April 28, 2013 · 10:51 pm
“Kissed By Fire”
April 28th, 2013
“You swore some vows. I want you to break them.”
As Ygritte seduces Jon Snow in a conveniently located hot springs, I found myself at odds with the story unfolding onscreen. Although I have long known—unlike Jon Snow, of course, who knows nothing—this scene would take place, there was something oddly romantic about the moment that struck me as off. In the books, I always remembered the scene as more complicated, a sort of alternate passage into manhood as contrasted with the vows Jon swore in front of the heart tree. It was still effectively Jon and Ygritte having sex in a cave, mind you, but I always found the moment less romantic and more adolescent.
This is, of course, because it was more adolescent given that Jon was only a teenager. The same goes for Robb Stark, whose decision to chop off the head of Richard Karstark was less an act of determination and more an act of formation, a moment when he stopped being a boy and became a leader. The show’s decision to age up the younger characters made sense, and it has resulted in a number of positive story developments, but Robb and Jon are two characters whose stories have been transformed by nature of their relative maturity.
In the case of Jon’s encounter with Ygritte, there’s no adolescent fumbling to be found here: instead, he’s a masterful lover, his desire to kiss her “there” proving quite well received. And yet whereas I once saw that scene as this brief moment of solitude, of innocence—and the removal of that innocence—in the midst of a coming war, here it just felt like Jon and Ygritte getting it on, following by some pillow talk without the pillows. It all felt too romantic, which is not to say that romance has no place in this show but rather to say that the storyline came at a point in Jon’s storyline where I did not feel it earned that romance, at least not in the way I had understood it previously.
As “Kissed by Fire” unfolded, however, it became clear that Jon and Ygritte’s encounter had been somewhat shifted in meaning. It wasn’t about breaking up Jon and Ygritte’s journey so much as it was giving us a fleeting moment of romance before destroying every other idealistic notion you could imagine. Their encounter gives the episode a brief moment of solitude, but it’s not for the characters so much as it’s for the audience. It is a moment of lust and freedom in a world where lust is punished, freedom is overwritten by family, and “romance” exists only as the enemy of common sense and good strategy.
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Filed under Game of Thrones
Tagged as Analysis, Arya, Brotherhood without Banners, Cersei, Daenerys, Episode 5, Family, Gendry, Identity, Jaime, Jon Snow, Kissed By Fire, Loras, Review, Robb, Romance, Sansa, Seaosn 3, Shireen, Stannis, Television, TV, Tyrion, Tywin, Ygritte
July 26, 2010 · 9:56 pm
One Past, Two Perspectives
July 26th, 2010
You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.
Sons of Anarchy creator Kurt Sutter has said that he has no intention of ever using flashbacks for the FX series, which some might find odd considering how much of the series is based on an earlier generation of conflict regarding SAMCRO’s founder, John Teller. However, each season of the series has a tightly constructed arc, and so much of its drama depends on capturing the intensity of the Sons’ daily lives that flashing back would likely disrupt any sense of momentum.
And yet, for network series with similarly complex backstories, flashback episodes are almost a necessity: with 22 episodes to deliver each year, as opposed to the 13 offered on cable, flashbacks are a good way to kill some time between major story arcs, or fill in some necessary exposition heading into a new story arc, or to simply have some fun by featuring a character who everyone seems to enjoy. “Fool to Love” and “Darla” are both flashback episodes, and even flash back to the same scenes in two instances, but they represent two distinct types of flashback episodes, which becomes clear when watched together (as they would have originally aired).
I want to talk a bit about how each series uses its respective flashback episode as a standalone piece, but I also want to look at how they work as parts of their respective seasons: while “Darla” is very clearly part of the series’ narrative arc, “Fool for Love” has a unique relationship with the momentum built by “No Place Like Home” and “Family” which offers a different take on the potential function of flashbacks.
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Filed under Cultural Catchup Project
Tagged as Television, TV, Review, Joss Whedon, Analysis, Season 2, Season 5, Sons of Anarchy, Family, Tara, Catchup, Flashback, Kevin Rankin, China, Tim Minear, Crossover, Julie Benz, James Marsters, Buffy the Vampire Slayer, Angel, Buffy, Willow, Giles, Darla, Spike, Drusilla, Anya, Wolfram & Hart, Riley, Lindsey, No Place Like Home, Amy Adams, Fool for Love, Amber Benson, Glory, Dawn, The Magic Box, William the Bloody
May 26, 2010 · 2:12 am
“Lost and Found”
May 25th, 2010
When Parenthood began a few months ago, what struck me about the series was how it felt unbalanced. There were some parts of the show I really enjoyed, but there were other parts of the show that simply weren’t working. It’s not that I expected it to be perfectly balanced, as the late recasting necessitated by Maura Tierney’s cancer meant that the entire tone of the show shifted in an instant, but the combination of the series’ sappy scenes of the family spending time with one another felt at odds with the somewhat incongruous elements of the ensemble. Those scenes made it feel like the show was pretending it was something it wasn’t, that this family unit was actually cohesive despite conflict which seemed to exist within the scripts (and to some degree the casting) more than in the characters themselves.
