Tag Archives: Edie Falco

Nurse Jackie – “Chicken Soup”

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“Chicken Soup”

June 22nd, 2009

Nurse Jackie is really turning into an interesting cross-section of television narratives at the moment, in a way that it wasn’t early on. There was a point in last week’s episode, when Anna Deavere Smith was high on percocet and turned into a one-note gag, where I legitimately questioned the show’s ability to inject humour into this series, but “Chicken Soup” brings that back into focus by presenting one legitimately comic storyline and a couple of human-interest patient storylines that offered some more light-hearted fare. When focused on interpersonal interactions, the show is finding plenty of humour, and capturing the desireable elements from a show like Grey’s Anatomy from a slightly darker, and therefore slightly better, perspective.

At the same time, though, there are points where the darkness of this world become a bit too overwhelming, and one can’t particularly blame young Grace for deciding that the Bubonic plague is ready to strike again. While some may argue that the very presence of this darkness is problem enough, I’d tend to argue that the concern is less in the existence of a dark side to both Jackie and the show as a whole and more in the execution. Presented in the form of one general cliche followed by a procedural medical faux pas of the worst order, Jackie’s darkness is emerging less and less through organic channels, and more through clearly identifiable insertions into every day life designed to remind us that she is addicted to drugs, or remind us that she’s an adulterer.

It’s a reminder that I don’t think we particularly need, nor one that feels particularly effective in this episode at least: sometimes a simple episode about humanity does more to speak of Jackie’s occasional lack of humanity than does outright character homicide, and on a show where humanity is sent through the wringer and complicated in so many ways a more subtle approach would certainly be in the show’s best interest moving forward.

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Nurse Jackie – “Sweet ‘n All”

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“Sweet ‘n All”

June 15th, 2009

If we look at Weeds, The United States of Tara and Nurse Jackie as similar shows (which, being half-hour, female-led, Showtime-airing dramedies, they really are), one of their most defining characteristics is that each of their pilots found them “in medias res,” as whatever story there is in the series has already been in progress for quite some time. We weren’t seeing an origin story, or a whole new situation that forms the setup for a series; rather, in each instance, we find women struggling from various ailments (supporting a family through selling drugs after her husband’s sudden death, coming off of medication for multiple personality disorder, and an addiction to painkillers and adultery, respectively), and we’re missing that point where their suffering (going broke, becoming numb, etc.) went so far as to bring them to their current position.

I think that sets Nurse Jackie apart from these two shows is that there is nothing funny or light-hearted about her current position: Jackie’s adultery appears to only be hurting her husband and children, and her drug dependency is certainly not something to be considered humorous. While not seeing that moment when Nancy turned to drugs, or when the numbness proved too much for Tara to handle, wasn’t a big deal, it’s kind of a huge deal that we don’t understand why Tara would betray her happy little family; the drugs we can understand as part of a broader physical addiction, but without linking the two together it becomes a problematic element of the series’ “in medias res” setup.

“Sweet ‘n All” does not really come close to resolving these concerns, but shows a subtle and nuanced approach to doing so in the long run. Through the power of the fabulous Edie Falco and the complexity of the Hadron Collider, Nurse Jackie has moved one step towards filling in its own gaps, even if the rest of the show didn’t really evolve much beyond the pilot.

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Series Premiere: Nurse Jackie – “Pilot”

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“Pilot”

June 8th, 2009

There’s a pretty common element in nearly every review of Showtime’s new “comedy” (I’ll get to that distinction in a second), and it’s something that I can’t really speak to. Sepinwall and Fienberg both have thoughts on how Edie Falco, who earned numerous accolades for her role as Carmela Soprano on HBO’s hit drama series The Sopranos, adapts to a very different role, but I don’t really know how different it is. As I’ve blogged about before, The Sopranos remains my biggest and perhaps most detrimental blind spot in terms of the television in the last decade: not willing to shell out for the expensive DVDs, I’ve been left not quite understanding what David Chase’s show really meant outside of being able to know that his training did Matthew Weiner well (Mad Men). And now, with Falco moving on to star in Nurse Jackie, it’s quite a similar situation: I don’t precisely understand what Falco did before, but certainly that experience hasn’t lessened her ability as an actress.

This isn’t a comedy by traditional standards, but for Showtime it’s pretty well par for the course: debuting after Weeds (a show that has become more and more dramatic as time’s gone by) and in the wake of United States of Tara (which always veered closer to drama than comedy), the show is nonetheless a viable comic vehicle while maintaining a more dramatic core. The reason is that either in comedy or in drama, both of which we see in the premiere, the show remains starkly human. Jackie is ultimately driven by saving people, and perhaps her greatest fault is that her efforts to save herself take the form of far more destructive behaviour than and other her unethical practices done within the context of her job.

