Tag Archives: Entertainment

Yes, I’m Still Watching…FOX’s House

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Yes, I’m Still Watching…House

February 24th, 2009

But BARELY.

I don’t particularly know if I can put my finger on why I care so little about House’s fifth season, considering that I was actually quite a big fan of the fourth one. Although oft criticized for eschewing the show’s regular sidekicks for a new batch, the fourth season felt like things were being shaken up: that the producers realized that the show was in danger of becoming too formulaic, and that some changes were necessary. I like that level of self-awareness in my showrunners, personally, and it was healthy to see it here.

Unfortunately, House has fallen off the wagon for me this season, and I’ll admit right now to having very little desire to even watch last night’s episode, which is waiting for me on the DVR as soon as I get around to it. [I watched it – check for my thoughts in parenthesis throughout the post added after I sat down to watch the episode]. There just isn’t anything about the show that I find engaging, which is because of two fundamental problems: one is the show focus on what is ultimately an uninteresting and worthless character, and the other is that the show’s other drama must derive entirely from relationships, all of which are misguided and doomed to failure if only for the sake of the show’s normal points of tension.

It all adds up to a show that I honestly don’t care about anymore – and there will come a point where I might stop watching altogether in the very near future.

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Chuck – “Chuck vs. the Best Friend”

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“Chuck vs. the Best Friend”

February 23rd, 2009

Utilizing every one of its regular cast members other than Big Mike, “Chuck vs. the Best Friend” is the kind of episode that demonstrates the show’s confidence within its second season. It connects all of Chuck’s various world in numerous different ways, allowing for the Buy More storyline to intersect with Awesome and Ellie while Chuck’s spy storyline intersects with Morgan and Anna’s on and off relationship that is currently in the decidedly off position.

And although the episode doesn’t deal with the show’s ongoing mythology, or introduce a new dynamic into Chuck and Sarah’s relationship, this is an example of a show that knows its identity and knows it well. To be fair the episode, it actually did some of the show’s best Chuck and Morgan material to date, and at a certain point you start to realize that even their mostly perfunctory bromance can be milked for some considerable drama in scenarios like this one.

If a show is going to have a “Flash of the Week,” it needs to do one of two things: make it stand out from an action/suspense point of view or connect it to the show’s characters. What Chuck has decided to do this season is show up every other show by doing both at the same time. It’s made for some darn great television.

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Yes, I’m Still Watching…ABC’s Life on Mars

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Yes, I’m Still Watching…Life on Mars

February 23rd, 2009

There were many shows that I caught up on over the end of last week, finding myself recovering from one major academic deadline and then not wanting to start preparing for the next one immediately. And so I sat down and caught up on numerous shows that I’ve found myself falling behind on for this, that, or some other reason.

The one I’m choosing to write about first is the one that has perhaps been off the radar for the longest period of time. I blogged my way through the premiere of Life on Mars, but since that point I have been noticeably absent. But the show after a very strong fall finale of sorts in December, Life on Mars has returned after the break to struggling ratings (nothing ever performs well after Lost) but to a bit of a creative resurgence, picking the right kinds of stories and the right balance of 1973 reality and 1973 surreality to sustain my attention.

I still have some concerns with certain elements of the show’s storytelling, but at this point they have done more than enough in terms of creating endearing, well-acted and well-rounded characters for me to be too preoccupied with such matters, and although I am still remiss in not checking out the BBC original series I am pleased at some of the broader mythology stuff that is starting to appear.

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Flight of the Conchords – “Love is a Weapon of Choice”

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“Love is a Weapon of Choice”

February 22nd, 2009

After last week was, without question, my favourite episode of Flight of the Conchords’ second season, “Love is a Weapon of Choice” has a lot to live up to. Not only did last week’s “Unnatural Love” give us two of the season’s better songs, but it also delved into the wonderful Australia/New Zealand feud that has often underscored the series. It was vintage Conchords, directed by Michel Gondry, so expecting another episode to compare to it is probably unfair.

As a result, it is with tempered expectations that “Love is a Weapon of Choice” succeeds, if not overwhelmingly. Kristen Wiig proves that she fits well into this universe, something that we could have called based on her great work on Saturday Night Live, and while none of the three songs in the episode prove especially groundbreaking they fit into musical genres the show hasn’t often delved into, and were connected well enough to the romantic hijinx of the episode that I’ll forgive the lack of outright quality.

