Tag Archives: Entertainment

Lost – “Follow the Leader”

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“Follow the Leader”

May 6th, 2009

There is something very jarring about “Follow the Leader,” which isn’t really that surprising. As, essentially, the season’s penultimate episode before next week’s two-hour finale, it was bound to be a transition episode, but in the second half of this season it felt like a more substantial transition than we’re used to. The show has been doing a lot more traditional episodes in the back end: Sayid, Ben, Miles and to a certain extent Faraday all had quite simple episodes that relied on the show’s old flashback structure to deliver character pieces for their individual focuses.

This week’s episode didn’t do anything even close to this, in many ways proving one of the least connective episodes in quite some time. The episode was almost entirely without a key theme, and ended with a cliffhanger that was less a huge shock than it was a subtle ramping up of tension. Episodes that only move pieces around are not that uncommon in this series or any other serial drama, but this one in particular felt really vague and distant: this isn’t to say that it was a bad episode, but rather that the big picture never really became any more focused as time went on.

If I had to draw attention to one element of the episode that perhaps explains this, I’ll point to Richard Alpert, who was the source of almost every cut between past and present. It’s no coincidence that this character unaffected by the flow of time would be the one constant in these two stories, and the one man who has always remained an unsolvable enigma that, even with a few clues dropped here and there, has never become more focused in his own right. He also sits in a unique position as it relates to the episode’s title: he’s never actually been the leader, always remaining nothing but the advisor, and it raises important questions about his role in this legacy.

And yet it doesn’t answer any of them, or really any of the questions we have: rather, it puts all the pieces into place for a finale that might get around to some of those pesky questions.

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The Big Bang Theory – “The Classified Materials Turbulence”

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“The Classified Materials Turbulence”

May 4th, 2009

I’ve been writing about sitcoms as part of my thesis work, and in doing so I’ve had to define the traditional sitcom in its more basic terms for an academic audience that won’t have quite my obsession with television. So I figured now would be another time to stop by with my new friends at The Big Bang Theory, a series that fits into the mold of actually being able to just “stop by” so to speak. I haven’t yet started catching up on the series, so I’ve still got thirty odd episode episodes to dig into.

This one, admittedly, didn’t do much for me outside of the elements that I find most engaging in the series; it’s clear to me that I’m going to have to spend a number of episodes wishing that the show is spending more time with Sheldon than Leonard, and that I’m going to expect more out of some of the storylines than the show is willing to offer.

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How I Met Your Mother – “Right Place Right Time”

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“Right Place Right Time”

May 4th, 2009

[Spoiler Alert: Don’t read the Episode Tags if you don’t want to have the episode spoiled! – MM]

When it comes to the combination of comedy and mythology on How I Met Your Mother, the show has always operated on a tight rope of sorts as it relates to the identity of the eponymous mother. The reason for this is not that the mystery isn’t interesting (it is the very premise of the show, of course), but rather that the character at the center of the drama is the show’s least funny, often least interesting, and at times most frustrating. Ted Mosby is really only tolerable when he’s being sweet and romantic, and even then he’s rarely funny in those scenarios. He’s better when he is taking a supporting role, not so much the center of the drama than he is an observer who just happens to be our “lead” character.

What “Right Place Right Time” does is position itself as an episode about Ted but really spend almost all of its time with the characters that are more capable of being funny. Utilizing a traditionally unique structure (at what point does it become its own cliche? I remain unsure), the show lets Bob Saget take us through how a series of random and ridiculous events force Ted to end up at the right place at the right time where, holding the epic yellow umbrella we’ve seen in previous episodes, when a woman taps him on the shoulder.

I like this approach because it minimizes being repetitive with Ted’s various destiny speeches, but the show at this point is running a serious risk with its mythology. What happens in this episode appears to actually answer the titular question, but I don’t think it does: there is more than enough wiggle room for them to pull the rug out from under us yet again. Considering who ends up tapping him on the shoulder, I’ll be happy when I’m vindicated and they pull out the “Just kidding!” next week, but the more the show does this the less we’ll be able to trust them, and the mythology will only be getting in the way of the comedy.

And that’s the last thing the show needs.

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The Amazing Race Season 14 – “Episode Eleven (China)”

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“He Made Me Look Like Alice Cooper”

May 3rd, 2009

At the beginning of tonight’s penultimate episode of The Amazing Race’s 14th season, Kisha and Jen are elated to find out that they’re still racing, that last week’s cliffhanger meant the leg wasn’t over yet. Jen, in particular, is pleased: she had let the team fall behind with her fear of water creating a gap between them and the other teams, and she didn’t want that fact on her conscience should the team be eliminated.

