revenge or rivalry, at the core of the series is a sense of belonging, a community that is powerful enough to want Cappie to never leave college, for Casey to abandon the opportunity to go to law school, and for Dale to want to be a part of it even with his moral reservations. And while I may not have been part of a fraternity, I fully understand the characters’ anxiety about leaving all of that behind, abandoning all of that for the great unknown. While the machinations of a show working to set things up to potentially continue in the future despite lead characters graduating are apparent in “All Children Grow Up,” the drama is driven by a nuanced and subtle portrayal of the struggles which come with leaving everything you know behind for something new; that we so wholly believe their concerns demonstrates the effectiveness of the show’s world-building over the past three seasons.
“A Bright New Day”
November 17th, 2009
In its first four episodes, V has one of the toughest tasks in network television: it needs to both create a sense of momentum (in order to continue to engage viewers) and also leave viewers wanting more (so that they’ll come back when the show returns in March to finish its first season). What’s been clear thus far for the series is that it is sort of trapped between the two tasks, unwilling to blow its metaphorical load but also unwilling to slow things down to fully pull out the most interesting elements of the show’s mythology. It’s led to a methodical but unfocused start to the series, and unfortunately one which hasn’t yet pulled me in to the degree that it seems to want to.
The problem with “A Bright New Day” isn’t that it is doing anything particularly wrong with this premise, but rather that it feels entirely inorganic when introducing any sort of new developments. There is nothing elegant about this show, and while it (unlike FlashForward) has done well to keep its stories more inherently related to the plot of the series it has done nothing to make some of those inherently relevant stories entertaining (although parts of this episode are on the right path). The show is so desperate to show us certain things, and to have certain characters be in certain situations, that it doesn’t really care how it accomplishes it.
And while a more cheesy, 80s inspired series with some flair could easily get away with this, a show that purports to take itself seriously is going to run into a narrative brick wall, hiatus or no hiatus.
“The Day After”
August 31st, 2009
As one of the few critics who has spent a lot of time analyzing ABC Family’s Greek (although welcome Todd VanDerWerff to the club), I’ve been somewhat harsh on the main romantic element of the series. Casey, as a character, is trapped in a romantic spiral, and the show has spent far too much time humming and hawwing when it comes to her various entanglements. When Casey is actually with someone, the character is neurotic but in a way that seems productive: when she’s pining for someone or trapped in between two options, things because convoluted and almost seem to crawl to a halt. Greek is not so much a guilty pleasure as it is a very solid dramedy masquerading as a teen soap opera, but in these moments the show becomes the very definition of what its detractors (who haven’t seen the show) believe it to be.
However, I want to give them a fair deal of credit. “The Day After,” picking up the morning following the second season finale, spends a lot of time dealing with the relationship between Casey and Cappie, and in a way that I think really works. One of the problems some shows have when dealing with an inevitable coupling delayed by circumstance (See: Gilmore Girls) is that they’re secretly perfect for one another and yet just can’t seem to make it work. It means that when they do get together, when everything seems to fit, the show’s drama stops, and in order to prolong that drama one must contrive reasons for them to split regardless of logic…okay, Gilmore Girls rant over.
My point is that I like what they’re doing in the relationship between Casey and Cappie because of how flawed they would be as a couple, and how they’re not pretending that’s not an issue. Cappie is by far the show’s most interesting character, and the way he handles the aftermath of “The End of the World” demonstrates the complexity of Greek’s plan for their partnership. Yes, I still think the rest of the show is often more interesting, but if this is how Cappie is going to spend some of his time this season then I think my Casey bashing will be somewhat less as the year continues.
“At World’s End”
June 15th, 2009
To signal the end of the world, there are various signs of the apocalypse, things which let you know that doom is imminent. To signal the end of a season of Greek, though, you know that Casey and Cappie are about to become intertwined, Rusty will face some sort of crisis, and some sort of major fraternity/sorority event will take place.
However, what always impresses me about Greek is how the various parts all come together in such a way that feels far more organic than it has any right to, and with greater meaning than one would expect the show to aspire to. Sure, the episode had its comic subplot (Rusty and Dale’s altered purity pledge), but for the most part it tackles the fates of the siblings Cartwright with just the right amount of interconnectivity, and with perhaps the show’s most focused lens yet in terms of sidelining supporting players.
Combined with tying up a few loose ends, “At World’s End” isn’t the end for this show by a long shot, but it takes the episode’s theme and runs with it to the point of really encapsulating where these characters sit within the world of Cyprus-Rhodes university. And although there aren’t too many “critics” covering the show on a regular basis, it also proves how a combination of cultural relevance and self-awareness have made this without question the strongest teen-focused dramedy on the air.