Tag Archives: Entertainment

December 21, 2009 · 12:48 am

Survivor Samoa Season Finale: There’s Something about Russell

Survivor Samoa Finale: There’s Something About Russell

December 20th, 2009

When Survivor started its nineteenth season, there was a man named Russell. Pot-bellied and stubborn, Russell emerged as if pre-fabricated to play the role of villain in Mark Burnett’s game. He came in with no desire to make friends, and started emptying out canteens and burning socks. It was the most aggressive villain edit the show had ever seen, which meant one of two things to me: either Russell was going to be leaving very quickly (hence the show maximizing his villainy time) or else there was more to Russell’s game than this villainy would seem to indicate.

Russell proved inherently divisive in those early weeks: some people hated him, and felt as if he was ruining the season with his heartless ways. But something changed in the game that made Russell seem less villainous. His tribe, Foa Foa, started getting clobbered in challenges, which meant that Russell’s victims were becoming victims of the game itself. And so Russell didn’t have to be a villain anymore, just watching as his tribe lost every challenge and revelling in his ability to manipulate his tribe into voting how he wanted them to vote. And suddenly instead of someone who was operating against the game (burning socks, disrupting daily life), Russell was simply a puppetmaster enjoying as the rest of his tribe stopped thinking for themselves.

And then the game became Russell’s, to the point where behaviour that before felt obnoxious (like finding the immunity idol without a clue) suddenly became genius, and where his manipulations went from an unnecessary force in the game to a brilliant strategic advantage that took the four remaining Foa Foa members from a severe disadvantage to standing as four members of the final five heading into the show’s finale. And somewhere along the way, the game went from being Russell’s to ruin to being Russell’s to win, and in many ways this finale has come down less to who wins and more to whether or not that person is Russell.

That’s the joy of Survivor, really: if you had told me that at the beginning of the season, I never would have believed you.

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December 20, 2009 · 11:48 am

A Whole New World: World-Building in Avatar and Scrubs

A Whole New World: World-Building in Avatar and Scrubs

December 20th, 2009

It’s very rare around these parts that I actively engage in any sort of cinematic analysis, but apparently it’s a yearly tradition as twelve months ago I was waxing poetic on the virtues of Danny Boyle’s Slumdog Millionaire and its connection to reality television narrative. And after seeing James Cameron’s Avatar last night, I feel I need to spend at least some amount of time discussing what was a truly fantastic cinematic experience (even if I also end up discussing its connection with television).

I could spend a long time talking about the film’s visual prowess, but as noted on both Twitter and Facebook (which means that, if you’re a Myles McNutt aficionado, you think me mighty repetitive) this was the first movie I saw wearing my new corrective lenses, which meant that it was so stunningly sharp that I think I would have found any movie mind-blowing from a visual perspective.

However, I want to focus on what those visuals are meant to achieve, in particular the film’s efforts to create a “world.” Cameron’s Pandora is full of life in a way that sustains this film, filling in the gaps of the somewhat reductive and straightforward plot by making us anxious less for what will happen next and more for what unseen part of this planet we’re going to see for the first time in the near future.

And it has me thinking about those television series which rely on the same sense of world-building, specifically ABC’s Scrubs, and in particular how Cameron’s film draws attention to the advantages and disadvantages of the audience (or, in the case of the film, its characters) dropping in and out of that world on a regular basis.

[Spoilers for Avatar will be minimal, more particular moments than any sort of plot or character things, but if you want to go in blind turn back now.]

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December 19, 2009 · 8:00 am

The Best of 2009: Performers of the Year

Performers of the Year

December 19th, 2009

I am not capable of working magic, so I shall not attempt to rank every single amazing television performance of the past year and boil them down to only ten selections. It’s an impossible task that the Emmys are incapable of doing correctly even when they have numerous categories in which to highlight particular nominees, so who am I to try to cover all of my bases with just ten names?

The purpose of this list, rather than trying to represent every great performance, is to highlight those that had an impact on me, and to some degree to highlight those which might not be represented elsewhere on the list in terms of particular episodes or the series themselves (and since I limited it to one performer per show, in some instances I refused to make a decision and chose to represent them elsewhere). In some cases, this means singling out the one part of an ensemble that I enjoyed, and in others it means singling out obvious candidates because there may not have been room for their shows on other lists (although I could just be messing with your heads, who knows?).

Now, in selecting this list, I had two basic rules:

  • If they won an Emmy or some other major award, chances are I didn’t include them.
  • If I didn’t see it (e.g. Breaking Bad), I can’t award them for it.