The story that unfolds after the fact is an epic tale of Amazing Race karma, and results in an ending that needs to be seen to be believed. The rest of the episode, meanwhile, is more fuel on the fire for those who feel the race is unfair based on its current location and the language skills of one of its teams. And while I don’t necessarily agree with this assessment, I do think that some things need to be discussed in further detail…as soon as I run to the bathroom. I’ll be back after the jump, promise.

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“Caprica” DVD Review

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“Pilot”

A Special DVD “Review

There is no hiding the fact that the end of Battlestar Galactica was, for me, a cathartic experience, a chance to say goodbye to something that has been a fairly large part of both my critical and academic investigations into the world of television. However, there was always that lingering sense that the journey wasn’t really over: TV Movie “The Plan” is airing this fall, and on April 20th “Caprica,” the backdoor pilot for the upcoming series of the same name, released online and on DVD.

The former project is designed to give more time to characters shafted by the main narrative, and to answer/address some questions that have been lingering but may have proved too tangential for the show’s fourth and final season. In that sense, we know what to anticipate: we know that it will address the Cylon plan to attack Caprica, and that’s pretty well enough to create expectation.

But Caprica is an entirely different monster, primarily because it sits in that odd position somewhere between prequel and spinoff, the communication between it and its predecessor minor in most ways. The decision to release the pilot, always planned as a stand-alone project which could be turned into a series should executives be pleased with the final product, eight months before we have any chance of seeing the series is a calculated risk, and one that feels like a concerted effort to link Galactica and this new series more than may actually be logical, or beneficial.

When you first start watching Battlestar Galactica, one of the things that strikes you is that which wasn’t explained, or wasn’t exposited in some sort of speech. The polytheism of humanity was less a topic of discussion and more a stated fact, and it was less a selling point of the series than it was a sign that this show was going to go beyond the boundaries of traditional science fiction to offer something more nuanced.

In Caprica, however, this is front and center; in many ways, it feels like some of the themes that Galactica took for granted or didn’t often highlight put on display in an effort to provoke the viewer more than actually engaging with the show’s characters…at least on a conceptual level. As executed, I think there’s a lot to like about this project, and in particular there are some really intriguing ideas surrounding the main pairing of Joseph Adama and Daniel Greystone which elevate the show above its lack of subtlety and into a place where I am, more than before, looking forward to seeing what happens when this goes to series.

As for what that series will look like, however, is a question that I don’t know if we can really answer – in the meantime, let’s delve into the series in what I really can’t call a review, since it isn’t particularly objective in its tone, but more of an analysis of sorts. A long one (big surprise, eh?).

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30 Rock – “The Natural Order”

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“The Natural Order”

April 30th, 2009

Having already written my posts on Parks and Recreation and The Office tonight, I’ll admit to be at a bit of a loss at what to say about tonight’s episode of 30 Rock. It isn’t that the episode was bad, but 30 Rock just seems to be in a total holding pattern right now, while Parks and Recreation has the novelty of newness and The Office is transitioning out of a really engaging disription. So when “The Natural Order” finished, I was left with some rambling notes about how the episode featured a few jokes that hit, a few jokes that didn’t, and plots that threatened to come together but never quite did.

One of the problems that can kind of tie the episode together, and give me something to talk about, is how in many ways the show has to deal with what I’ll call leftovers. When there’s a small gibbon introduced into the story, it’s a funny throwaway gag that the writers decide not to throw away, and it results in an unfunny and uninteresting C-story. Similarly, while I love Elaine Stritch and storylines that showcase Jack’s more empathetic side are always welcome, at a certain point Colleen Donaghy feels like a character that was so great in that Season One finale that the writers keep reheating with diminishing returns.

It’s not enough to send the show into the territory of downright unfunny comedies, but it usually results in episodes that feel like the cast-offs in need of rewrites, quite likely because they were cast-offs that needed lots of rewrites.

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The Office – “Casual Day”

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“Casual Day”

April 30th, 2009

Alan Sepinwall posted a link on Twitter to a piece at NPR’s Monkey See Blog about The Office Season Five that I would tend to agree with. In the article, Linda Holmes makes the argument that on a character level this season has been one of the show’s strongest, especially for Michael. Considering that we started the season with Holly, and then eventually moved onto the Michael Scott Paper Company, this has been a big year for the show’s lead character, and a year that has almost never been defined by sheer comedy.

I don’t know if Holmes had seen tonight’s episode when she wrote the piece, but it’s a fine justification of her central thesis: it was almost as if the episode was Michael trying to fall into his former broad comedy and rather selfish attitude but the show around him demonstrating that it isn’t willing to let it happen. As the Michael Scott Paper Company and Dunder Mifflin merge together, tensions are certainly high, but letting the more laidback “Casual Friday” element of the storyline play out alongside the more legitimate tension of the reunion really made this half hour stand out.

