Tag Archives: Episode 2

The Office – “The Meeting”

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“The Meeting”

September 24th, 2009

If last week’s episode of The Office, “Gossip,” was all about clearing the air from the season finale (having Pam’s pregnancy revealed to The Office), then “The Meeting” was similarly simple. The episode primarily exists to create a situation that will be used for comedy in future episodes, so by definition this would make it a dreaded “setup” episode. For drama series, these are considered to be a blight on a series, something where “nothing happens” and where it feels as if the show is going through the motions to get to something good instead of just going there already.

But with comedies, there is an expectation that through sideplots and through the right execution, setup can feel like a normal episode of the show even as it quite blatantly moves some pieces into position for what is about to come next. The payoff of “The Meeting” is all in its final scene, when you realize the ramifications of the big decision in terms of returning the show to its roots (to some degree), so up until that point it’s all about whether or not the narrative is funny and entertaining enough for us to look past the machination in order to enjoy ourselves.

“The Meeting” has some struggles in terms of how it handles Michael and Jim’s negotiation of sorts, mostly driven by a choice of perspective which both provides more comedy and less enjoyment, but overall the episode remains funny due to a sharp subplot and the same qualities that make the show pretty funny on a regular basis. One can’t help but feel that it’s a bit of a step down from “Gossip”‘s sheer simplicity, but it’s a solid episode that really does set things up quite nicely.

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Sons of Anarchy – “Small Tears”

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“Small Tears”

September 15, 2009

“Another magical day to be alive”

I, like I presume many others, presumed that this week’s episode title was about tiny drops of water falling from one’s eyes, alluding somewhat ironically to Gemma’s enormously emotional moment at the end of the season premiere. But in defying expectations, at least my own, the episode reveals that the real irony is not in falsely downplaying the emotional impact of the event, but rather the dichotomy between physical and emotional repercussions.

It is, in fact, a magical day to be alive, for everyone except for our heroine, Gemma. If there was ever any question about whether we are rooting for Gemma, “Small Tears” put it to rest: the entire fate of SAMCRO and the weight of this moment is placed on her shoulders, an unfair burden for anyone (even our less than ethical matriarch) to bear. We pity Gemma in some respects, and in others we respect her for refusing to allow pity to turn into anger at the Aryans, and more importantly to turn into revenge. It is no coincidence that the fallout from Gemma’s ordeal comes complete with a storyline about the danger of revenge killings, and the bloody mess that comes with it.

And if there’s anything that Sons of Anarchy wants to remind us of as the second season opens, it’s that nothing in the world of SAMCRO heals on its own.

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Glee – “Showmance”

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“Showmance”

September 9th, 2009

As a critic, there are two ways one begins to have doubts about a show.

One is the immediate knee jerk response to a particular development: something happens onscreen which calls itself to your attention as if it were someone wearing a T-Shirt which said “Problem” written on it and waving a giant banner that said “Criticize me.”

The other is a more subtle feeling, a sense that something is wrong that’s below the surface of what you’re enjoying and undermining the show as a whole if not any particular moment.

What worries me about Glee is that for all my love of the show and its basic premise, it managed to illicit both of these responses in the span of its second episode, an hour which went from 0-60 and yet never seemed to go anywhere at the same time. What’s fascinating about it is that the things that make the show so charming one moment grinds it to a halt in the next: its fast pace works great in its dialogue, but when its stories start to move at the same pace it all seems like a blur; and while its quippy dialogue feels right in high school, when coming from someone who’s supposed to be a mature adult it sounds entirely wrong and takes a bad storyline and only makes it worse.

This is the kind of show that I don’t want to have to work to like – I enjoy musicals, I know a lot of popular music, and those elements of the show are obviously its hook. However, as long as the show around it feels more like labour than a labour of love, I’m not entirely convinced that I’m ready to commit to becoming a gleek just yet.

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Mad Men – “Love Among the Ruins”

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“Love Among the Ruins”

August 24th, 2009

New York is in decay.

