Tag Archives: Entertainment

Mad Men – “The Inheritance”

“The Inheritance”

October 5th, 2008

Pete Campbell has inherited a lot of things from his parents, but one of them might well be his fundamental lack of humanity. As he greets his mother before a short meeting, they embrace by touching each other’s faces: not with any sort of kissing motion, but this awkward greeting that’s not a hug but rather just a proximity that seems to indicate that they are happy to see one another. But it is this coldness, that his mother seems to share, which makes Pete so incapable of handling the financial crisis she is in, and the own family drama that plagues his home life.

Betty Draper inherited from her mother her looks but also her fragile nature. She has many of her mother tendencies, and even has a housekeeper who appears to have raised her much as Carla is raising Sally and Bobby for most of the episode. It is these qualities, then, which make her so unable to deal with the reality of her father’s ailing health, and why her family didn’t even tell her about his failing in order to help continue her shield from the cold reality around her.

Whereas Don Draper has spent decades resolving his relationship with his father (although last week indicated he still sees that side of him), the inability to handle what they’ve inherited from a generation past is what holds Pete and Betty back, what keeps them from becoming fully realized members of society. What “The Inheritance” becomes is less a mediation on any pivotal moment in either of their development, but a demonstration over a number of days of their reactions to these ideas being tested, of their innocence or coldness rising in opposition to something that needs to be said or done.

The result is an episode that doesn’t quite hit as hard as the past few episodes on an emotional level, and feels like it doesn’t really add things to our story; that being said, it also feels distinctly like Matthew Weiner and Co. moving pieces around in preparation for something larger.

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The Amazing Race Season 13: “Episode Two”

“Do You Like American Candy?”

October 5th, 2008

The second episode of The Amazing Race is always one of the most awkward: there isn’t yet any really compelling stories yet between teams, within teams, or within the race itself. And yet, unlike the first episode, there isn’t the need for a lot of exposition, so the producers have to hope that in the distance between one spot and another in close proximity the racers fall into every possible cliche.

Well, the producers lucked out: while some of it disheartened me to see, as personal favourites took a turn for the race, everything from airline drama to clue misreading turned up for a leg that, even without anything close to a suspenseful ending, told us a lot of things about these teams, defined some new relationships between them, and even gave us a couple of lessons about Karma. In the end, it’s an entertaining second leg that bodes well for the season ahead, if not quite blowing us away with anything particularly mindblowing.

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Season Premiere: Friday Night Lights – “I Knew You When”

“I Knew You When”

October 1st, 2008

There is something very intoxicating about Friday Night Lights. I knew this before, I guess, but this is the ultimate test. Although a mere check of my ‘About’ page would tell readers of this post that there’s something amiss with my doing this review, I just can’t help it. Even with too many shows by half already on my schedule, and numerous real life commitments, it is not within my level of will power to wait until whenever NBC decides that they’re going to run the third season of Friday Night Lights.

The DirecTV exclusivity deal is designed to save the series, to give it one last chance to prove itself within a more financially viable model, and I hate to be “part of the problem” when it comes to the effectiveness of this model. But, I want to live in a world where that deal doesn’t exist, or doesn’t need to: the show itself was in enough of a creative rut last season that seeing whether Jason Katims can prove himself is more than enough to drive me to dig into the show’s third season premiere.

What I found in “I Knew You When” was vintage FNL, a show that seems to have returned to a less convoluted and ultimately more effective structure. While many of the season’s clear trajectories are left mostly untouched in the premiere (Saracen, in particular, gets short-shifted something fierce), what we see is a very common theme: much as with the show’s chances for a fourth season (or an extension of the existing order), there are those who think that it can’t be done, and those who hold out hope for something better. To put it into football terms, something the show smartly does this season, there’s a lot of people thinking about calling a Hail Mary, and that has created an environment rife with an excitement about the future – and even if the show never gets to see it, watching the characters move towards the end of the tunnel seems like it will be worth it.

[If you are amongst those waiting until the show airs on NBC, first off I admire your willpower. Second, I will be discussing the episode in detail, so feel free to view this all-too tempting opening as your sign that the show is on the right track to start off.]