The second rule is there for an obvious reason, but the first is a bit more complex. I know that someone like Toni Colette gave a great performance in United States of Tara this year, no doubt, but I also know that she already got an Emmy for it – I don’t really need to tell you she gave a great performance, and I am more likely to give her spot to someone who hasn’t won an Emmy, or who should have won an Emmy, or who might some day win an Emmy. This isn’t to say I’m avoiding all buzzworthy individuals, but rather to suggest that I tried to avoid the usual suspects (so, no Tina Fey and Alec Baldwin, for example).

So, without further ado, let’s discuss the Top 10 Performers of the Year (in alphabetical order, by the way).

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December 18, 2009 · 8:00 am

Television, the Aughts & I – Part Six – “Reinventing How We See the Wheel”

“Reinventing How We See the Wheel”

December 18th, 2009

[This is Part Six in a six-part series chronicling the television shows which most influenced my relationship with television over the past decade – for more information and an index of all currently posted items, click here.]

I started Cultural Learnings in January 2007 for two main reasons. The first was that my brother Ryan had a blog, and thus its proximity to my life made it seem like a cool thing to do. The second was that I was in a “Politics of Mass Media” course and the idea of using a blog as a way of brownnosing extra credit appealed to me. So, in the early days (which, for the sake of my pride, have largely been purged), there were posts about a myriad of subjects, as whatever struck my fancy made its way under the collective banner of Cultural Learnings.

As noted throughout these pieces, a number of factors influenced the switch to a television blog, whether it was the return of Battlestar Galactica and Lost from their respective hiatuses or the false optimism engendered by Heroes’ first season. And in 2007, I wrote a piece that suggested (quite accurately, at the time) that the fan campaign surrounding Jericho was what made Cultural Learnings what it was in its first year. It made me realize that what I wrote had an audience, and that said audience could be enormously passionate about things in ways that I simply was not. It was what convinced me of the value of writing about television online in a blog format, and my experience in that community (despite my lack of affection for the show itself) was an important part of this decade.

However, if there were a single show that defined television criticism in this decade for me and quite a few others, it would have to be According to Jim…

…wait, scratch that. Yes, I have to make a joke to distract you here, as I’m about to provide more praise for David Simon and Ed Burns’ The Wire, an epic tale of urban decay and personal tragedy that broke the hearts and captured the minds of critics and a relatively small number of viewers. It’s a show that will be near the top of almost every critical Top 10 list, and a show that until last summer I had never had the pleasure of watching. And that, if you look back in the archives, I’ve written about far less often than you might think, which isn’t entirely going to change here.

Rather than being the show that I’ve written the most content about, or the show that had the greatest emotional impact upon watching it, The Wire defines the past decade of television for me because it’s the show that has most made me want to be a television critic, to be able to not only analyze it more carefully but also spread the word and facilitate further discussion using the power of this blog. While I could probably get away with calling it the best television series of all time, my blind spots require me to simply say that no piece of television has had a larger impact on how I live my life than The Wire, both in terms of my choice to write television criticism and my aversion to hardware stores.

And I’m not sure there will be another show like it in the decade ahead.

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December 17, 2009 · 8:00 am

Television, the Aughts & I – Part Five – “Late to the Comedies”

“Late to the Comedies”

December 17th, 2009

[This is Part Five in a six-part series chronicling the television shows which most influenced my relationship with television over the past decade – for more information and an index of all currently posted items, click here.]

Flipping through the three channels I got using my rabbit ear antennas in my dorm room late one night (okay, early one morning), I stumbled across a very snowy episode of television. In it, a group of office employees organize an “Office Olympics,” which ends up both funny and quite sweet, and I wanted to know more about this single-camera comedy.

Following internet chatter, I heard of a cult-favourite show that my only memory of was my confusion at its victories at the Emmy awards.  Fan response was overwhelmingly positive to the point where my very credibility as a television viewer was in jeopardy if I didn’t join in for its upcoming third season.

Although no one I knew actually watched the show, I heard word of a multi-camera comedy with some recognizable faces that was slowly building a cult following of its own with what it called a “Robin Sparkles,” and since I was wrapped up in a “Save this Show” campaign for a different show at the time I figured I should see if another bubble show might be worth getting behind.

A decade ago, my only recourse in these situations was to find out when the various shows (which, for the unawares, are The Office (US), Arrested Development and How I Met Your Mother, respectively) aired and just pick up wherever they happen to be, hopeful that some day reruns could fill in the gaps.

However, we live in an age where I was able to catch up with twenty episodes of The Office to be up to date a mere week later, and where I marathoned two seasons of Arrested Development to be able to join the Bluth family in progress, and where I spent the summer before HIMYM’s third season learning what a Slap Bet was and watching Barney Stinson own the Price is Right. As a result, I became a vocal supporter of all of these shows, getting in on all of their jokes, despite having been late to the party with every single one of them.

