February 9, 2011 · 9:14 pm
February 9th, 2011
“Clear Eyes. Full Hearts. Can’t Lose.”
Perhaps more than any other show on television, Friday Night Lights is actively concerned with the notion of legacy. The Dillon Panthers were one, the East Dillon Lions are becoming one, and the show itself has formed its own sense of legacy with distinct notions of past, present and future despite a relatively short five season run.
In politics, or even in sports, the final moments are when the legacy is at its most vulnerable. As unfair as it might seem, the legacy of Friday Night Lights could very well come down to how “Always” brings the series to its conclusion. This will be the final time we spend with these characters, their final actions and reactions, and Jason Katims’ challenge is finding that balance between progress and consolidation.
He found it. “Always” is not perfect, getting a bit too cute for its own good towards its conclusion, but it all feels so remarkably “right” that it captures in an hour what the series accomplished over the course of five seasons. It is uproariously funny and incredibly moving, and those moments which resonate emotionally are not simply those which have been developing over the course of 76 episodes. The weight is felt across the board, with characters old and new finding self-realization amidst a larger framework.
They are legacies within legacy, as “Always” captures the emotional current of what will go down as one of the decade’s finest drama series.
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Filed under Friday Night Lights
Tagged as Always, Analysis, Becky, Billy Riggins, Buddy Garrity, Connie Britton, Dillon Panthers, DirecTV, East Dillon Lions, Engagement, Episode 13, Eric Taylor, Finale, Jason Street, Julie Taylor, Kyle Chandler, Luke Cafferty, Matt Saracen, Mindy, NBC, Philadelphia, Review, Season 5, Series Finale, Stacey Oristano, State, Television, Tim Riggins, TV, Tyra Colette, Vince Howard
October 17, 2010 · 11:13 pm
October 17th, 2010
“Are you kidding me?!”
I’m extremely glad that Faye Miller actually said this during the episode, so I could pull quote it instead of saying itself myself. But, seriously: is Mad Men kidding me?
“Tomorrowland,” like its namesake, was supposed to be about potential: it was supposed to show us a way for Sterling Cooper Draper Pryce to survive, and a way for Don Draper to reconcile his identity crisis and move forward. It was about charting a new path after tobacco, working with the Cancer society and making plans for whatever the future might hold.
Instead, “Tomorrowland” drops us off with ten weeks of no business, a vacation conundrum, and a series of circumstances which is precisely the opposite of last season’s closer: instead of building excitement, “Tomorrowland” builds nothing but dread, creating scenarios that test our patience with these characters, and even the show itself.
Unless you’re a huge fan of total uncertainty and absolute chaos, chances are “Tomorrowland” was more disturbing than enlightening – the question, of course, is whether it is still good television.
And I think that answer, despite my frustration, is yes.
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Filed under Mad Men
Tagged as AMC, Analysis, Betty Francis, Carla, Disneyland, Don, Engagement, Episode 13, Finale, Future, Harry Crane, Henry Francis, I've Got You Babe, Joan, Jonathan Igla, Los Angeles, Matthew Weiner, Megan, Music, Peggy Olsen, Pregnancy, Review, Season 4, Season Finale, Sonny and Cher, Sterling Cooper Draper Pryce, Television, Tomorrowland, Topaz, TV, Vacation