March 31, 2014 · 9:18 pm
March 31st, 2014
I want to say upfront that I think the How I Met Your Mother finale was not an abomination. It featured a number of resonant moments, images, and character beats that tapped into what made the series resonate early in its run. When it finally reached the moment the series had been building up to, the chemistry between Josh Radnor and Cristin Miloti was quiet and sweet, and it stands as one of the series’ finer moments. This was a series that set out to tell a non-linear story about love, and delivered a—somewhat—non-linear finale about love, such that no one can claim How I Met Your Mother was a dramatically different show at the end than it was in the beginning.
However, I also want to say that I hated the How I Met Your Mother finale. A lot.
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Tagged as Analysis, Barney, CBS, Episode 23, Finale, HIMYM, How I Met Your Mother, Last Forever, Review, Robin, Season 9, Series Finale, Ted, Television, the Mother, Tracy, TV
December 17, 2013 · 10:31 pm
In the second part of a two-part interview with Awkward. creator Lauren Iungerich, we consider the choices she made once she realized she was writing her final episode of the series (which I reviewed at The A.V. Club here), as well as some of the plans she had should she have remained involved with the show in its fourth season. You can find part one of the interview, where Iungerich reflects on her decision to leave the series, here.
[Spoilers for “Who I Want To Be,” the third season finale of MTV’s Awkward., throughout this interview.]
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Filed under Awkward.
Tagged as Bailey, Collin, Finale, Interview, Jenna, Jenna Hamilton, Lauren Iungerich, Matty, McKaley Miller, MTV, Season 3, Showrunner, Who I Want To Be
September 29, 2013 · 10:31 pm
September 29th, 2013
A series finale is different from any other episode of a television show; the biggest test for a series finale is whether or not it feels different from any other episode of that television show.
Breaking Bad has been an often messy show, driven by complex moral agency and characters who seem simultaneously the architect and the victim of chaos. It was a series that continued to grow in scale but largely followed the same principles of tight characterization and almost claustrophobic connections with those characters. In the show’s third season, it delineated between “half measures” and “full measures,” and the series was ultimately a narrative driven by the former: while some were explosive and others were tragic, there was never a moment when one could say that Breaking Bad had solved or even dramatically mitigated its central conflict.
It was this quality that gave the series its momentum, and enabled it to grow an audience of devotees from a series that many people—myself included—had not given much of a chance in its early seasons. It was also this quality that by the very nature of a series finale was forced to change in “Felina,” a clean end to a messy show that very purposefully limits its capacity to embody the series it brings to a conclusion.
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Tagged as AMC, Analysis, Closure, Felina, Finale, Jesse Pinkman, Review, Series Finale, Skyler White, Television, TV, Vince Gilligan, Walter White
June 9, 2013 · 10:56 pm
June 9th, 2013
“Here only the family name matters.”
As Varys explains this fact to Shae, he’s being pragmatic: he’s trying to help someone whose very existence at King’s Landing threatens her own life and the life of the man she loves. Varys acknowledges that she has made Tyrion better. Varys acknowledges that hers is a true love. And yet Varys also gives her a collection of diamonds, telling her to sail to Pentos and start a new life for herself so that her love can do something good for Westeros without the threat of a single-named woman hanging over him.
It’s dark advice, advice that Shae refuses to take. Despite the fact that we just saw both Robb Stark and Talisa die for following true love over pragmatism, and despite the fact that Jon Snow just took three arrows from the woman he loves, Shae proves what many other characters have learned as well: there is still power in love even when all signs would suggest that trusting in such power will be your undoing.
“Mhysa” is about this love, which may seem strange in light of the fact that last week ended on such a foreboding sendoff for Robb and Catelyn Stark. And yet Game of Thrones needed a new motivation beyond ascending to the throne, a sense of purpose that could evolve beyond the War of the Five Kings and the deaths of Robert Baratheon and Ned Stark which set it off. What “Mhysa” seeks to accomplish is reframe the actions of its characters not as part of a larger power struggle, but rather as actions designed to protect their families or to protect the realm. This is not to say that we are to support the Lannisters’ cruelty or to endorse Melisandre’s sorcery, but rather that we can shift our understanding of their actions away from a part in a larger plot and instead toward what motivated them to take those steps in the first place.
It’s an enriching move that works to build a strong foundation for future seasons, although one that has some issues retroactively making some of the season’s storylines resonate in the way intended. “Mhysa” concludes a third season that was only retroactively revealed—for non-readers, at least—to be the season where Game of Thrones could no longer be simplified to a battle between the Starks of Winterfell and the Lannisters of Casterly Rock, one that did its job without necessarily connecting in the process.