And I’ll admit right now that I probably broke a law or two doing it.

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December 17, 2009 · 1:22 am

Being “Wrong” in Lost, The Big Bang Theory and So You Think You Can Dance

Being “Wrong”

December 17th, 2009

In an interview with GQ this week (where they were joined by J.J. Abrams and the rest of the Bad Robot crew), Lost co-executive producers Damon Lindelof and Carlton Cuse spoke candidly about their anxieties going into Lost’s sixth and final season (if not so candidly about what that season will involve, as per their spoiler policy leading into the much-anticipated swan song for the series). And in the span of that conversation, Lindelof shared their concern regarding what message viewers will take from the upcoming season:

“But in a lot of ways, the storytelling this year is just us telling people that they were wrong. They’ve built up theories for five years. When a show like this gets to a certain point and then it’s “Oh, man, we were cancelled,” people get to bring their theories with them to the grave. With us, it’s basically like, “No—you’re wrong.” And some people may have been right. Who knows?”

Questions, after all, beg answers, and only those of us with extraordinary will power have managed to avoid hatching an elaborate theory (or two, or twelve) about the island or guessing at where certain characters will end up by series’ end. But what happens when the show has built up five seasons worth of fan-generated answers, only to systematically disprove 99.9% of them over the course of the sixth season? Their job has, as a result, expanded to not only providing answers that satisfy plot or character, but also answers which are so satisfying that they also convince the audience that being “wrong” is not something to be ashamed of.

Because people don’t like being wrong, as a general rule, and they can often respond negatively (likely with “No, you’re wrong!”) when a show seems to be dead set on devaluing their theory, or ignoring a relationship they “ship,” or eliminating a contestant they cheer for. And reading that GQ interview, and witnessing the a Big Bang Theory fan community over the past months, and finding myself responding to tonight’s So You Think You Can Dance finale as if it were “wrong,” I’ve realized that we shouldn’t vilify being wrong; in fact, it’s probably one of the most powerful emotional connections we have to television.

[Spoilers for the So You Think You Can Dance Season 6 finale, and extended ruminations on the question of “wrong,” after the break]

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December 15, 2009 · 10:33 am

2009 Golden Globe Nominations: The Hollywood Fetishist Press Association

The Golden Globes nominations are out (Check out the TV specific list here, or the full list here), and provided you have no expectation of the Hollywood Foreign Press Association being logical in their selections they’re about what you would expect. So, in other words, they’re kind of ridiculous.

For the most part, the nominations are driven by four separate impulses, all of which are almost like fetishes that the HFPA (who are mysterious and generally not very reputable) refuses to give up year after year. Their desire, at the end of the day, is to create nominees that bring in audiences and that provide them a false sense of credibility: after all, if every A-list Hollywood star who happened to be in a movie this year gets nominated, who dares to question what the Golden Globes aren’t connected with popular culture?

Of course, when it comes to both film television there’s much more involved than popular culture, so let’s take a look at the three main impulses of the HFPA (on the TV side, at least), and then after the jump offer a bit more analysis.

The “Star” Fetish

If you’ve been on a hit show before, your chances of being nominated skyrocket. Julianna Margulies, nominated for the Good Wife, spent years on E.R. Courtney Cox, nominated for Cougar Town, was on a little show called Friends. Edie Falco, nominated for Nurse Jackie, was on another little show called The Sopranos. These aren’t always undeserving nominees (I don’t entirely disprove of any of these candidates, although Cox is not even close to the best thing about Cougar Town), but they are always there as much for their previous fame as they are for their current role.

The “New” Fetish

The HFPA wants nothing more than to be relevant, but their idea of relevancy is fetishizing the new. Yes, Glee fit into the show’s love for musicals (which, after all, kind of have their own category in the film awards), but it was also something new and shiny, which gets Lea Michele, Matthew Morrison, and Jane Lynch nominations. And Modern Family, without a single other nomination on the board, sneaks into Best Comedy Series – I’d say it’s because you just can’t separate anyone from the ensemble, but frankly it’s just because the Globes only value it for its newness.

The “HBO” Fetish

When in doubt, you can presume that a HFPA member has turned their television to HBO: the network’s pedigreed garnered a host of nominations which in some ways fly against the previous lenses, both positive (Big Love grabs three noms for series, Bill Paxton and Chloe Sevigny, Hung grabs acting nods for Thomas Jane and Jane Adams) and negative (Entourage picks up a best series not over Hung, Nurse Jackie, United States of Tara, Anna Paquin gets nominated over Katey Sagal, etc.). It’s like HBO is their default, which isn’t always a terrible thing (I really liked Hung) but does feel like a leftover impulse from the Sopranos era considering the breadth of great drama/comedy on other cable channels (Sons of Anarchy, Breaking Bad).

