Tag Archives: Episode 3

The Middle – “The Floating Anniversary”

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“The Floating Anniversary”

October 14th, 2009

I could take a gander at Cougar Town tonight, considering that I remain really perplexed at people who can’t seem to get beyond the show’s premise and Cox’s overacting to see a show that has a really strong emotional core, but since I didn’t get to cover The Middle’s pilot I figure I should discuss the show’s third episode. The show is not as inventive as Modern Family, or as diverse as Cougar Town (which I find more cohesive), but it is a solid family comedy that’s a bit reductive of Malcolm in the Middle but could have had a much worse fate.

What makes the show work is that it features good performances and has a surefire sitcom premise that is inarguably charming. I think the kids are decently engaging, Patricia Heaton and Neil Flynn make believable parents, and perhaps more importantly the show has something to say about families dealing with an economic crisis. Where the show loses points in how it tends to stick to the same jokes, and how it relies too heavily on Patricia Heaton’s performance without letting the other parts of the show get their due.

“The Floating Anniversary” is perhaps the weakest episode yet, if only because it feels the least like an ensemble piece: while the pilot logically placed the emphasis on the biggest star who is at the heart of the show, I think the show needs to branch out beyond its stereotypes in order to really grab my attention.

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The Amazing Race Season 15 – “Cambodia”

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“Sean Penn, Cambodia, Here We Come!”

October 11th, 2009

The job of being an editor on The Amazing Race is really a tough one. In each episode, you need to turn the unsuspenseful into the suspenseful, and emphasize the zany in the mundane. Of course, it helps that often The Amazing Race is suspenseful, and that it is often extremely zany, and that the cast of characters involved can often enhance both of these elements. As such, it is likely every editor’s dream to receive a team like Zev and Justin, who deciding that Phnom Penh is actually Sean Penn, and who strike up a hilarious and fantastic relationship with their cab driver Thierry.

However, the editors also have to come to terms with how, precisely, they’re going to send someone home. Last week, Marcy and Ron got sent home after struggling with a Detour (they were just too slow, plain and simple), so Marcy got a lot of talking heads about her father’s time in Vietnam. The episode was a sendoff, albeit it a slight one, a last hurrah. In other instances, the editors love playing up irony or the impact of a single mistake, and sometimes they even play a game of Schadenfreude.

But as the teams race through Cambodia, the editors have the toughest job of all: turning triumph into adversity in a split second. It’s a chance of pace the episode handles with the grace of a newborn giraffe, heightening my sympathy for the difficulty of the editors’ job while also lowering my interest in this season, all in one fell swoop.

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Being Erica – “Mama Mia”

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“Mama Mia”

October 6th, 2009

I’m in New York at the moment (my Twitter account likely reflects this), but I had a chance to catch this week’s Being Erica before I left. It’s, again, a return to the first season’s structure, hesitating to “open up” the show’s universe as much as the season premiere seemed to indicate. However, at the same time, the episode also reminds us that Judith as a character still exists, a problem with a show that deals with sending a character back to her past when some of the people in her life weren’t actually involved.

So, in many ways, the reason that Judith and her newborn haven’t been around Erica are quite similar to why they haven’t been on the show thus far this season, and “Mama Mia” does well justifying her absence and adding a few more shades to their relationship. The episode had a few hiccups, but it followed one of my favourite patterns for the show so it’s ultimately another enjoyable hour for the show.

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Community – “Introduction to Film”

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“Introduction to Film”

October 1st, 2009

I feel a little bit awkward writing a review of “Introduction to Film,” as if I should be out impulsively making out with someone or climbing a tree or telling 10 people I love them. The week’s class, considered a bird course and a chance at an easy grade, is all about “carpe diem,” with a professor straight out of Dead Poet’s Society and the kind of class that seems like the ideal fit for this cast of characters in that it is in fact that most awkward fit imaginable.