Don Draper’s trip to California was highly transformative on an individual level, but as an ad man it appears to have affirmed what he knew before. In California, he tells the people from Madison Square Garden, everything is shiny and new: it is a land of progress, one where people are seeing things as brightly as ever before. And yet for New York, as Don quite rightly pointed out, it is quite the opposite. It is buildings being torn down, and the “priceless” artifacts being torn down in favour of trying to capture that sense of the new while a vocal minority fights for the ruins of the past. When Kinsey spoke earlier of the Roman ruins having been torn down, he was arguing for why Penn Station needed to remain; when Don evokes the same sense of decay, he sees it as a catalyst upon which change can be sold. When the artwork for Madison Square Garden arrives, it evokes Metropolis, and the entire concept is sold as a city on a hill.

“Love Among the Ruins” is, like so many Mad Men episodes, about the act of selling a lifestyle, but in this episode we see very clearly people attempting (and somewhat failing) to live inside of it. For Don, it becomes an attempt to life within decay, to embrace his father-in-law’s growing dementia in an effort to appease his wife and allow for a continued sense of control within a volatile situation. For Peggy, meanwhile, her life as a copywriter becomes separated from her life at home, where her cynical distaste for an ad campaign brings to the surface personal insecurities stemming from her rather eventful relationship history. The rest of the episode kind of falls into place around them, spending less time establishing the season’s various plotlines and more demonstrating how these two central characters (and to a lesser extent, Betty) are handling the decay of their surroundings.

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Warehouse 13 – “Pilot” and “Resonance”

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“Pilot” and “Resonance”

July 7th & July 14th, 2009

I fell asleep watching the Warehouse 13 pilot.

It’s a true story. I was there, trying to get through it, but I was exhausted from being up early and the pilot wasn’t really engaging me on any level. It wasn’t that it was bad, or that it actually put me to sleep (I consciously paused it before conking out moments later), but the fact remains that there was something about Warehouse 13 that wasn’t really connecting with me.

However, upon finishing the Pilot last night, and digging into “Resonance” this afternoon, I can say quite emphatically that the show is more than capable of keeping me awake. No, it’s not a replacement for Battlestar Galactica by any means, but it doesn’t try to be. What it represents is Reaper with less comedy, Fringe without the mythology, and every crime procedural you’ve ever seen with a sense of whimsy that’s often sorely lacking on those shows. It has no grandiose ideas about its position in the television world: what it delivers is what it sets out to achieve, a light-hearted but nonetheless resonant piece of dramedic television.

And in the middle of summer, when television often feels like a wasteland, a weekly trip into the depths of Warehouse 13 is something I’m already looking forward to, if not particularly obsessing over.

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Weeds – “Machetes Up Top”

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“Machetes Up Top”

June 15th, 2009

Weeds, perhaps more than any other half-hour “comedy”, follows a particularly serialized structure, where almost all of its characters are on separate and interconnected paths that always take a few episodes to get going. This is especially true early in the season, where everyone sets off on their own path until they slowly begin to return to their place of origin. When that origin was the community of Agrestic, you felt like there was a potential stabilizing force in the universe, the oppressive nature of the suburbs nonetheless offering something of a protection from the world of drugs, or gangs, or anything else you can imagine.

But when the Botwins moved to Ren Mar, the show and more importantly its characters lost that comforting sense of home, and in many ways the fifth season is about where they go to find safety and security in a situation that is quickly spiralling out of control. However, for various reasons, that security if proving difficult to attain, leaving nearly every character in a position to find themselves back in Ren Mar with Nancy waiting to see when the axe is going to fall.

For now, at least through “Machetes Up Top,” I think it works for the show, as the impending doom on one end is tempered by the comedy elsewhere, albeit all tinged with that sense that no one is going to escape the fallout – of course, at the same time, everyone probably is, considering that Nancy is unlikely to stop being alive anytime soon.

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Nurse Jackie – “Sweet ‘n All”

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“Sweet ‘n All”

June 15th, 2009

If we look at Weeds, The United States of Tara and Nurse Jackie as similar shows (which, being half-hour, female-led, Showtime-airing dramedies, they really are), one of their most defining characteristics is that each of their pilots found them “in medias res,” as whatever story there is in the series has already been in progress for quite some time. We weren’t seeing an origin story, or a whole new situation that forms the setup for a series; rather, in each instance, we find women struggling from various ailments (supporting a family through selling drugs after her husband’s sudden death, coming off of medication for multiple personality disorder, and an addiction to painkillers and adultery, respectively), and we’re missing that point where their suffering (going broke, becoming numb, etc.) went so far as to bring them to their current position.