I understood from the beginning that this show, like Modern Family, is about the family unit and its complexities, but while Modern Family leaned comfortably on broad stereotypes to immediately jump into the series’ structure Parenthood didn’t have the same luxury. Sure, we could look to Lorelai Gilmore to understand Sarah, working mother isn’t exactly rocket science, and newly discovered son has some forebears, but we had to spend time with these characters in order to understand how they are responding to these situations. Modern Family gets to reset itself each week, but Parenthood’s characters need to grow into these situations, which means we need to understand what’s changing and how it’s evolving in more of a nuanced fashion.
Jason Katims’ Friday Night Lights was about community, which meant that the show was “setup” from the very beginning: the show’s pilot clearly defined Dillon, Texas as a place where high school football is king, and the show was then able to go further into investigating how the series’ characters relate to that central theme so honestly portrayed in the first episode. With Parenthood, however, Katims is dealing with something far more variable, as every family is different and the impact of the series is dependent on our knowledge of how this family works or compares with our own. Throughout the first season, the show has done some fine work defining each individual family, showing us Adam and Kristina confronting Max’s autism or Crosby connecting with his son in a way he had never imagined. Sure, Sarah is still Lorelai by a different name in many ways, and Julia still remains the series’ weak link, but we now understand these different families to the point that we can see the ways in which they’d come together, their differences now points of difference more than points of incongruity.
“Lost and Found,” scripted by Katims, asks the same question that I was asking after the pilot: is this, in fact, a show about one happy family? I compared the show to Brothers & Sisters when it first aired, but that show very clearly prioritizes the sibling relationship over the individual families within it. Parenthood has yet to make its final decision, and each wing of the family faces that balance between “your” family and “the” family in the finale – and while there’s another one of those sappy scenes at the end, one of those wings is missing, and one of them remains pieced together with some ukelele and some emotional duct tape.
And there’s a realism to that which Katims really nicely captures in a finale that seems a fitting end to the season and creates a strong foundation for the show to hit the ground running in the fall so long as no Swedish lifeguards or serial rapists come out of the woodwork.
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Filed under Parenthood
Tagged as Amber, Analysis, Baseball, Craig T. Nelson, Crosby, Dax Shepard, Drew, Episode 13, Erika Christensen, Family, Friday Night Lights, Haddie, Jabbar, Jasmine, Jason Katims, Jason Ritter, Julia, Kristina, Lauren Graham, Lost and Found, NBC, Peter Krause, Review, Sarah, Season 1, Steve, Timm, Ukelele
May 3, 2010 · 3:15 am
May 2nd, 2010
On AMC Canada, Breaking Bad tends to run about thirty seconds long, and due to some scheduling conflicts I have to record the encore rather than the original airing – as a result (yes, there’s a reason I’m explaining this), my recording always begins with the last thirty seconds of the episode I’m about to watch. Usually I’m pretty quick at catching this particular problem, but other times I’m not so lucky; sometimes I get quick glances of what’s to come, which are often pretty innocuous and easily forgotten or ignored as the episode begins.
At this point in the review, anyone who has seen “One Minute” is hoping that this was one of those times where that didn’t happen, where I was intelligent enough to remember the potential spoilers and immediately close my eyes and fast-forward until it was safe to open them again. Unfortunately, I did see a brief moment from the stunning final sequence of this week’s episode, but in a testament to the ludicrous quality of this hour of television I didn’t even remember it by the time we came to the scene in question. “One Minute” has no complicated narrative nor does it rely exclusively on the sort of jaw-dropping scenes with which it concludes: rather, it tells the story of two men who face important decisions, in the process delivering the greatest Emmy duel since Michael Emerson and Terry O’Quinn.
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Filed under Breaking Bad
Tagged as Aaron Paul, AMC, Analysis, Bryan Cranston, Cousins, Dean Norris, Emmys, Episode 9, Family, Flashback, Hank Schrader, Jesse Pinkman, One Minute, Review, Season 3, Skyler, Supporting Actor, Television, TV, Walt, Walter White
April 19, 2010 · 2:50 am
April 18th, 2010
You may have noticed this, but Breaking Bad’s third season is effectively a long string of meetings.
