Cultural Checkup: Season Eight
August 8th, 2011
[This week, I’m going to be checking in on a number of shows that I’ve been watching but not writing about this summer. Tomorrow, I’ll be looking back at an uneven season of USA’s White Collar.]
I didn’t hate the seventh season of Entourage.
After six years of wishing the show would stop trying to be a bawdy comedy and start embracing its dramatic potential, the show finally listened to me at the point where it had run out of goodwill. The show had driven itself into the ground, to the point where there was no hope of it truly evolving into a more interesting series, and yet it was finally telling the kind of stories it should have been telling from the beginning. It took Vince down a self-destructive path, it explored his relationship with Eric (to the point of almost ending it), and it seemed to find a more comfortable balance between Vince’s career and his entourage’s own lives.
Now, the show stopped being funny along the way, but I never found it all that funny to begin with, so to see the show trying something new excited me. And so I’m equally excited to see that the show isn’t screwing around in its eighth season, taking some “risks” based on its own precedent and exploring the challenges of new beginnings instead of exploring the thrills of excess.
It’s still not funny, but I’m surprisingly invested in where they intend to take the show in its final season.
January 19th, 2011
If Friday Night Lights had ended after three seasons, I would have been incredibly disappointed. The fourth and fifth seasons of the show have featured some tremendous moments, introducing new characters and offering more opportunities for Kyle Chandler and Connie Britton to demonstrate their command of the Taylor family dynamic. The idea of losing the tragedy of “The Son,” and never meeting Vince Howard and Luke Cafferty, is the sort of televisual counterfactual that I don’t even want to consider.
And yet, “Don’t Go” made me consider it. While the episode demonstrates the degree to which these two short seasons have made a considerable impact, it also demonstrates how far one character in particular has fallen. While the series may be reaching its conclusion, there has been no attempt to sugar coat the fact that not everything is going to turn out in the end. In fact, “Don’t Go” is very much about the interrogation of what exactly would constitute a happy ending for this series, questioning if there is any combination of conclusions which won’t simultaneously touch our hearts and break them in half.
January 12th, 2011
Thanks to a particularly busy schedule and some difficulties getting access to the episodes in question, Friday Night Lights’ fifth season has been mostly absent from Cultural Learnings. And yet, this is about to change, both because of greater access and because there is a growing sense of urgency.
Not really within the show itself: while there is certainly plenty of tension on the series right now, it continues to follow the slow burn mentality it always has. And yet my relationship with the series has taken on a certain tension, as it is becoming more and more clear that this is a show which is about to come to its end. I could have waited until the NBC airings to cover the show, but this is going to be the real ending: this is when critics will write their posts on the series’ legacy, this will be when the fans will respond to the fond (or, who knows, potentially tragic) farewells, and this is when I want to say goodbye.
And so I’ll likely be checking in with the series weekly from now until the finale – for now, a few brief thoughts on the season as a whole and a more detailed review of “Gut Check” after the jump.
February 2nd, 2010
“Nothing is Irreversible.”
To say that I am excited about the final season of Lost is an understatement, but it doesn’t tell the entire story.
I was excited, for instance, for the final season of Battlestar Galactica, but that season had clear expectations in terms of dealing with the identities of the final five Cylons, and was divided into two halves so as to stretch it out further. With Lost, there is no such clarity, as the show could be headed in any bloody direction we could imagine, and it will be completely over in only a few short months. And this is a show that I started watching on day one, that I remained devoted to throughout its run, and that was an important part of my transition into TV criticism.
So “LA X” is the culmination of a six-year journey, and my only hope going into the premiere was that it would feel like the beginning of the end without feeling like the end of the beginning, that it would seem like it was the same show that came before while clearly marching towards a conclusion.
And what we got was an episode of television that turns the show’s world upside down while simultaneously fitting pieces together to work towards that conclusion, and by balancing the two almost to perfection Lindelof and Cuse have made this just as exciting and eventful as I hoped it would be, all while making me even more confused than I was before. It starts a season that promises to probe the above question in terms of an abstract impression of these characters and the journey they have taken on our television screens, a ballsy move that promises another year of complex but precise television.
Welcome back, Lost – we missed you.