Tag Archives: Episode 2

The McNuttCast: Episode Two – The Juno Awards

mcnuttcastlogoIn this week’s first “normal” edition of The McNuttCast, we can’t entirely get away from talking Battlestar Galactica – while I had the privilege of collaborating with Devindra Hardawar and Meredith Woerner on the epic /Filmcast Series Finale discussion [LINK], the Elder McNutt didn’t get the same chance, so there’s a few minutes of BSG spoilers in here that are clearly marked.

The rest of the show, meanwhile, diversifies beyond television to the world of film, music and video games, as my readers get to see whether I actually know anything about these subjects. We discuss the genius of the Where the Wild Things Are trailer, delve into the latest release from local Canadian artist Joel Plaskett, and discuss the dominance and continued evolution of Nintendo’s current position in the video game market. And, of course, I still find time to discuss the state of NBC bubble shows, the Parks and Recreation testing “controversy” and the ratings for Dollhouse’s “Man on the Street.”

In our feature discussion, coincidentally only a day after 30 Rock made a joke about the Canadian Grammys, we discuss the biggest music-based awards show in Canada, the Juno Awards. Don’t worry, our international listeners: we contextualize our anger, and try to make sure that you don’t view the winners and nominees as representative of the best Canada has to offer.

We’re still working on getting onto iTunes (it’s our weekend project), but in the meantime you can listen and download below – full show notes are after the fold! If you have any comments or questions or suggestions of what you might want us to cover, send us an email: you can reach us through either of our sites, or by emailing us (for me, cultural.learnings @ gmail.com).

The McNuttCast: Episode Two – The Juno Awards

Download the MP3 [41m10s – 19mb]

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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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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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Flight of the Conchords – “The New Cup”

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“The New Cup”

January 25th, 2009

It’s been a while since I visited Flight of the Conchords’ sophomore season, having reviewed last week’s premiere back in December when it was streaming online, but I have to say that I think “New Cup” is perhaps a slight improvement on some fronts and a bit of a step back in others.

The show is, largely, back to its old self in most ways here: the Murray/band dynamic is as inspired as ever, and their seasons crackle here. The problem is that the rest of the plot doesn’t, so much: comparatively, the dialogue seems forced and tired, and the prostitution storyline felt off for me. This is a bit of a shift, though, because I found the songs superior to that in the premiere, more tied to the action; it’s just unfortunate, then, that they were tied to the part of the episode that felt the most sitcom-esque and lacked what I view as the fundamentals of the show’s usual charm.

The basics are all here, don’t get me wrong: what other show can spin off of a new cup and suddenly spiral into prostitution, lewd rap songs about genitalia, and a ripoff of Roxanne? The show is still great at showing how the mundane can be exciting, but this felt a bit too exciting for its own good by a certain point.

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Season Premiere: Lost – “Because You Left / The Lie”

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“Because You Left / The Lie”

January 21st, 2009

Going into tonight’s two-hour premiere for Lost’s second season, I was unsure. Not about the show, really, so much as unsure about my own ability to get back into a Lost frame of mind. I’m only a few days out from the mindfrak that was the BSG premiere, and to enter into a similar level of complexity so soon was something that didn’t feel normal. I love this show with all my heart, through the slow periods and the various leaps through time, but there is a point where you wonder how many more twists and turns you can take.

But from the moment that Marvin Candle puts a record on and heads to the Orchid station to investigate a new discovery, it becomes very clear that there is never a time where a Lost frame of mind feels overbearing. What makes “Because You Left” and “The Lie” so effective is that they are operating are on a whole new plane: what was once a simple construct of present and past, and then present and future, has been eternally complicated by a whirlwind tour through what we’ve experienced, what we know, and what could happen in the future. Before, we were the ones who were traveling through time, but hearkening back to Season Four’s pivotal “The Constant” the show has unstuck its characters in time and we’re just along for the ride.

The result has us perhaps the most confused we’ve ever been, but it makes sense: our characters are just as confused, just as at the whim of the island and whatever crazy sense of time, space and fate this show is holding going into its fifth and penultimate season. This two-hour season premiere, more than the flashforwards or the Oceanic Six before it, has this world in a constant state of change that has fundamentally altered our sense of the show’s direction. If Season Four was drawing the line from Point A, the island, to Point B, the rescue of the Oceanic Six, then now we’re drawing a line between points constantly moving, evolving as we watch into something we haven’t come close to understanding.

We’ve gone from knowing what happens and wondering how the show will take us there to slowly discovering what needs to happen and growing increasingly doubtful that it’s an achievable goal considering the variables involved. The sheer uncertainty of this premiere is exactly what the show needed to put me into a Lost frame of mind: I don’t understand you, Lost, but at the end of the day I will always believe you.

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