Tag Archives: Entertainment

Fringe – “The Same Old Story”

“The Same Old Story”

September 16th, 2008

“Would you just talk like a person?”

Peter Bishop asks his father this question at the halfway point of Fringe’s second episode, and I couldn’t agree more: except that I’d apply this to Peter, and Olivia and just about every other character on the show. Because at this point, it seems like nothing that happens in Fringe is something that would happen to people, and that nothing they say seems to make any sense to anyone but the crazy person who created it all, in theory, seventeen years previous.

In the show’s pilot, this felt like an introduction into a new world, a world where things would be different and where mysteries would take on new contexts. However, what “The Same Old Story” offers is…the same old serial killer story, just with some fairly gimmicky applications of the fringe science the show is hinging its success on. Now, you could say that this is nothing new: The X-Files was essentially the same process, and Alias was your normal spy-type show but with Rambaldi’s artifacts as the reason behind the missions.

But Fringe buys into its own hype: too often the music bombasts to the point of self-indulgence, the characters talk about their own intelligence in a way that feels entirely unnatural, and the episode’s attempt at creating an emotional connection between Olivia and this week’s case is ultimately undermined by our lack of time spent with these characters in such a context.

More importantly, though, there was absolutely nothing fun about Fringe – the charm of the characters were either forced or so overpowered by the impending dread that the show never had a chance to breathe. The result is an episode that felt overlong, overtired, and an example of a show that still has me wondering just how this will turn into a series…or, even if the parts are present, wondering whether Orci and Kurtzman have the smarts to put it all together.

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Season Premiere: House – “Dying Changes Everything”

“Dying Changes Everything”

September 16th, 2008

Well, thanks for the obviousness lesson, House. Or, more appropriately, everyone other than House.

After perhaps the most emotionally powerful episodes in the show’s history ending the show’s fourth season, it was easy to romanticize the world of House: we’re supposed to be paying attention to Wilson’s grief process and 13’s reaction to news that her lifespan has been cut in half by Huntington’s disease, but nothing about the season finale really dealt with the show’s other problems. “House’s Head” and “Wilson’s Heart” were two episodes that stand alone as an emotional highpoint, but their fallout is somewhat less groundbreaking.

Don’t get me wrong: I like the show’s choice to investigate reactions to mortality, and there is nothing wrong with House working hard to keep Wilson from leaving the hospital after Amber’s death, but the rest of the episode kind of struggles dealing with the rest of the series. Whereas the finale demonstrated an intense connection between case and character, here the case is quite literally just a pawn in House’s game and, at worst, just a bland cliche to the same degree as Wilson’s desire for a clean start. And the show does nothing to help deal with the imbalance between characters, spending so much time with mortality that it’s continuing to let some of them die off, figuratively speaking.

So while dying is supposed to change everything, it doesn’t appear to change House much at all; while this means that the show is still entertaining, it’s taking its time to get to the point where it can improve on last season’s problems.

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Season Finale: Weeds – “If You Work For a Living, Why Do You Kill Yourself Working?”

“If You Work For a Living, Why Do You Kill Yourself Working?”

September 15th, 2008

During Weeds’ first season, I would have never expected that it would fall into a pattern.

It was a show about a mother who deals drugs to support her family, with two children completely unaware of their mother’s ways to pay the bills, living in a gated community that harbours an assortment of characters so unhinged that Nancy often looked like the most normal of them all.

Since that point, though, the pattern is simple: at the end of one season, things get bad to the point where we as an audience question how much time Nancy Botwin has left before she is arrested or killed. Then, at the start of the next season, the show spends four or five episodes dealing with the fallout from that event before settling into a rising action, a new location or force in Nancy’s life that will result in yet another near-death experience.

Because of this, we go into last night’s Weeds finale with qualified expectations: yes, we expect it to be quite good, but we know that it won’t immediately solve the nagging issues from this season. It isn’t about providing closure, justifying the show’s move closer to the border, but rather creating enough tension that the road into season five is opened up when the show returns next year.

By these standards, “If You Work for a Living…” is a near triumph: an episode that manages to both clearly outline the next season’s action while actually creating a twist that might actually maintain the status quo as opposed to immediately saying goodbye to it. It’s not a perfect episode, and there’s a couple of nagging issues that still make this season a growing experience, but this feels like the type of finale that Weeds needed: not a rebirth, but…well, a birth.

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Terminator: Sarah Connor Chronicles – “Automatic for the People”

“Automatic for the People”

September 15th, 2008

“That was dangerous. It could upset people.”

