Tag Archives: Entertainment

How I Met Your Mother – “Happily Ever After”

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“Happily Ever After”

November 3rd, 2008

After reading Alan Sepinwall’s impressions of Scrubs’ upcoming season on ABC (which are very positive, and might convince me to give the show another shot), I remembered something: I had once hoped, wished even, that Sarah Chalke could abandon that comedy for this one, a show where her character of Stella once felt like a breath of fresh air. But, there was no happily ever after for Ted and Stella: once their relationship left its romantic side behind in “Ten Sessions,” the original impact was wearing off and, by the time we got to Stella leaving Ted at the altar we were all ready to more or less throw Stella out the door.

And in one scene in “Happily Ever After,” we get that moment: Ted tears Stella apart for putting him through hell, and for making a huge mistake. It’s a scene that we needed to see, but it’s also a scene that wouldn’t have worked outside of its imaginary context: while we needed Stella to hear what Ted had to say, she has chosen a life that is reunites her daughter with her father, and the series is smart not to exist in a universe where Ted is that self-centered, especially since he has his issues with that as is.

Overall, this week’s episode is one that wasn’t quite as definitively strong as one might hope, using some oddly cliched constructs to eventually make this poignant realizations, complete with some enjoyable comedy from Robin’s Canadian roots along the way. The real question now is, with Stella out of the picture, where the show goes from here on the road to its own…well, you read the title, you know where that cliched transition sentence is going.

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The Search for a Showsaver: Heroes, Bryan Fuller and NBC’s Big Little Problems

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The Search for a Showsaver

November 4th, 2008

In case you didn’t hear (I’ve been out of commission in terms of blogging due to a major presentation, so my Twitter feed has been the best source of information/reaction), NBC over the weekend let go Jesse Alexander and Jeph Loeb, the two head writers at their highest rated scripted series, Heroes. Note how I make the distinction: no longer a hit, the show has been relegated to simply being the highest rated amongst NBC’s anemic fall lineup.

This is a fact that NBC wants to fix, a purpose I find admirable if a tad bit idealistic. At this point, Heroes’ problems are that awful mix of inevitable (that some viewers would tire of the serialized narrative), creative (an admitted lack of quality and consistency ever since the first season finale), and logistical (budget overruns, an overabundance of cast members, etc.). Taken individually, the problems might be easy to handle: you offer more social networking integration to hook in what hardcore viewers you have, you bring in a new showrunner who is capable of bringing some quality writing the show’s solid foundation, and you cut some cast members and focus more on character than action or setpieces.

But, solving all three at once can’t be done: any creative or logistical changes could alienate the existing fanbase, and there is no guarantee that a showrunner will be able to balance the creative side of the series with the budget cuts that NBC is forcing on the series. Plus, at the same time, Tim Kring is still in charge of the series, and while Loeb and Alexander may be the scapegoats I’d tend to think the problem goes beyond them to the man truly in charge.

So while names like Bryan Fuller are bandied about, it begs the question: can NBC save Heroes?

Keep reading to find out.

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The Amazing Race Season 13 – “Episode Six”

“Please Hold While I Singe My Skull”

November 2nd, 2008

Returning from the grave we hoped he had stayed in, tonight’s sixth leg of The Amazing Race saw the return of obnoxious, demanding, and in many ways downright unreasonable Terence. In a season where villains are luckily in short supply, it is very clear that he is the one exception, his bullying of Sarah reaching some new lows tonight.

And I don’t think he’s an awful human being by any stretch of the imagination: I just think that these two are in a new relationship, have very different personalities, and are discovering that this race is not meant for his demeanor in particular. As he fights to get Sarah to do exactly what he wants at a well-planned roadblock, at no point do we get the desired moment of self-realization: instead, he only shuts up when Sarah asks him to, and only for a few moments.

It’s a relationship that is being tested to the limits by this race, and even if it makes me cross my fingers for them to be absent from the finale it does demonstrate that the human qualities of this race are still in full effect.