It’s an episode that, like the class in question, lulls us into a false sense of awareness, making us believe the episode is about one thing when in fact it’s about something else entirely. It does it in a really subtle way, like a sneeze that just keeps threatening to arrive but doesn’t, as the show demonstrates a mastery over the sneeze that one did not expect.

All in all, it’s a simultaneously funny and kind of heartbreaking episode that continues to show some really great tones to the show’s brand of humour.

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The Office – “The Promotion”

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“The Promotion”

October 1st, 2009

After last week’s co-manager reveal, we knew this was the next logical step. Michael doesn’t deal well sharing power, and Jim has never actually been in power and when he has been it’s been a pretty big disaster. So, when this episode begins, we find Michael and Jim in a power struggle that shows no signs of ending easily, and which confirms what we knew about both men.

That’s not a terrible plan for an episode, but it’s problematically reductive and didn’t end up bringing anything new to these characters. While it comes to some sort of conclusion, it doesn’t feel as if it really proves anything, and the comedy throughout the episode was too scattershot for me to really claim that the largely transitional episode was as well-executed as it could have been.

At least it was a great Oscar episode, right?

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Sons of Anarchy – “Fix”

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“Fix”

September 22nd, 2009

In the world of Sons of Anarchy, everyone’s got a problem they’re trying to fix; heck, in every single show on television, people are looking for solutions to problems. Early on in its second season, it’s clear that the real conflict on this show is not within any single problem but rather the inability for various characters to see (either due to ignorance or due to being too traumatized by their situation) that there are two levels of problems. One is the growing threat of the League of American Nationalists against the Sons of Anarchy or, if you’re on the other side of the coin, the ongoing blight of SAMCRO on the town of Charming. However, there is also the internal struggle between Clay and Jax, not to mention Gemma’s own personal tragedy as well as personal struggles for Opie (Donna’s tragic death), Tig (who murdered Donna) and it seems like just about everyone else.

“Fix” represents the episode where three weeks of letting these secrets and struggles linger is catching up with just about everyone, and everyone wants a solution that will make everything better but has no idea how to really find it. The show continues to embrace an almost satirical sense of the genres it plays with, never quite delving wholly into melodrama, and the result is that the show remains a pleasure to watch even as it deals with serious subjects in an emotional fashion.

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Glee – “Acafellas”

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Acafellas

September 16th, 2009

“Acafellas,” by and large, is like an answer to my prayers (or, if not prayers, then at least requests). Last week, I noted that I enjoyed the show as a whole but felt that they were moving too quickly with the main storylines and not giving us any time with the supporting characters. And, by and large, this episode managed to move at a pretty quick pace (the show certainly didn’t become slow) while spending plenty of time with pretty much everyone. The show is a large ensemble, and this episode felt like an effort to both address ongoing storylines (including the main ones covered last week) in small scenes while spending time with entirely new settings and character pairings.

This is not to say that I think the episode was flawless by any means, but I think it’s an example of the show’s particular brand of humour and musical performance proving capable of expanding into other areas outside of the “core” storylines. While I still have some issues with the way the show tends to pace itself with individual storylines, this episode managed to handle a lot of material in a single hour, covering various bases with a fairly high degree of success.

But, be warned that I’ve still got some issues with the way the show likes to rush to the good parts, so to speak.

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Mad Men – “My Old Kentucky Home”

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“My Old Kentucky Home”

August 30th, 2009

“It’s a mistake to be conspicuously happy.”

Roger Sterling is a man trying to find happiness, but discovering that no one particularly wants to share in it. His daughter and his wife, as we saw last week, want nothing to do with the new woman, and here the employees of Sterling Cooper view their swanky country club soiree as a work obligation more than a chance to celebrate. There’s a fantastic moment during the party where Pete Campbell and his wife Trudy take to the dance floor and show off some admittedly very impressive moves. However, watch Pete’s face: while Trudie is getting into the music, enjoying herself, Pete spends the entire time smiling and glancing at Roger to see if he’s impressing him, to see if he’s got his attention. All social events have a sense of obligation, but this particular one feels more than all others like an event where people do as Pete desires and start handing out business cards.