This is what Cameron tells John the morning after their season premiere ordeal, a statement that he thinks is about the people he placed into danger directly (Derek and his mother). Cameron corrects him, though, noting that the issue is in the future rather than the present: in other words, John’s future reliance on or relationship with Cameron is clearly a concern for the future.

And this is an episode all about the future, about turning back to a show that is your standard mission-driven action series that uses the various qualities of your main characters. While this is good, as there’s some decent setup for the season ahead here (including a wonderfully contrived plot device), it does seem like a bit of a let down after last week.

When it looked like John was finally going to grow a pair, somehow I didn’t expect him to go all out and…invite a girl over to his house and refuse to make her leave. Oooh, what a badass. In all seriousness, though, it’s a bit of a momentum killer, even if the show still has a good trajectory.

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Mad Men – “A Night to Remember”

“A Night to Remember”

September 14th, 2008

Describing Betty Draper to the representatives from Heineken, Duck Phillips identifies her as “well off and educated.” Now, in the context of the scene, we breeze right by it: they’re selling this pitch, so it’s not like anyone’s going to put on the brakes. However, let’s be frank: to this point, and even after the events of the episode, would anyone really consider Betty Draper to be educated?

This isn’t to say that she is not intelligent, or that she is not capable of achieving great things, but rather that her tragic flaw is her ignorance to the outside world, to the world that she is constantly being surrounded by. When she becomes the punchline of Don’s pitch to Heineken, she isn’t necessarily just reacting to Don’s use of her as a tool: rather, it’s that he knows better than she does what her role is, what demographic she’s in, and what she’s likely to buy when she goes to the grocery store.

But that’s Don’s job, as it is Peggy’s: it’s their job to tell people what they want. It’s just that, as both found out in this episode, you need to know your audience: whether your wife or the Catholic Church, there are certain rules that need to be followed if you’re going to let your role in the ad game dictate the rest of your life decisions. And, as seen with Don, Peggy and Joan, the balance between these two sides of one’s life, in whatever form they take, will eventually get the better of you.

And when that happens, as it did to Betty Draper who doesn’t even have a single role she could really latch onto in her lowest moments, it will serve as…well, you can read the title of the episode, you know where this is going.

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Entourage – “Unlike a Virgin”

“Unlike a Virgin”

September 14th, 2008

Perhaps I’ve been watching too much Mad Men, but part of me can’t help but listen to Ari’s big pep talk to Vince about his future and wonder whether there is some type of meta-commentary about the series itself hidden within. His argument is that Vince is a movie star, not an actor: the reasons he has been successful have nothing to do with his abilities, and as a result he needs to get a big studio picture and return to being someone who cares about the machinations of “the game” that is the movie industry.

Of course, the general argument I hear about Entourage is that it’s just supposed to be escapist fun, that it’s supposed to be about the escapades of this actor and his friends he’s brought with him to the big show and not about complicated storylines; in other words, in this parallel, it’s a movie star and not an actor. I think the problem though is that, like Vince, the show stopped caring about it: yes, it went through the motions in its fourth season, occasionally resulting in some decent comedy, but the show stopped caring about itself.

I don’t know if the writers were pointing ahead to their direction for the season, but the episode itself did a wonderful job of reminding us how Entourage works best: tongue-in-cheek guest appearances, Vincent Chase growing as a character in a way that’s actually interesting to watch, Eric stepping outside of Vince’s shadow in a way that brings Carla Gugino back onto our television screens, and letting Turtle and Drama be Turtle and Drama without overplaying them.

The end result is a show that feels like its been around the block once or twice, has learned from its mistakes, and just might be ready to combat my fervent skepticism about the show’s future

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Emmys on Trial: The Ageism of Guest Acting

[As part of our continued, if oft-neglected, coverage of the 60th Annual Primetime Emmy Awards next week on September 21st, Cultural Learnings brings a week of coverage designed to shed some light on the key races, the fascinating stories, and the things that are already frustrating to the point of anger even before the winners are even announced. Thus, welcome to Emmys on Trial – don’t worry, I’ll have predictions too.]

The Ageism of Guest Acting

Last night, a lot of people won Emmy Awards. Some of these people were probably not surprised: could the crew of Mad Men truly be shocked to pick up a number of Creative Emmys in categories such as Art Direction, Hairstyling, or Main Title Design? Would the special effects team behind Battlestar Galactica honestly have not prepared a speech this year (Read here for last year’s tale) considering the show’s reputation and improved work in season four? And, after “Dick in a Box” paved the way for late night comedy songs, “I’m F*cking Matt Damon” was a lock even if Silverman and Kimmel’s relationship couldn’t last until the ceremony (Damn Matt Damon).