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Season Premiere: 30 Rock – “Do-Over”

“Do-Over”

October 30th, 2008

Thanks to the kindness of Ashley, a newfound Twitterquaintance, I was able to snatch the 30 Rock premiere for free on iTunes on Sunday through TV Guide’s promotion. So, let it be known that I am writing this review while the premiere has had time to sit…or, more accurately, that I am writing this review having watched the episode four times.

“Do-Over” is not the best episode of 30 Rock, nor is it necessarily an entry into the show’s catalogue of fantastic ones. Rather, it is familiarity that makes this episode so memorable: it offers plenty of showcase opportunities for Tina Fey and Alec Baldwin (albeit leaning towards the former), it has a sharp storyline that offers every character a small moment, and it uses its guest star (Will & Grace’s Megan Mullally) wisely, unlike last season’s unfortunately flat appearance by Jerry Seinfeld.

While NBC is hoping that this is going to be a do-over for 30 Rock, a show that never quite captured the kind of audience the network is looking for, that’s all based on ratings: creatively speaking, the show barely needed a fresh coat of paint to return as the funniest comedy on television.

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Pushing Daisies – “Dim Sum Lose Some”

“Dim Sum Lose Some”

October 29th, 2008

If there is a new mantra on Pushing Daisies, it seems quite simple: leave no character behind.

Excluding the Aunts, who have been absent for quite some time now likely in an effort to save money and focus the show on other issues, we’re seeing a lot more interaction between our four main characters. Ever since Olive’s last stand at the monastery, especially, the four have been intertwined into the mysteries in a way that the first season only really accomplished once, in “Bitches.” Perhaps it is no coincidence, then, that Simone, one of the four wives of the polygamist dog breeder returns in this episode to a similar dynamic, and a similarly strong episode.

Although the episode deals a bit with Ned’s past, and Emerson gets almost all of the great one-liners, it really is a group effort: when the episode evolves into an almost “Chuck”-like espionage scenario at the Dim Sum restaurant, the entire cast comes together in a comic scenario that just clicks. I wouldn’t contend that this is amongst the show’s best episodes, but it’s a definite sign that the creative resurgence that began the season is still going strong.

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Gossip Girl – “Pret-a-Poor-J”

“Pret-a-Poor-J”

October 27th, 2008

It’s been a long time since I’ve commented on Gossip Girl, but the show has been on a weird trajectory as of late. The season has had a lot of false starts: I thought they were going to villify Serena in her battle with Blair over supremacy, but now they’re back to being tight friends. I thought they were going to actually give the Nate/Vanessa storyline some time to breathe, and instead Vanessa’s back to being irrelevant and Nate’s moved in with the Humphreys. I thought that they were going to let Jenny settle into her new career in order to spare us more of her storyline, and instead they thrust her back into the show’s romantic and dramatic center.

Really, we’re right where we left off last season: with Blair and Chuck as the only interesting characters on the show, and everyone else just kind of puttering between pointless storylines. Even Blair and Chuck acknowledge, of course, that it’s the game that keeps them interesting, and even that could get old with time. And, to be fair to the show, “Pret-a-Poor-J” does represent the start of a new direction for the show (now 1/3 into its season, recently upped to 24 episodes), but it’s a start that seems too quick: new characters and new worlds can have an impact, but this feels more cheap than earned.

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Chuck – “Chuck vs. Tom Sawyer”

“Chuck vs. Tom Sawyer”

October 27th, 2008

With some shows, enjoyment is just enough.

Chuck is in a unique position this season, already given a full season order even while its ratings are struggling. That NBC was willing to shell out a back nine for a show based on quality alone does, indeed, say something about its rather dire pilot situation, but more importantly it says something about the show’s quality: in the early part of this season, Chuck is perhaps the most “on” series of all.

So while I haven’t been dissecting each individual episode like I have been with Mad Men, know that I’ve been spending the past few weeks enjoying the wonderful world of Chuck Bartowski. With “Chuck vs. Tom Sawyer,” it’s a much smaller world than we’re even used to: it takes place almost exclusively in the Buy More (Outside of one particularly stimulating excursion), it features no fancy new identities, and has nothing cluse to what you might call stuntcasting.