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Fringe – “The Arrival”

“The Arrival”

September 30th, 2008

I was busy finishing off an assignment for Wednesday on Tuesday evening, and as a result delayed the watching of my (ridiculous number) of Tuesday night shows. So while I’ll be covering the rest in a bit of Cultural Catchup likely spread out over the weekend, I believe it is in the best interest of everyone who’s been following Fringe to get their two cents in on the first episode of the series that seems to actually be unquestionably interesting.

Now, I say interesting instead of good because the jury is still out on the latter: the show received its full season order after good stability airing behind House, but the actual trajectory of the series was fairly unclear. But “The Arrival” marks, well, the arrival of some very interesting things that deserve our attention, and I believe the attention of most viewers. Co-written by J.J. Abrams and Jeff Pinkner, Alias alum both, the episode introduced the first signs of a serialized narrative that isn’t entirely related to Massive Dynamic, ended on the show’s most successful cliffhanger yet, and made great strides in making both the series’ male and female leads more interesting characters in terms of their relationship with The Pattern.

In other words, it has taken the series from “Curiousity” to “Compelling” in one fell swoop…for me, at least.

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Season Premiere: Pushing Daisies – “Bzzzzzzzzz!”

“Bzzzzzzzzz!”

October 1st, 2008

Sometimes a show isn’t profound, or fascinating, or deep. Sometimes, a show’s originality and charm are what elevate it to the level of being one of the most anticipated returns of the fall season, not a cliffhanger or any sort of buzzworthy (I know, I know) story element.

Pushing Daisies is one of these shows. I’ve always found it tough to blog about Pushing Daisies on any sort of extremely critical perspective: it’s a show that people either love or hate, and falling so strongly on the love side of things I can’t help but be more giddy with excitement than brimming with allegorical readings. If Pushing Daisies offers a cranky Emerson Cod, spastic Olive Snook, optimistic Chuck, awkward Ned, wacky Aunts Lily and Vivian, and more of Digby (Television’s best canine co-star) than I could ask for, I’m not going to be complaining anytime soon.

“Bzzzzzzzzz!” (With exactly nine Zs, I checked) is more of the same: not quite the revolution that Chuck’s second season premiere was for that show’s trajectory, it’s an episode that smartly places the focus on the central premise of the series while allowing the opportunity for almost all of its characters to have their various little moments. Settling in from the end of season drama that we were left with, Pushing Daisies remains what it was before: a comfy, cozy and whimsical universe to escape to for an hour each week.

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Heroes – “One of Us, One of Them”

“One of Us, One of Them”

September 29th, 2008

Is it wrong that, at the end of the day, I’m so satisfied by an episode of Heroes that doesn’t suck, acting as if it’s as much a triumph as an episode that is extremely good? My standards have certainly fallen for Heroes in the past two seasons, but that doesn’t mean that “One of Us, One of Them” isn’t still a good indicator for the strength of the coming season. There are some elements, including a smart return to the dynamic of the Company’s two-man teams and Hiro and Ando’s comic escapades, which feel like a return to a Heroes that knew what it was doing.

But let’s be frank: the strength of this episode is based on what is missing as opposed to what is really here. It’s an episode that focuses on the most interesting characters (HRG and Sylar), the most well-tested ideas (such as our new Isaac that Parkman met in Africa), and those storylines that could actually improve the show in the future (Claire training to become a hero in her own right). On those fronts, the show is smart: it’s what viewers like, what offers hope for the future, and what doesn’t outright suck.

Really, though, the reason the episode works is that the parts completely dragging the show down (Maya and Mohinder, in particular) are wonderfully absent in this third episode; when the show returns to their characters, something tells me that I won’t be willing to give them a free pass on some of the weaker execution seen in parts of the episode.

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How I Met Your Mother – “The Best Burger in New York”

“The Best Burger in New York”

September 29th, 2008

Flashbacks? Check. HIMYM-specific terminology? Check. Self-created Lore? Check. If you’re looking for an episode of How I Met Your Mother that represents the show’s charms in a single half hour, this is perhaps one of the most pure examples. While it sidelines Barney, perhaps the show’s best character, the show remains an ensemble and Marshall (who gets the most focus) was in dire need of a wakeup call in more ways than one.

The search for the best burger in New York sends Marshall back into his past, but the episode follows just a single night in the lives of our five lead characters. With Regis Philbin weaving in and out of the narrative to mild success, and some really charming cyclical storylines, it feels like (more than last week’s premiere) an episode that fits into the show’s canon with ease, if not with pure triumph.