This isn’t entirely new for the series, but there isn’t the same level of action and reaction that the show is used to: while previous seasons seemed to build in altercations, or create circumstances where Walt and Jesse need to clean up a mess or solve a particular problem, this season is focused almost solely on characters having isolated and personal moments of reflections which come into play when they meet with another character on the show. These aren’t all formal meetings, but whether it’s Skyler and Ted meeting up in the bathroom post-coitus, the White family meeting for dinner, or Gus and Walter sitting down to discuss their future together, there is this sense that things are playing out in slow-motion. While the first season was about how quickly things can escalate, and the second season demonstrated the challenges which faced any sort of expansion, the third season is about choices, and so escalation is replaced by contemplation.
“Mas,” like “Green Light” last week, demonstrates how challenging it can be to make difficult choices, and how particular choices will create consequences that you may not be able to understand. Watching these characters come to grips with where they’ve come to, some more slowly than others, is proving just as compelling as anything else the series has done, languishing just long enough within each character’s struggle in order to give us a sense of what perspective they bring to the next meeting.
Which, considering the trajectory of these characters, may not be a pleasant one.
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Filed under Breaking Bad
Tagged as AMC, Analysis, Anna Gunn, Bathroom Floor, Bryan Cranston, Combo, Crystal Meth, Dean Norris, El Paso, Episode 5, Family, Gus, Hank, Jesse Pinkman, Lab, Marie, Meetings, Review, RV, Saul Goodman, Season 3, Skyler, Ted, Television, TV, Walt, Walter White, Walter's Laboratory
April 6, 2010 · 2:25 am
April 5th, 2010
While Life Unexpected is effectively a romantic story, as a young girl’s life struggles to find a family after being given up for adoption lead her back to the family she was meant to have, it doesn’t necessarily take place in a romantic world. There are times, of course, when the show steps towards the saccharine, and everything works out a little bit too easily, but Lux still went through a pretty hellish time in foster care (as we saw in last week’s episode), and I have always had faith that the show knows that what happened with Lux, Cate and Baze becoming a sort of family isn’t something that can happen every day.
“Father Unfigured” is the show dealing with that particularly reality, using Cate’s father (who she presumed abandoned the family) as a test to gauge the probability of this sort of situation ever happening again. And as I expected, it is very clear that the show’s premise is more than a bit romantic, but it’s a romanticism that manifests itself as a legitimate connection between these three human beings as opposed to some sort of simple or traditional notion of love. Essentially, Life Unexpected is like the television drama version of Lilo & Stitch, where “family” has its own unique meaning that no other family could entirely understand but which nonetheless connects with audiences.
The show often forces this “family” through a few more hoops than may be ideal in order to get to that stage, but they’ve nicely set things up heading into next week’s finale.
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Filed under Life Unexpected
Tagged as Baze, Britt Robertson, Bug, Cate, Episode 12, Family, Father Unfigured, Kristoffer Polaha, Lilo & Stitch, Love, Lux, Peter Horton, Pillow Wall, Review, Road Trip, Romance, Season 1, Shiri Appleby, Starship, Television, The CW, TV
March 29, 2010 · 6:39 pm
March 28th, 2010
The Pacific spent its second episode demonstrating the horrors of the Pacific front, the death and destruction that soldiers endured and doled out in the midst of the conflict on Guadalcanal. The Marines who emerged from that island were bruised and broken, and so their long layover in Melbourne, Australia as the American naval forces were being reinforced in order to support another attack could be seen as a break from that conflict, an opportunity to relax and unwind.
But “Part Three” of the miniseries indicates that such breaks, such opportunities to avoid conflict, are in fact misleading, and while Melbourne may not have the chaos of Guadalcanal and America may be protected from the conflict, those locations are still overcome by the ramifications of these conflicts, signs of loss and complication which will do nothing to allow these soldiers to live their lives independent of the terror they’ve experienced. At times ethereal and at other times stark, this hour reminds us that there was no space untouched by the war, and even those spaces which seem like they offer some form of sanctuary are inevitably shattered by the harsh reality surrounding them.
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Filed under The Pacific
Tagged as Australia, Basilone, Bob Leckie, Family, Greece, HBO, Melbourne, Miniseries, Pacific, Part Three, Phillips, Stella, Television, TV, War, World War II
January 15, 2010 · 11:05 pm
“The Hollow Men”
January 15th, 2010
“This world is for people who can evolve.”