It’s not one that we’re going to remember, but it’s at least one that get a few laughs, a few catchy lyrics, and a commendation for some cleverness.

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Song, Dance, and Commendation: Turning the 2009 Academy Awards into a Television Event

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Song, Dance, and Commendation:

Turning the 2009 Oscars into a Television Event

When the Academy Awards brought on a set of new producers, there was the usual buzzwords: on time! Big surprises! Excitement! On time! Thrilling! And yet, we all doubted that it could live up to the expectation, especially after the year’s most populist films were all but shut out of major awards, and the chance for big surprises was more or less out the door the second that the runaway train of Slumdog Millionaire pulled into the station. The odds were stacked against this show from being something that felt like a real television event, which is really the point of this whole affair.

Or, well, one of the points. In reality, this is an event that is about celebrating the best in the year of film, but that is an idea that is always so subjective and often disconnected from what the movie-going public actually experienced. At the very least, then, it’s supposed to be a celebration of the talent in Hollywood, something that is always tough with the red carpet affairs and the grasps at star power drive attention towards those with the most cache. And all the while they have to be entertaining, keeping us moving between awards and keeping our attention.

And while it didn’t run on time (who ever expected it to?), and there weren’t many major surprises (here’s a full list of winners), tonight’s Academy Awards will go down in the books as one that provided entertainment you’d see nowhere else, a celebration of the year in movies and not just those movies which happened to be nominated, and one where the fine line between indulgent self-aggrandizing and commending the year’s finest actors was walked with great control. And that, at the very least, created three and a half hours of engaging television.

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The Amazing Race Season 14 – “Episode Two – Germany”

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“Your Target is your Partner’s Face”

February 22nd, 2009

When this, the second episode of The Amazing Race’s fourteenth season, begins, there’s a sequence where the teams all start talking about how much they are inspired by Margie and Luke, the latter of whom is the race’s first deaf contestant. To be honest, I was frustrated with this: not because they’re not inspirational, but that we are capable of discerning for ourselves how impressive his work is: in this episode alone, we see Luke making friends with Jamie and Cara (without his mother being present), and even offering his own individual interviews wherein he questioned his mother’s decision making and gave a glimpse into their team dynamic.

This is how you inspire us with Luke: not by shoving down our throats that he’s overcoming diversity, but showing how he is just another contestant in the end, how despite not being able to take part in tasks that require verbal clues he is an active participant in this race. He’s a heck of a lot more observant than some of the other teams in this leg, as massive errors continue to define the bottom section of the racers, and at this point it’s clear that there isn’t another Nick & Starr in the race: no team looks like it will be devoid of mistakes and drama both, and this could lead to some teams’ undoing.

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Dollhouse – “The Target”

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“The Target”

February 20th, 2009

When Joss Whedon first introduced the concept of Dollhouse, the show had potential largely based on its philosophical ideas, examining who these actives were, who they are now, and who they could potentially be in the future. In the show’s ostensible pilot of sorts, “Ghost,” we only really dealt with these questions on a surface level: we saw an example of the kind of job that Echo could be given, and a small glimpse into who she once was. But that middle question was left more or less unanswered: while we got some sense of complications with the actives and potential hazards, the philosophical questions (morality, ethics, all of that jazz) were never really investigated.

This is the reason why I’m not sure why “The Target” wasn’t the show’s pilot, because with a little bit more introduction to the key values this is a far more interesting hour of television. Not only was Echo’s “case of the week” far more interesting to watch, but the stakes were higher, and more importantly the people whose lives were at stake were people that we were supposed to care about. This episode, using Boyd’s first days at Dollhouse as a framework, show us a side of Dollhouse that is morally questionable, that raises some important questions both about the security of this process and the transparency of Dollhouse’s leadership, and does a lot more to make me excited about this show and its characters than last week’s comparatively pedestrian offering.

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Battlestar Galactica – “Deadlock”

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“Deadlock”

February 20th, 2009

“Imagine, instead of 50,000 survivors, there are only five.”