It’s the right recipe for the series, placing a conflicted and complicated protagonist in a situation where both her cynicism and her optimism are continually tested, although I don’t think anyone could argue it is a particularly unique one. That said, the pilot demonstrates a keen sense of this character, brought to life with strength by Falco, and the universe she inhabits, which is what any pilot is supposed to do.

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The 2008 Television Time Capsule: 30 Rock – “Episode 210”

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“Episode 210”

Season Two, Episode Ten

Airdate: January 10th, 2008

I love 30 Rock: it’s a smart, intelligent and funny show that has emerged as a tremendous showcase for Tina Fey’s talent. And if this were a 2007 list, I could have told you exactly the episode that would make it into this time capsule, as “Rosemary’s Baby” is still perhaps the series high point for me (with “Hard Ball” neck and neck). But there is something about the 2008 episodes that has made this decision inexplicably hard.

This won’t stop me from attempting to explicate it, however – I think my problem is actually quite simple. While the show’s post-strike second season episodes were smart, featuring some great overall work for especially Tina Fey, none of them felt consistent. I thought that Fey had a great backend (wow, what sounded dirty), but Alec Baldwin wasn’t given much to work with. Similarly, the great guest appearance by Dean Winters as Dennis in “Subway Hero” coincided with the pointless but shockingly Emmy-winning glorified cameo from Tim Conway. And the third season is still climbing its way out of some early stuntcasting to shape its own identity – any judgments seem premature.

So, while I appreciate the thematic wonder of “Succession,” and still find Fey’s eating in “Sandwich Day” to be hysterical, I find myself gravitating to an episode that for all intensive purposes should have no business being here: completed while the Writers’ Strike was on, the episode was rushed to production to the point where Fey and Co. never even got to write a proper title.

Strangely, what emerged was shockingly funny, especially Liz’s epic battle against the Co-op board. It was one of those moments where Liz Lemon was let loose in the real world, and the result was a sequences that has made me highly conscious of drinking around telephones and has given me a lifelong goal of someday both running on a treadmill with a glass of wine and buying a Black apartment.

And while the rest of the episode isn’t that much more consistent than some of the other possible selections, something about it just kind of makes me happy: whether it’s the episode ending musical number, the bittersweet conclusion to what was a strong storyline with Jack and his senatorial lover CiCi (an up to task Edie Falco), or the jittery wonder of Kenneth on caffeine, the episode seems less like a rushed attempt at finishing a pre-strike episode than a controlled chaotic release of hilarity.

Yeah, Alan Sepinwall already beat me to this particular drum in his own year end list, but I think the point needs to be made: a darn good half hour of television is to be found here, nameless as it may be.

Related Posts at Cultural Learnings

[For more details on the Cultural Learnings 2008 Television Time Capsule, click here!]

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Emmys on Trial: The Ageism of Guest Acting

[As part of our continued, if oft-neglected, coverage of the 60th Annual Primetime Emmy Awards next week on September 21st, Cultural Learnings brings a week of coverage designed to shed some light on the key races, the fascinating stories, and the things that are already frustrating to the point of anger even before the winners are even announced. Thus, welcome to Emmys on Trial – don’t worry, I’ll have predictions too.]

The Ageism of Guest Acting

Last night, a lot of people won Emmy Awards. Some of these people were probably not surprised: could the crew of Mad Men truly be shocked to pick up a number of Creative Emmys in categories such as Art Direction, Hairstyling, or Main Title Design? Would the special effects team behind Battlestar Galactica honestly have not prepared a speech this year (Read here for last year’s tale) considering the show’s reputation and improved work in season four? And, after “Dick in a Box” paved the way for late night comedy songs, “I’m F*cking Matt Damon” was a lock even if Silverman and Kimmel’s relationship couldn’t last until the ceremony (Damn Matt Damon).

But if there was anyone at the announcement of the winners of the Creative Arts Emmy Awards not surprised, it was Kathryn Joosten and Tim Conway. Representing two shows with multiple nominations in their respective categories, these stars of Desperate Housewives and 30 Rock respectively have two things in common: they both won Emmys that they don’t deserve, and they both are very, very old.

And yeah, I know: who’s Ageist now? Well, someone’s got to restore a little balance here.

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Emmy Awards Preview – Nominee Analysis: 30 Rock

While it certainly didn’t come out of nowhere, considering that it had nominations in both lead acting categories, 30 Rock’s Emmy win last year was still a bit of a surprise. However, it was a pleasant one, and signaled and onslaught of critical praise and accolades for a series that (at that point) seemed to be on shaky ground where it matters most these days: ratings.

