October 19th, 2010
The Good Wife was the best new network series of last season, without a doubt: the show was smart, sophisticated, and comfortable in its balance of both procedural and serialized elements.
This season, The Good Wife is a considerably worse show, objectively speaking: the weekly plots are over-written, the serial arc has swapped character drama for fairly rote political maneuvering, and tensions which might have remained subtexts last year become baseball bat attacks this time around.
Normally, I’d chalk this up to a network note about wanting to draw in younger viewers with a more exciting product; while I do think that this is likely part of it, I’m reticent to speak too critically because I’m finding this new version of the show a whole lot of fun. This is not to say that I don’t wish that the scripts could be a bit sharper, or that the show would avoid playing so heavily to the relationships between Will and Alicia as well as Cary and Alicia, but “Cleaning House” demonstrates that there are times when manipulative plotting can be delightful enough to quell most, if not all, of my critical concerns.
“The Return of Wheel-o”
June 28th, 2010
While it may not be the best comedy on television, I’d argue that Dan for Mayor makes a strong case for being one of the most confident. While some shows spend their first seasons in a state of becoming, the series seemed to spring fully formed from the minds of Mark Farrell, Paul Mather and Kevin White – the initial premise had potential which played out throughout the season, and from the beginning it was intertwined with the interpersonal relationships which make the series more than a clever premise. The notion of a lowly bartender running for Mayor as a way to impress his ex-girlfriend offers plenty of potential for humour, but the series has evolved into something much more than that: “The Return of Wheel-o” reflects a season which didn’t shy away from plot development, constantly changing the stakes of the race to the point where the finale gives Dan everything he wanted only to twist once more.
And yet, for a show which refused to rely on stability to tell its stories, Dan for Mayor has been remarkably consistent. It’s an extraordinarily clever show, but it never felt like it became too clever for its own good, its material always working in tandem with its cast in order to present a far more cohesive world than seems possible when presenting three different campaigns along with a number of personal lives. It never seemed like the show struggled under the weight of this challenge, capable from the beginning of managing both political satire and character development without breaking a sweat, and so I figure I should spend some time discussing what was a really enjoyable season of television.
Which, you know, 99% of you haven’t seen.