The above are the words of the fifth and final Cylon, words that are in fact quite resonant: considering what we have learned of the Cylon back story in the last few episodes, the Final Five are survivors of a sort, the last of a dead race that have worked to create their own legacy. The Cylons are actually a weird race, in that there is this battle between control and destiny that defines them: if they hadn’t started to rely on pro-creation, taking the future of the race into their own hands and out of their more natural resurrection, maybe the holocaust wouldn’t have hit Earth. And if the Final Five hadn’t agreed to work with the Centurions in order to create the other 8 models, perhaps the attack on the twelve colonies wouldn’t have happened, and there could have been something approaching peace. These are just some of the points wherein questions of blame and responsibility tickle up and down the Cylon timeline, creating the backbone of what we thought would be at least half of the series’ trajectory moving into its final episodes.

What fascinated me about “Deadlock” is that instead of focusing on these types of questions, it removes us from the show itself and places us into the minds of the writers, as they move the characters around like they’re playing checkers on a chess board (Yes, that was a “The Wire” burn). While it was understandable early in the show’s run to have blatant transition episodes like this one, where people start taking on new roles and where old trajectories are shifted into new directions, both this episode and “No Exit” are so blatantly the result of setup that one can’t fully engross themselves in this world. We are coming to the point in the show’s run where the audience is more engrossed in the fate of these characters than ever, and I find myself consistently being drawn out of that element of the series in favour of pondering just how blithely they are willing to state the obvious, linger on that which needs not lingering, and delve into the absolute wrong kind of opera at this late stage of the game.

And if they seriously couldn’t plan out even half a season well enough to avoid episodes that read like this, then forgive me if I don’t join those who are concerned about how this is all coming to come together in a month’s time.

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Survivor: Tocantins – “The Poison Apple Needs to Go”

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“The Poison Apple Needs to Go”

February 19th, 2009

I wrote all sorts of notes during last night’s second episode of Survivor’s eighteenth season, but I got a little sidetracked by some impromptu Rock Band once the episode was over, and I return to it now wondering to myself why I’m even bothering writing this post.

It’s going to more or less say exactly the same things as last week, to be honest: while a different team walks away with immunity, they make almost the exact same decision as the other tribe did last week, right down to the outright sweep of the final vote. The same people who were bugging me last week are, no shock, bugging me again here, and for the most part there’s still a spark missing for this season’s cast that really could have made this episode more interesting.

But in revisiting it, there are a few things that deserve mention, especially a new Exile Island twist that at first seemed quite silly but in retrospect is actually quite interesting…perhaps the first interesting thing to come out of this season.

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Cold Water Commentaries: Ronald D. Moore and the End of Speculation

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Cold Water Commentaries:

Ronald D. Moore and the End of Speculation

If you remember last week’s episode of Battlestar Galactica, with the exposition-packed “No Exit” providing an enormous amount of detail about the Cylon origins, you likely also remember asking yourself a very important question: who, or what, is Daniel, the 7th Cylon model? We learned some of the details of his existence, however brief, during the episode itself, but there were a lot of outstanding questions about how it could relate to Starbuck, or how it could relate to any of the other Cylons, and how it fit into these questions of identity that have long driven the series forward. It is impossible that any fan left that episode without a fundamental question about this Cylon’s whereabouts.

And then Ronald D. Moore’s Podcast Commentary was released, and he shrugged it off: oh, sorry everyone, Daniel’s gone, it’s not a big deal, just go about your business.

Effectively, Moore has thrown cold water on the theorists, the prognosticators, the obsessed Battlestar fans who spend more time trying to figure out where the show is going than they do considering where the show has been. And while I wouldn’t put myself within the group who is solely concerned about the series’ forward momentum, I am someone who likes to have a complex framework for heading into upcoming episodes, and to be honest I feel as if Moore has somewhat betrayed that principle.

While it is well within Moore’s right to decide what speculation he will quash and those elements of an episode that he will leave open for interpretation, there is also a point where fans of a complex science fiction series could probably handle the open thread of a corrupted Cylon while still being focused on the drama at hand. Part of me understands Moore’s decision, as it is in line with some of the other choices that he has made going into the latter half of the season, but I feel as if one of my few caveats for enjoying “No Exit,” its myriad of unanswered questions that promise a highly complex future, has been eliminated.

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