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Season Premiere: Chuck – “Chuck Versus the First Date”

“Chuck Versus The First Date”

September 29th, 2008

When the TV critics started receiving their screeners for the first three episodes of Chuck’s first season, there was a lot of very positive things being said about the show really flourishing in its sophomore episodes. When the first six episodes were watched by NBC, they saw enough growth to give the show its Back Nine before it even aired an episode. And when the first episode streamed on Hulu.com, iTunes and Amazon a week ago, reviews were simple: this is a show that knows where it’s going.

For those of us who followed it last year, this news is that much more welcome. This was a show that everyone kind of appreciated, whether it was Adam Baldwin’s angry John Casey, the charm of Zachary Levi’s Chuck Bartowski, or the beauty of Yvonne Strakhowski’s Sarah. The problem was that it felt like we were appreciating parts and not the whole: while there were building blocks that really clicked on an individual level, trying to find a balance between the spy antics, the interpersonal team dynamics between Chuck/Sarah/Casey, Chuck’s relationship with his family, and the antics of the Buy More employees was something that couldn’t be done in only twelve episodes of a strike-shortened season.

But Josh Schwartz and Chris Fedak went back to the drawing board over the lengthy break, and they’ve come back with a bang: even with an “imposing” guest star, the need for heavy exposition to welcome back (or welcome in) viewers, and a lot of emotional baggage from last season, Chuck is at its finest for its premiere – if it can continue on this trend, this is (as many have called it) the show to watch in the coming season.

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Entourage – “Fire Sale”

“Fire Sale”

September 28th, 2008

Let’s go through the laundry list of usual complaints labeled at Entourage: episodes are too short, not enough happens in the span of an episode, the show is dangerously cyclical in nature, and its major plot developments can be seen from about a mile away.

Now, as someone who was highly negative about the show’s fourth season for at least some of these reasons, forgive me for not being nearly as negative about the fifth season exhibiting some of the same traits. The difference between “Fire Sale” and some of the episodes I had trouble with last season is that the repetition and cycles were, then, about pointless antics of glorified children prancing around with their petty little lives. Here, meanwhile, the plot is circling around characters without glory, where the feeling of running in place is not just writers’ laziness but an actual reflection of the characters themselves.

Yes, not much happens in the span of the show’s twenty minute run time, but what does happen feels like the show continuing to tread carefully to the series’ grounding in an actor searching for his place in Hollywood. While I might be tiring, as many are, with the writers’ inability to find Drama something interesting to do, watching as E and Vince chart the group’s next path can circle around as long as it wants as long as it keeps Entourage this focused.

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Mad Men – “Six Month Leave”

“Six Month Leave”

September 28th, 2008

“Some People Just Hide in Plain Sight”

On the surface, Marilyn Monroe was the picture of grace and beauty, living the Hollywood dream and conquering the globe in the process. Of course, inside she was emotionally distraught, and her suicide rocked America in August, 1962. In the world of Mad Men, it rocks the secretarial pool at Sterling Cooper, sending them to the kleenex boxes and making them all question, at least a little bit, the value of life.

But that quote, coming from the elevator man of all people, is the driving force behind this series, particularly for Don Draper: he can’t actually hide away from everyone, he needs to be out there and available even while hiding pains as deep as his traumatic family past and as recent as his separation from Betty. Peggy may have hid in the months after her pregnancy, but now she’s back at work and having to act as if none of it is there, struggling while all eyes remain on her in her new success.

But this episode is all about those people who can’t hide in plain sight, who based on either inexperience or circumstance are no longer able to (or desiring to) hide something about themselves. In the case of Freddy Rumsen, our zipper musician extraordinaire, his habits have long been known by those in the office, but there comes a time when you get too comfortable and what was hidden becomes clear to too many people or, more accurately, to the wrong people. In the case of Betty Draper, she’s been so used to hiding her feelings that she has no idea how to express her displeasure, unsure of what she wants other than to be left alone and allowed to take care of her own life for a change.

While a less careful show might be running dangerously close to hammering this home a bit too hard at this point, “Six Month Leave” has more than enough moments of emotional discovery to feel like a new step into this particular subject, one of the show’s (and my) favourites.

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