Tag Archives: Episode 6

Glee – “Never Been Kissed”

“Never Been Kissed”

November 9th, 2010

Hype is Glee’s currency of choice, for reasons that make a lot of sense: they want to sell downloads, they want to trend on Twitter, and so I understand why they released the full performances of both “Teenage Dream” and “Start Me Up/Livin’ on a Prayer” ahead of this week’s episode.

And yet, there is something very weird about the hype for “Never Been Kissed,” in that the musical numbers promote joyous musical explosion while the commercials for the episode promote the start of what Chris Colfer refers to as Glee’s “bullying saga” (which each writer will put their stamp on during a three-episode arc). While I talk a lot – probably too much – about the idea of the 3 Glees as it relates to the three writers, there are also ways in which the promotion and hype surrounding the series becomes highly contradictory. It is not that an episode can’t be both of these things, per se, but rather that the promotion works to the much-hyped extremes and fails to properly merge the two modes.

The result is that this episode inspires extreme trepidation: the word saga gives me great pause, and the musical numbers revealed concerns that had me pre-writing my criticism in my head late last week. And while there are parts of “Never Been Kissed” which had the potential to be something of value, the tonal mash-up is so extreme that all we’re left with is…well, nothing of value.

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House – “Office Politics”

“Office Politics”

November 8th, 2010

To check in on a show you haven’t watched for a while is always a bit disarming, but being as media saturated as I am sort of softens the blow. I think the last time I watched House regularly was early in its fifth season, since then tuning in for special episodes (like “Broken” and “Wilson”) where the internet suggested it would be worth my time.  However, because I spent so much of my time surrounded by people who do keep watching the show, I get bits and pieces: I wasn’t shocked to see Thirteen missing, for example, and I was thankfully prepared for the alarming sight of Cuddy pressing her lips against House’s lips (I think they call it kissing? It was icky).

And yet, the whole point of House is that we’re supposed to be able to jump right in, especially in an instance like “Office Politics” where a new character (and subsequently a slightly new dynamic) is being introduced. Amber Tamblyn’s arrival as Masters, who effectively replaces Thirteen since Olivia Wilde is off becoming a movie star, is not the seismic shift that perhaps the show needs to enter back onto my radar full time, but the episode has just enough dynamism to feel like an event for those of us who appreciate Tamblyn and like to imagine a world where House remains a relevant television program.

Of course, at the same time, the sheer similarity of the formula means that stepping back out is just as easy as one might imagine.

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Terriers – “Ring-a-Ding-Ding”

“Ring-a-Ding-Ding”

October 13th, 2010

Terriers is the best new show of the season, but “Ring-a-Ding-Ding” is a fairly dangerous outing.

I don’t mean to suggest that the show is doing anything particularly risky, but this is a thematically homogeneous episode in a way that presents distinct challenges for a serialized procedural of this nature. The episode is all about marriages, as each of our main characters grapples with the prospect of marriage while the case of the week deals with a marriage in its final hours.

For a show which is trying to establish itself as something more than a P.I. procedural, this homogeny – which would normally be commonplace in low rent procedurals – has the potential to go off the rails, but “Ring-a-Ding-Ding” is a satisfying and successful hour. Instead of using the marriage theme to simplify the storytelling, the show uses it as a point of conflict, offering a noir-ish take on procedural storytelling befitting the young series.

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Mad Men – “The Suitcase”

“The Suitcase”

September 5th, 2010

“Open or Closed?”

Not writing up last week’s Mad Men was inevitable: I watched the episode in the wake of writing about the Emmys, and then it was my first week of my PhD program, and there were just too many reasons to let it go. I also didn’t feel like “Waldorf Stories” was particularly rife for critical analysis: it was a very good episode, but it was fairly devoid of subtexts. Don Draper continued his self-destructive behaviour, but the episode fairly elegantly laid it out for him, analyzing his behaviour itself and making my job more “pointing out the obvious” than “examining the episode.”

However, “Waldorf Stories” was another strong bit of escalation in a season which is unafraid to be “slow”: a lot of time has passed so far this season, but Don Draper seems to be stuck in a single moment, best exemplified by the scene where Don wakes up to discover someone entirely different in the bed beside him, an entire weekend gone like sand through the hourglass (and yes, these are the days of our lives).

“The Suitcase” is memorable because it is the point at which the show slows down to meet Don’s shattered life: as he lets Peggy into his world, the show stops to capture a single evening in the life of a broken man, an evening where he regains his connection to reality on the same evening where he loses the one connection to his past. It is the moment the season has been leading up to, that moment where Don less regains his previous form and more admits that he is entering a new stage in his life.

And, simultaneously, Mad Men’s fourth season heads into its next stage with a truly stellar episode of television.

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Huge – “Spirit Quest”

“Spirit Quest”

August 2nd, 2010

Thus far, Huge has largely (oy, that was unintentional) stuck to a pretty simple formula: take a basic summer camp activity, and then explore how it would impact ongoing character relationships and identity struggles amongst Camp Victory’s overweight campers. In fact, part of what has made the series so successful is that it resists highly melodramatic scenarios, choosing instead to highlight how normal camp life is integrated into a larger narrative of life itself.

“Spirit Quest” is ostensibly a continuation of this trend, although I think it’s a more problematic example than the past couple of episodes. There is something about spirit quests which invites skepticism, which needs to be handled carefully in order to preserve each character’s individual perspective; however, there is also the temptation to have the campers to actually experience something approaching a spirit vision, which threatens to take the series into hokey territory that it would be better off resisting.

In the end, there are many parts of “Spirit Quest” which end up sitting comfortable in the middle ground, but there are a few moments where they push themselves to the edges of the story and do a slight disservice to a few of their characters.