I’m not quite sure if I’m in a position to call it the best season ever, but it’s certainly making a strong case for it with only two episodes left.

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Parks and Recreation – “Boys’ Club”

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“Boys’ Club”

April 30th, 2009

We’re now four episodes into the shortened six-episode season for Parks and Recreation, and this week’s episode was another one that isn’t going to change anyone’s mind: if you thought the show was a charming if slight investigation into an interesting work environment, “Boys’ Club” did nothing to change this opinion. However, similarly, if you were amongst those who felt that Amy Poehler’s Leslie Knope hasn’t been given enough of a character to resonate within this environment, there isn’t much in her obliviousness and aloofness in this week’s central storyline that shows that they’re viewing these six episodes as some sort of character arc.

As someone who tends to fall into the former category, I thought the episode was quite solid, providing a tiny bit more nuance to Leslie’s character (even if the comparisons to The Office became even more pronounced with one particular scene) and utilizing the comic talents of Chris Pratt to deliver a really charming B-Story. As someone who understands the second perspective, though, I think I see what part of the problem is.

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Lost – “The Variable”

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“The Variable”

April 29th, 2009

I will admit right now that I feel sort of like a low rent Daniel Faraday right now, my attempts to put myself on a different sleep schedule in a way not that different from Daniel’s attempt to realign himself with another time. This means that while I had planned on writing this review about five hours ago when I woke up from a short nap designed to prepare me for an eight-hour night shift this evening, instead I’m writing it after six hours of sleep and will have to skip Thursday night television in order to try to find some nap time.

I share this story not just because of my recent tweet about potentially mixing more personal anecdotes with blog posts, but also because it’s an example of providing some greater context to events, which is essentially the point of “The Variable.” The episode really only has two functions: it serves as an escalation of the “plot” (remember that thing?) that has been mostly dormant since our cast ended up in the 1970s, giving us a sense of how the end of the season is going to develop, and it serves as an answer to the question of what Daniel Faraday has been up to since we last saw him trapped in 1974 with everyone else and nobody is really talking about him.

Perhaps it’s the weird sleep schedule, or that I wasn’t feeling great when I watched the episode, but I was kind of disappointed by this, the show’s 100th episode, at least on the latter point. At times feeling like another drop in the “parental neglect” bucket for the show, the tragic journey of Daniel Faraday was strong in isolation and yet when applied to the rest of the episode and the rest of the series felt too inorganic. Yes, I empathize with Daniel, primarily thanks to Jeremy Davies’ strong performance, but at the end of the day it felt as if Faraday’s storyline was tied so closely to the island that his individuality, and its connection to our other characters, was lost in the plot.

I understand that this is the entire “point” of the episode, but I found it a little bit clumsy in its execution even if I feel they’re ramping things up at the right pace as we march towards the finale.

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Chuck vs. The Twist vs. Season 3 Renewal

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Chuck vs. the Twist vs. Season 3 Renewal

April 28th, 2009

Perhaps it is just that I wrote considerably less about last night’s Chuck finale than Alan Sepinwall, or perhaps it is just that there has been some extremely stimulating discussion over at NeoGAF that has had me pondering the finale more carefully, but I think that there’s a bit more to say about last night’s season finale (“Chuck vs. the Ring”) as well as what it all means for a potential third season.

First off, in case you were curious, the ratings were exactly what you would expect: consistent with the past two weeks, and at the mediocre but decent levels we’ve been seeing on the mid-range level. The show drew 6.11 Million viewers, and a 2.3 rating in the 18-49 demographic – this is nearly identlcal to last week. However, the Save Chuck campaign was never designed to gain more viewers: yes, getting the word out was a key factor, but suggesting that people watch the S2 finale as their first episode ever is kind of tough, and I think the campaign smartly focused more on showing NBC (and Subway) the power of the existing fans to band together for their show. And, on a note which requires less spin, the time period was chock-full of new episodes from every other network, and Chuck stayed steady despite facing repeats of CBS’ comedies last week – that’s a good thing.

But ignoring ratings for a moment, one of the other things facing a Season 3 renewal for the series it the show’s creative direction, and on NeoGAF and in some other locations there have been some concerns over that final sequence. Last night, in my review of the episode, I was admittedly pretty postive about it, and I find myself remaining fairly close to that initial analysis. However, I think it’s something that deserves some more discussion, and something that I am extremely disappointed was not on Chris Fedak’s list of acceptable topics of discussion in his post-finale interview with Alan Sepinwall.

But where we don’t have definitive answers we have rampant speculation, a tool I shall harness to analyze just what a season three might look like.

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