However, it has everything else: it has tension between Chuck’s two lives, it has some great integration of the Buy More crew, it has the emphasis on Sarah being placed into attractive costumes and shown in slow motion, and ends with moments of meaningful (and awesome) moments of character achievement. I don’t know what kind of frequency Chuck is operating on this year, but “Tom Sawyer” is as good a choice as any.

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Season Finale: Mad Men – “Meditations in an Emergency”

“Meditations in an Emergency”

October 26th, 2008

“We don’t know what’s really going on; you know that.”

While there have been a lot of meta-critical statements made by characters in the universe of Matthew Weiner’s Mad Men, there is perhaps none more simple than this observation Don makes about the nature of the Cuban Missile Crisis. The entire series hinges on secrets, on facts hidden to everyone but a select few who are concealing something that is potential volatile. For the most part, these secrets are more dangerous to those who hold them than those who are in the dark: for others, not having secrets when you know that others do can leave you desperate for something, anything to identify with them.

The genius of “Meditations in an Emergency” is the emergency itself, the Cuban Missile Crisis which suddenly made the Cold War very real. Kinsey notes how everyone is looking at people in a different way, suddenly terrified that they’re a spy and that they’re helping to organize some sort of attack. For our characters, however, this culture of fear and concern is less a motivator to run for the hills in search of safety and more an opportunity to face what is truly inside of them. If there is a single unifying factor in our main characters, it is that none of them show any signs of running away in the face of this struggle: instead, they all run closer than ever before to that which has paralyzed them, that which has confused them, or that which has been causing them to question themselves.

What we get in this fantastic season finale, then, is a series of actions: letters written, confessions given, power plays made, acts committed, and feelings confronted. The end result is, without question, the ultimate test of these characters: it is a question not of whether we value their actions, but rather their choice in making them which defines who they are, and why they matter to us as a viewer, to Weiner as a writer, and to this series as a timepiece of a period of social and personal change.

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The Amazing Race Season 13 – “Episode Five”

“Do it Like a Madman”

October 26th, 2008

As a race, the thirteenth season of The Amazing Race isn’t all that compelling. The show made very little effort to make the conclusion suspenseful, as they knew as well as we did that there was no other option.

What the episode did demonstrate, though, is that this season’s group of racers is trying their darndest to make a compelling episode of television at every turn. Whether it’s broken down boats, paranoid directions asking, extremely poor hand cranking or an editor’s wet dream of an ironic talking head to start the leg, this group is quite poor at actually running the Race in a way that’s less annoying than it is charming. When even those teams who looked like they could grate, just a little, have managed thus far to prove largely inoffensive, you’ve got the recipe for an edition of the Race that, if not reaching the heights of the show’s best, could prove fun to watch without having to hate someone.

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Mad Men – “The Mountain King”

“The Mountain King”

October 19th, 2008

A week after watching the penultimate episode of Mad Men’s second season, I still have more to say than I expected. There is something simultaneously disarming and welcoming about the episode. As Don Draper slides further into a life away from his job and the family that we’ve come to know, we see a side of him that in reality we like more: a man who is comfortable, open, and who finds passion in things that are not so much digressions as true directions in life. As Peggy Olsen begins to finally start advancing at Sterling Cooper based on her talent, we see that perhaps her fellow employees are starting to dig into their inner prejudice as she moves ahead of their own status.

And yet everything else we see in the episode is so comparatively vile, the unravelings of everything good in this universe in favour of what is, in fact, totally awful. Whether it’s Pete’s family life falling apart, or Betty searching desperately for some place in her life, or Joan, who I don’t even want to talk about right now in fear of becoming too frustrated with human nature, it’s hard to feel too hopeful when everything is distintegrating rapidly. I won’t have time tonight to discuss everyone, but let’s focus on at least a few key elements.

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