But if there was anyone at the announcement of the winners of the Creative Arts Emmy Awards not surprised, it was Kathryn Joosten and Tim Conway. Representing two shows with multiple nominations in their respective categories, these stars of Desperate Housewives and 30 Rock respectively have two things in common: they both won Emmys that they don’t deserve, and they both are very, very old.

And yeah, I know: who’s Ageist now? Well, someone’s got to restore a little balance here.

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Season Premiere: Saturday Night Live – “Michael Phelps and Li’l Wayne”

“Michael Phelps and Li’l Wayne”

September 13th, 2008

A week from today (Since it’s now Sunday as I write this), Amy Poehler and Tina Fey are each nominated for Emmy Awards for their individual comic performances (I’ll have Emmy coverage all week! Exciting!). So it seems like a sound strategy to take the two individuals and place them in front of a camera to open this the umpteenth season of Saturday Night Live.

And the result was great comedy from two great comics. Fey’s Palin impression is almost scary, and the resemblance created some sort of twilight zone scenario wherein the two people melded together. And Poehler, as usual, nails Hilary Clinton’s desperation and, now, resignation. The skit was consistently funny, ended right when it should, and even broke the Fourth Wall.

YouTube: Palin and Hilary on Sexism (SNL)

But Saturday Night Live has a problem: Fey isn’t a castmembers, or a producer, and is literally only doing the role because she can and because she’s willing to. Poehler, meanwhile, is pregnant and will be gone from the show in a few months. And while Kristen Wiig continues to steal almost every sketch she’s in, the show is still uneven to the point of concern: if you stopped watching after the opening you might have renewed faith in SNL, but as the episode wears on there’s not much else to get excited about.

Especially not lifeless Michael Phelps.

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Weeds – “Till We Meet Again”

“Till We Meet Again”

September 8th, 2008

Weeds is at its worst when it escalates to the point of life or death.

I don’t mean to say that it isn’t well plotted: the final scene of this week’s penultimate episode of the fourth season is gruesome but powerful, and it feels like a logical step for the storyline to take. However, in the wake of such storylines, the rest of Weeds feels severely trivial. If I’m seriously worried about Nancy living or dying, what do I care about Doug’s mistress getting shipped back to Mexico or Celia searching out Quinn (Who we haven’t seen since the pilot) in order to make amends?

Say what you will about the reasons for half hours shows like Weeds or Entourage to make the jump to an hour long program, but these later episodes make a fine case for it: with an hour, perhaps the more dire situations could be better balanced, striking a more subtle tone through a slightly slower pace. Instead, we’re going from the violation of Nancy’s moral code (the women and the guns going through the tunnel) to the violation of a person in a very vile fashion. Mary-Louise Parker plays this kind of role extremely well, so I’m not really complaining on that front, but when it stops the rest of the show dead in its tracks I do have to wonder whether this end of season escalation is really in Weeds’ best interest.

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Greek – “Let’s Make a Deal”

“Let’s Make a Deal”

September 9th, 2008

As last season wound down, I was spending a fair amount of time blogging about ABC Family’s Greek. The show is of a surprising quality considering the network, and at the time the schedule was light on shows and as a result I felt Greek deserved some more coverage. At the same time, though, this is not a show that requires much deep analysis: it may be smarter than your average teen-driven dramedy, but that doesn’t mean that it isn’t filled to the brim with every cliche you could imagine.

But, I am still really enjoying the show’s second season, especially this week’s episode. The first two segments were as predictable as they come: the drama from Franny and Evan’s new relationship, the further meltdown of Rebecca’s family life, the continued drama surrounding everything Casey touches, etc. This part of the show isn’t bad, but it’s better when there’s elements that are more interesting. Last week, we saw the beginning of this as Rusty’s first individually driven storyline in a while brought the introduction of his RA, Max, and a new chapter for the series.

“Let’s Make a Deal” is really about that chapter, actually expanding on where these characters are going this season versus just paying off their storylines from the finale. Cappie, Evan and Casey represent the three pillars of the series’ drama, and here we get some sense of their individual arcs (even if two of them lean a bit too closely to the other member of the triangle). And there is something interesting to be found in each, something that continues to remind viewers why Greek has an identity that sets it apart from similar series.

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