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December 15, 2009 · 9:00 am

Diagnosis Disinterest: The Troubles of SYTYCD Season 6

“The Troubles of SYTYCD Season 6”

December 15th, 2009

When FOX announced that So You Think You Can Dance would be returning mere weeks after its fifth season concluded for a fall season, designed to help bridge the programming gap that always plagues the network before American Idol arrives in January, I was moderately excited. At the end of a season, a show like SYTYCD is at the height of its excitement, and the idea of that excitement returning sooner than you expected seems a great one…at the time.

And then you realize that the Fall is not the same as the Summer, and more importantly that Season Six is not the same as Season Five. Nigel Lythgoe was in the unfortunate position wherein the show was changing seasons at the same time as they made a number of changes to the show’s formula (both aesthetic and organizational) which have severely weakened the series’ appeal. So just as I found myself feeling like I didn’t have time to follow along with these dancers and their journey, the show was giving me even more reasons to disengage, even more reasons to feel as if the show was losing its appeal.

It’s a perfect storm of problems that have made Season Six the unquestionable black sheep of the So You Think You Can Dance legacy, and righting the ship in Season Seven is going to be an interesting task in discerning which problems were caused by the change in season and which were mistakes irregardless of the colour of the leaves.

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December 14, 2009 · 11:36 pm

The Big Bang Theory – “The Maternal Congruence”

“The Maternal Congruence”

December 14th, 2009

When running through the Big Bang Theory’s first and second seasons, there is no question that Christine Baranski’s appearance as Leonard’s mother was a highlight for me. I like Baranski in general, and I thought that the idea that Leonard grew up with this level of psycho-analysis was a nice bit of back story for his character, and seeing her interact with Leonard, Penny and perhaps more importantly Sheldon (who she clearly connects with more than her own son) was a lot of fun.

However, these kinds of characters don’t always work when you bring them back again. With the novelty factor gone, the jokes can become stale even if the actress is as good as Baranski (or as good as Elaine Stritch, whose Colleen Donaghy has seen diminishing returns on 30 Rock with every appearance). And parts of “The Maternal Congruence” act as if Beverly Hofstadter’s return is funny because it unearths the same jokes, like Penny’s father issues or Raj and Howard’s latent homosexual feelings, which is the sort of repetition that does the show no favours.

The episode seems smart, however, in how it plays up the ramifications of Sheldon and Beverly’s relationship, allowing it to evolve beyond a single observation (that Sheldon is more like Leonard’s Mother than Leonard) to its psychological impact, allowing Leonard to actually get angry rather than just annoyed with the way his mother treats him. But as opposed to stretching its characters to allow the ramifications of their relationship to really come to the surface, the episode goes down an entirely different path, getting everyone drunk and making fools of themselves to provide a raucous conclusion.

Like many good guest stars, Baranski elevates the material, but forgive me if I can’t help but have a case of Big Bang Theory Weltschmerz: I look at the ideal episode in my head, and then at what we’re actually given, and I can’t help but be a bit saddened (especially considering how the show ended its Christmas episode last year).

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December 14, 2009 · 8:00 am

Television, the Aughts & I – Part Two – “Coming of Age”

“Coming of Age”

December 14th, 2009

[This is Part Two in a six-part series chronicling the television shows which most influenced my relationship with television over the past decade – for more information and an index of all currently posted items, click here.]

I don’t intend to go into too much biographical detail in these pieces, but I think it’s important to acknowledge that I made the transition from teenager to adult in the past decade (which, yes, makes me fairly young as far as television critics go). As a result, shows that appealed to this period of my life (like, for example, the aforementioned Gilmore Girls transitioning from high school to university around when I was doing the same) often connected with me over shows that, well, didn’t.

However, when I sat down to craft these pieces and lumped these three shows together, the idea that they are important because they chronicle the lives of high school and college students (the two most dominant identifiers in my life over the past decade) proves to be an overly simplistic one. In fact, the more complex (and more meaningful) connective thread between them is the emotional center that parents (or the lack of parents) provide to each series. And while Freud would likely argue this is some unearthed family anxiety (which, since my parents will probably at least read the opening spiel of a few of these pieces, is fundamentally untrue), I think it’s more proof that shows about the most fitful and tempestuous times in our lives require something stable, something almost unfailing, to ground them in an emotional reality.

And that those of us who watch them want to see, simultaneously, a reflection of ourselves, a mirror universe in which we are quite the opposite, and some element of truth which cuts through those expectations to either break our hearts or convince us that there really is hope for the geeks, hope for the private dicks, and hope for the underdogs.

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