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Doctor Who – “The Vampires of Venice,” “Amy’s Choice” & “The Hungry Earth”

“The Vampires of Venice, “Amy’s Choice” & “The Hungry Earth”

May 22nd, 2010

I’ve never watched Doctor Who before, but I think I’m starting discover that the mid-portion of each season is not necessarily conducive to weekly reviews (although it’s probably still conducive for weekly discussion, so sorry for my negligence). I didn’t review “The Vampires of Venice” or “Amy’s Choice” because I was busy on those respective weekends, but I also didn’t review the former because it didn’t feel particularly eventful even when I did get to the episode. This is not to say the episode isn’t worth our time, or that it serves no function, but rather that it will take a paragraph to discuss its function rather than an entire review.

However, there’s more to say about “Amy’s Choice,” and some preliminary thoughts on “The Hungry Earth” (on which judgment can’t really be laid until “Cold Blood” next week), so let’s take a look at these mid-season transition episodes, shall we?

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Breaking Bad – “Sunset”

“Sunset”

April 25th, 2010

Sunset is one of the most beautiful times of any day, but it is also its end: while it may be magical, and it may capture the beauty of the natural world, it is also the beginning of the night.

Walter White is in the process of rediscovering the magic of chemistry, cooking meth in an environment where it feels like every bit the accomplishment of science that he has always believed it is. However, at the same time, his day may be coming to an end: just as he has finally found an environment where his rationalizations surrounding his involvement in the drug trade are being supported at every turn, his brother-in-law is getting closer than ever to discovering the perversity of his notion of “child support.” And just as said brother-in-law, Hank, is getting closer than ever to solving the case which has given him the run-around for months, he quickly becomes collateral damage in Walt’s own sunset of sorts.

Unquestionably the season’s best episode so far, “Sunset” mines both tension and introspection from the magic, and terror, which comes with the end of each day, drawing the battle lines for what is going to be an intense conflict in the episodes ahead.

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Justified – “The Collection”

“The Collection”

April 20th, 2010

I don’t have anything particularly important to say about last night’s episode of Justified, but since I didn’t talk about last week’s episode (featuring the introduction of Raylan’s father and aunt/stepmother), I figure it never hurts to stop by and say that I continue to dig the series, and continue to not quite “get” the response that the show is too “procedural” or some other word for “less interesting than highly serialized drama series.” [See: my piece a couple of weeks ago]

Jamie Weinman has often gotten after me (and others) that there are certain shows where using the word procedural seems ill-advised: he argues that the term refers to the procedure of solving a crime (or a medical mystery), and that for shows which are “standalone” but don’t take that form it isn’t an accurate description. I’ve always understood his point, but it’s hard to resist that binary of procedural and serialized when it comes to the current television landscape.

However, “The Collection” (and to some degree last week’s “The Lord of War and Thunder”) demonstrates that while you could argue that Justified is more “standalone” than FX’s previous serialized stories, it is very difficult to argue that it is more procedural. While there are cases to be solved on the series, the episodes do not end when those cases come to their conclusions – they continue on to ponder something larger, considering the events of the episode on a scale larger than the procedure of the U.S. Marshall service and developing a more complicated series than early doubters imagined.

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Parenthood – “The Big ‘O'”

“The Big ‘O'”

April 6th, 2010

I am well aware that Parenthood is not a perfect show, oscillating between moments of quiet complication and moments of tidy resolution without really earning the latter, but here I am reviewing it despite being a day “late.”

Part of that is due to the show’s ratings success: settling in at a solid demo rating that actually saw the show best both ABC’s highly-promoted V and CBS’ hit The Good Wife (which skews old), all signs point to the show receiving a second season, which means that any time I invest now will help me chart the show’s growth in the future.

However, most of it is due to the fact that as the show goes along, it continues to become more confident: it isn’t necessarily that much more consistent, but its inconsistencies are sort of moving around. Criticizing the show is in many ways like trying to hit a moving target: it isn’t that a single story is causing all of the show’s problems, but rather there’s always one story that just doesn’t quite add up, or which feels like it’s unfolding in a fashion too beholden to the unavoidable clichés the show’s premise creates. But because that’s never the same story, with the same characters, there’s always something new to talk about both good (in that past problem stories manage to pull off something quite subtle) and bad (in that some other stories take a wrong turn).

“The Big ‘O'” is certainly one of the stronger hours of the series, managing two fairly “big” moments in the show’s serialized narrative in a nice subtle fashion while going a tad bit off the rails with some of the other developments – next week, I’m sure, things will switch all over again, but let’s stick to what we’ve got for now.

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Survivor: Heroes vs. Villains – “Episode Six”

“Banana Etiquette”

March 24th, 2010

Survivor has done episodes like this one before: by sending both teams to tribal council, it means that a single hour becomes packed with wall-to-wall strategy, which is usually when the game is at its best. And, accordingly, “Banana Etiquette” delivers shockers from both the Heroes and the Villains, cramming together one of the most ridiculous tribal councils in Survivor history with one of the most low-key of the season.

The difference, though, is that the presence of two tribal councils means that the editing of the episode played a largely role than usual in terms of guiding the audience to particular conclusions. While the “Villains” drama was just a wondrous stage comedy from the word go, and would have been entertaining regardless, the final “shocker” with the “Heroes” was entirely based on keeping the audience out of the loop in regards to their thinking. It was only surprising in that we had been given absolutely no intention of where things were going.

By comparisons, not even the “Villains” knew how their tribal council was going to end, and that’s the kind of drama that Survivor can’t manufacture.

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