I think that sets Nurse Jackie apart from these two shows is that there is nothing funny or light-hearted about her current position: Jackie’s adultery appears to only be hurting her husband and children, and her drug dependency is certainly not something to be considered humorous. While not seeing that moment when Nancy turned to drugs, or when the numbness proved too much for Tara to handle, wasn’t a big deal, it’s kind of a huge deal that we don’t understand why Tara would betray her happy little family; the drugs we can understand as part of a broader physical addiction, but without linking the two together it becomes a problematic element of the series’ “in medias res” setup.

“Sweet ‘n All” does not really come close to resolving these concerns, but shows a subtle and nuanced approach to doing so in the long run. Through the power of the fabulous Edie Falco and the complexity of the Hadron Collider, Nurse Jackie has moved one step towards filling in its own gaps, even if the rest of the show didn’t really evolve much beyond the pilot.

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Royal Pains – “There Will Be Food”

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“There Will Be Food”

June 11th, 2009

Ah, the ol’ sophomore check-in. Entering its second week, I still wasn’t entirely on board with Royal Pains, as its pilot was clumsily competent in a way that seemed as if it would set up an interesting show but didn’t yet give an indication (outside of our ability to extrapolate from its setup) of how that show might operate.

It’s really a question of pacing more than anything else, along with how it will handle its recurring elements intermingled with new “cases.” The tension from Hank’s life is pretty much gone at this point; he has a place to live and a job to do, and that lack of stress allows him to sort of float along both noble and romantic paths in “There Will Be Food,” an episode certainly devoid of any blood or any serious ailments. This isn’t surprising, as this is a procedural series without murders or anything of that nature, but there will be a point when the “Robin Hood” of the Hampton’s is going to have to face something legitimately threatening.

Overall, though, it was a solid second outing. I have some concerns over the use of romance, but considering how much I prefer it to some of the show’s other options I’m ultimately content, if not wholly satisfied, with the show’s direction.

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Burn Notice – “Question and Answer”

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“Question and Answer”

June 11th, 2009

Moving into its second episode of the season, Burn Notice is no longer a show that needs to prove itself – the second season did more than enough to convince me that the show understand that works and what doesn’t, so the introduction of a new antagonist for Michael Westen isn’t something that raises any sort of alarm bells.

This isn’t the case with all shows, of course. House, in particular, is a show that insists on introducing short term rivals for its lead character, only to have them absolutely take over the show to the point of both distraction and devolution. I don’t think I can quite explain why Burn Notice does this so much better, but it’s an impressive feat: while House slows to a crawl during those sections, Burn Notice manages to pull off both tension and humour with the arrival of Moon Bloodgood’s Detective Paxson, someone who has drawn a line from Michael’s arrival in Miami with a sharp increase in explosions and the like.

(And based on the twitter responses, including one from Alan Sepinwall who discusses Bloodgood’s arrival in his own review, the humour might be a major part of how these characters work, as they fit into Michael’s world of calculated yet quippy and therefore don’t seem as contrived).

As a result, “Question and Answer” doesn’t let this new arrival slow things down, as the thing that works so well about Burn Notice is that not every episode needs to be about explosions, and that there are more than enough tricks up their sleeve to keep the show one of the most entertaining on television.

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Chuck Me Mondays: Season One, Episode Two – “Chuck vs. The Helicopter”

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“Chuck vs. the Helicopter”

Season One, Episode Two

There was a time when I wasn’t sure if Chuck was going to work, and I’ll admit right now that Chuck vs. the Helicopter was the beginning of this feeling. As I noted last week as we started this Chuck Me Mondays project, I really liked the pilot, but this episode kind of lost me due to a few little plotting quirks, some of them the result of the traditional post-pilot adjustments and others a problem of definition. It may seem odd now that we’ve seen two seasons worth of the show, especially the amazing work in season two, but there was a time when Chuck was really struggling to find its footing.

That said, there are plenty of things to like about this episode that, if suffering from a bit of a necessary but offputting crisis of character, nonetheless send the show on the right path moving forward.

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