We’re going to be waiting two weeks until Dollhouse concludes its troubled two-season run (although scheduled to finish next week, the cross-network Haiti Telethon is taking over primetime on the 22nd), and it’s going to be interesting to see the kind of anticipation that builds around the show’s series finale. “The Hollow Men” is an engaging hour of television that features a strong performance from Harry Lennix, but there is every sense that this is transition episode and little more: the scale of the “war” is at this point still so small that the episode feels more incidental than perhaps it should.
The show has spent much of its second season implying that events which seem small are going to eventually seem very large, aided by the presence of “Epitaph One” as an image of the world’s future dystopia, but the real trick is trying to actually make those small events seem large in the context of a single episode. The work done in “The Hollow Men” is not inelegant so much as it is hampered by the “rush” towards a conclusion, and at times the episode feels like a “greatest hits” collection of the show’s finest moments as opposed to a culmination of ongoing storylines. The episode spends a lot of time talking about characters as a family, which is a fine idea but which fails to capture the evolution these characters have gone through: while the show’s relatively short run precludes the kind of depth that the final episodes of Lost or Battlestar Galactica brought to the table, there is still a sense that the way Dollhouse made its way towards its finale kept it from having the dramatic impact it perhaps could have.
It does nothing to make me less intrigued about how the show wraps up its run next week, but I definitely am not connecting with the ending as perhaps some others might be.
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Filed under Dollhouse
Tagged as Adelle, Amy Acker, Anthony, Arizona, Boyd, Clyde, Echo, Eliza Dushku, Entertainment, Enver Gjokaj, Episode 12, Epitaph One, Family, FOX, Fran Franz, Harry Lennix, Joss Whedon, Mainframe, Mellie, Miracle Laurie, Priya, Review, Rossum, Season 2, Sierra, Television, The Hollow Men, Thoughtpocalypse, Topher, TV, Victor, Whedonverse
September 25, 2009 · 1:51 am
September 24th, 2009
While I love being able to follow and communicate with TV critics when it comes to the Fall TV season, sometimes they ruin some pleasant surprises. I don’t mean that they spoil episodes or anything of that nature, but rather that they ruin the pleasant feeling you get when you watch “Spanish 101,” an episode which confirms that Community’s pilot is not a one-hit wonder and that this is a very funny, very well-constructed series. By learning that the second episode lived up the expectations of the first ahead of time, I knew going in that this was going to be an entertaining half hour of television, so I don’t have some sort of catchy opening about how this broke down all of my apprehension.
What it did do, though, is make me laugh a whole lot. In many ways working like Modern Family’s pilot and many episodes of 30 Rock where the final sequence is a lavish and bombastic affair which has enough laughs packed into it to fill an episode of a lesser sitcom, in others it did still manage to surprise me by taking characters in directions I didn’t expect them to go. By only visiting the study group session once, and yet remaining central to the shared experience of these characters, it humanizes the characters who needed to be humanized while lampooning (but not insulting) those who are still rife for some simple comic pleasure.
The result is a fast-paced episode of comedy which out-paced The Office for me tonight, although the two shows are obviously peddling different styles of humour.
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Filed under Community
Tagged as Abed, Annie, Britta, Chevy Chase, El Tigre Chino, Entertainment, Episode 2, Family, Fire, Guatemala, Israel, Jeff, Joel McHale, Ken Jeong, NBC, P.A., Pierce, Protest, Review, Season 1, Senor Chang, Shirley, Spanish 101, Spanish Class, Spanish Rap, Star Burns, Tardiness, Television, The Hangover, Troy, TV
January 25, 2009 · 2:23 pm
“Prince Family Paper”
January 22nd, 2009
Well, if there was ever any doubt, we are definitely in a transition period with The Office: this, the last episode before the big one-hour Super Bowl episode with all of the big guest stars, never pretends that it is something substantial, its A plot admitting to being a result of transition and its B plot entering into the list of most insubstantial, office minutia plots the show has ever attempted.
But there is something very charming about that lack of substance in the second plot of the night, an epic battle over whether or not Hilary Swank is hot that divides the office. There will be no long term ramifications of this battle, or to any of this episode for that matter; it is an episode designed to bridge the gap between different periods in the show. Now that we know that Idris Elba (The Wire) will be arriving as the new Jan/Ryan, Michael filling in for them will be a thing of the past.
However, sitting within this transitional space isn’t particularly a bad thing: it may not hit any new notes, or any sustained ones, but I feel like it nonetheless chose the right beats for an episode that will be swept under the rug over time.
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Filed under The Office
Tagged as Angela, Dwight, Entertainment, Family, Female Boris Becker, Hilary Swank, Hot or Not, Michael Scarn, Michael Scott, Office, Oscar, Price Family Paper, Stanley, Symmetry, Television