“My Old Kentucky Home” is very much about the ways in which happiness is a negotiation, a struggle between individual desires (and therefore personal happiness) and the desires and hopes of everyone else around you. For Roger Sterling, his new marriage pits him against the world, having broken the cardinal rule of not romanticizing or idealizing one’s affairs. For Joan Holloway, her knowledge of the world and the customs of society place her at odds with the role her husband believes she should play. For Peggy Olsen, her own self-awareness of her position and her ability to navigate the complex world of a male-dominated business are questioned by those who have seen it all before and who know that it’s not that easy.

And for Don and Betty Draper, happiness is an act, a coverup for hidden desires and hidden secrets which can never be revealed so long as they continue to play charades. In this quasi-musical of an episode, we discover the consequences of being conspicuously happy, but also the consequences of avoiding happiness and finding one’s self just as lost as you would be if you were at odds with society’s expectation.

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Torchwood: Children of Earth – “Day Three”

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“Day Three”

July 22nd, 2009

At the heart of “Day Three,” part three of five of this week’s Torchwood: Children of Earth miniseries, is the fate of the middleman (sadly, the fate of canceled ABC Family series The Middleman remains the same, just in case you were wondering). With a new (Read: old) extraterrestrial threat at Great Britain’s doorstep, what’s becoming clear is that everyone and their mother wants to distance themselves from the conflict at hand. However, for various reasons, there are people trapped in the middle of the conflict who make things easier for one side and far more difficult for those who find themselves middlemen (and middlewomen, for that matter) in the midst of a very complicated conflict.

It makes for a really intriguing glimpse into the first ambassadorial contact with the 4-5-6, however, as the cloud of poison continues to shroud their identity in mystery in a way that doesn’t feel like a budget-saving move and instead feels just as moody and atmospheric as it should. We have three separate vantage points at the inevitable conversation that everyone has been waiting for, and all of them point towards this being a situation that will not end well, and one where the middlemen and middlewomen are likely to find themselves held responsible for things they never really wanted any part of.

And good or bad, I feel for all of them.

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Burn Notice – “Fearless Leader”

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“Fearless Leader”

June 25th, 2009

While a strong second season and great episodes like “End Run” last week have created raised expectations for Burn Notice, the show remains a formulaic procedural at some level. The show is not formulaic in a negative way, necessarily, but it has its patterns and uses them to varying degrees of effectiveness. As it happens, the past season or so has been particularly strong, but the show is by no means blowing our collective mind week in and week out. So, when I say that “Fearless Leader” was a pretty typical episode of Burn Notice, this is to say both that it was enjoyable but also that it did nothing to really make me stand up and take notice.

The problem, however, is that to some degree it should have been one of those episodes, at least the way it was situated within the season-opening storyline with Moon Bloodgood’s Detective Paxson. Presented as a new obstacle for Michael now that law enforcement is no longer being kept off his back by the people who burned him, the police interest in him has seemed a legitimate threat even if there have been times where Bloodgood popping up at the beginning and end of each episode has felt shallow. It left me waiting for the episode where Michael’s mission would intersect directly with our newly arrived detective, thinking that would justify her presence as more than just a symbolic sign of Michael’s newly precarious position.

It’s ultimately this expectation, not some notion of every episode being like “End Run,” that makes me disappointed in this one, as Paxson remained a pretty uninteresting character and, more importantly, the story that ends up closing this chapter in the show’s run was not particularly connected to her or elevated in any way by her presence. The result is that it makes the show seem lazier and simpler than it really is, and it makes an otherwise solid episode into a bit of a letdown: as Michael says, you always need to have a plan, and it seems like the show’s plan was a little shortsighted.

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