But with a third season guaranteed and more hardware in the closet, 30 Rock has gone from the upset victor to the perennial frontrunner for the 60th Annual Primetime Emmy Awards. And with great power comes, well, great responsibility; in this instance, responsibility to pick the right submissions to reflect the season’s quality.

Outstanding Comedy Series

Submission: Unknown

My Suggestion: “Secrets and Lies”

It’s hard to pick a single episode to encapsulate an entire season: I think the show’s smartest segment has to be “Rosemary’s Baby,” for a lot of reasons I’ll discuss further below, while part of me gravitates towards “Greenzo,” featuring a fantastic David Schwimmer in the title role. However, I like “Secrets and Lies”: it has a great storyline featuring Baldwin and perennial Emmy favourite Edie Falco, a couple of great moments for Tracy Jordan, and the fantastic ending sequences as corporate republicans reveal their inner demons. Regardless of which they actually choose, however, the deal is sealed either way.

Chances: Definite Nomination.

Lead Actress in a Comedy Series

Tina Fey

Submission: “Episode 210”

My Suggestion: “Sandwich Day”

In this instance, my suggestion isn’t hostile: the last pre-strike episode may have been rushed, but Fey knocked both her initial interaction with and her late-night phone call sessions to the co-op board of her new apartment out of the park. In particular, the image of Fey on the phone while walking on her treadmill and drinking a glass of red wine while proclaiming that she bought a black apartment stuck with me for a long time. However, “Sandwich Day” had Fey doing what she does best: being neurotic and eating on camera (plus looking really attractive in the dress on the left. An argument could also be made for “Succession,” as Liz goes corporate, but something about that episode didn’t sit right for me.

Chances: Definite Nomination.

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30 Rock – “Somebody to Love” and The Office – “The Deposition”

“Somebody to Love”

November 15th, 2007

If tonight’s episode of 30 Rock taught me anything, it’s two things: first, that Edie Falco really isn’t that funny. And, on a more positive note, training for the Amazing Race really does make you look like a terrorist.

The episode’s storyline featuring Liz freaking out over her Middle Eastern neighbour (Played by the always awesome Fred Armisen) was pretty dull until the reveal that as opposed to planning a terrorist attack he was audition for the Amazing Race. Armisen was great in the role, but the storyline took the focus away from the running of a television network. And, while the show can still be funny in this mode, it paled in comparison.

Jack’s storyline had the same problem, with Edie Falco playing a Democratic Congresswoman who meets Jack and starts a clandestine affair even when she is directly fighting environmental pollution by the Sheinhardt Wig Company. Falco wasn’t that funny, and the only great stuff to come out of the storyline was a TV movie (See below) and Tracy’s pick-up line selections at the end of the episode.

Kenneth had a sidestory about losing Jack’s pants and becoming a monkey for the writing staff, but it never clicked. After a few weeks of really fantastic episodes, this was definitely a step backward for the series. Still, there was some funny stuff, and I can’t possibly dislike a good Amazing Race reference.

Cultural Observations

  • “That’s an antique, and I’m a white lady!” and “Remember when I asked that black guy if he saw Sideways?” were a quick, yet funny, departure into sketchy subjects from Liz.
  • I loved Kenneth’s sign for Jack’s pants: “A Pair of Fancy Tuxedo Pants”. Oh Kenneth.
  • My far the best part of Edie Falco’s cameo was the Lifetime Movie resulting from her tragic past: “A Dog Took My Face, and Gave Me a Better Face, So I Could Change the World: The Celeste Cunningham Story.” Kristen Wiig did great with the scenes, a highlight for the episode.
  • Oh, and Jack singing “What the World Needs Now (Is Love)” was also kind of great in a more subtle way.
  • Oddly, neither of the episode’s two main storylines really resolved themselves: are Falco and Armisen sticking around? Also, Jenna was noticeably absent…I know it might just be me, but I kind of missed her?

“The Deposition”

November 15th, 2007

Following a pattern of the past few weeks, “The Deposition” dealt with inter-office shenanigans and Michael’s storyline in very separate fashions. While the employees enjoy what essentially boils down to fun and games, Michael actually had a lot of serious weight to his storyline this week.

And I like that: living up to last week’s Michael and Jim conversation, the show let Michael have a mature storyline that while still hilarious managed to actually hold some levity. With Michael and Jan’s relationship on trial, and the ping-pong championship at stake in Scranton, both worlds were well represented in an even-handed segment…that will sadly be the last we get for awhile.

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