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Tagged as Analysis, Arya, Bran, Catelyn, Cersei, Daenerys, Dany, Davos, Episode 10, Finale, Gendry, Gilly, HBO, Joffrey, Jon Snow, Mhysa, Mother, Ramsay Snow, Reek, Review, Robb, Roose Bolton, Sam, Sansa, Season 3, Season 4, Season Finale, Shae, Stannis, Television, Theon, TV, Tyrion, Westeros, Yara, Ygritte, Yunkai
September 2, 2012 · 11:28 pm
“Gliding Over All”
September 2nd, 2012
It’s actually been two seasons since I’ve written regularly about Breaking Bad—neither last summer nor this summer allowed tackling a show weekly for “fun,” and I’ve now become accustomed to watching the show without having to take notes. It’s a tense show, and something about it becomes less tense when you watch it with a computer screen between you and the television.
I did want to drop in on what we could ostensibly fall the mid-season finale, as “Season Five” will continue on into next summer. “Gliding Over All” is far from the best episode of the season, designed as an epilogue to the half-season and as a transition point into what’s to come. However, while the episode aims to appease cliffhanger fans with a revelation in its final seconds, the episode is more interesting for the way it quite literally glides over months of time. The season started with a marker of time, with Walt’s birthday bacon numbers clueing us in to the fact that Walt’s acquisition of a dangerous weapon was a year into our future. While time has always been a key theme in the show, it’s become more prominent this season, no more so than in this contemplative finale.
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Tagged as AMC, Analysis, Crystal Blue Persuasion, Episode 8, Finale, Gliding Over All, Hank, Jesse, Michelle MacLaren, Midseason Finale, Montage, Review, Season 5, Television, Time, TV, Walt Whitman, Walter White
April 10, 2012 · 10:03 pm
April 10th, 2012
While I haven’t exactly had the chance to write about Justified this season, I haven’t exactly been silent on the subject: my good friend David Chen at /Film has been hosting the JustifiedCast all season, and I had the pleasure of joining him a few times over the course of the season, including in a mid-season interview with Graham Yost.
However, those conversations tended to be fairly episodic, and my general line in terms of broader thematic work was a “Wait and see” attitude that there isn’t enough time to expand on within a podcast setting. Now that we’ve reached the end of the season, however, I want to return to those larger questions I put off in earlier editions of the JustifiedCast, in part because I feel like “Slaughterhouse” rewarded my patience by embracing the tensions that had been creating some degree of dissonance throughout the season itself. This was not a cohesive season, but that did not keep it from coming to a meaningful conclusion, a fact that says something quite profound about the value of narrative play in the face of audience expectation and anticipation.
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Tagged as Analysis, Ava, Boyd Crowder, Episode 13, Finale, FX, Limehouse, Neal McDonough, Quarles, Raylan Givens, Review, Season 3, Season Finale, Slaughterhouse, Television
June 20, 2011 · 10:24 am
I haven’t seen the first season finale of AMC’s The Killing.
In fact, I haven’t seen the last five episodes of the show’s first season – I fell behind a few weeks ago, struggled to find the motivation to continue, and then traveled away from my DVR before I could get around to catching up.
Accordingly, this is not a piece about the emerging debate regarding the show’s first season finale, which has sharply divided the show’s viewers (and created some extremely strong reactions from some television critics, with Maureen Ryan’s being the most pointed). While it is quite possible that I will some day watch those final five episodes of the season, and that I will have an opinion regarding the show’s finale (which I’ve willfully spoiled for myself) at that time, this piece is not about the finale.
What I’m interested in is the way that this response reflects on larger questions of brand identity that are unquestionably caught up in this response to The Killing. This weekend, I read a piece on AMC’s growing dominance at the Emmy Awards at The Hollywood Reporter in which Sud was quoted quite extensively as she waxed poetic on the freedom of the AMC model. Her first quote was perhaps the one that stuck out most, as she notes that the AMC approach is perhaps best defined by the following: “Always assume that your audience is smarter than you are.”
Given how often I felt The Killing insulted my intelligence as a viewer, this quote struck me as odd. And then I read the rest of her quotes in the article, and discovered the same issue: when she was only spouting a series of platitudes regarding the genius of the AMC brand that we hear from other writers (including a Breaking Bad writer in the same piece), I could take none of them at face value given the fact that The Killing has done little to earn them. In a climate in which The Killing has squandered nearly all of its critical goodwill, Sud’s comments were charmlessly naive, and this was before she made many similar comments in defense of the season finale.
I have nothing against Sud personally, and I think she is entitled to her opinion that her show wasn’t a failure. However, so long as her defense of the show is being framed in the same terms of the AMC brand, the network has a serious problem on their hands. This is a network that feeds off of critical attention, and that has been very protective of its brand identity, but it now finds itself becoming represented by a showrunner who has none of the credentials or the evidence to back up her rhetoric.
It’s a scenario that risks turning AMC into just another brand hiding behind rhetorical statements of superiority, and which should be creating some big questions within the network’s executive structure as they head into an important period for their future development.
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Tagged as AMC, Analysis, Backlash, Brand Management, Branding, Finale, HBO, Interviews, Renewal, Rubicon, Season 1, Season 2, Season Finale, Television, The Walking Dead, TV, Veena Sud
June 11, 2011 · 9:00 pm
“A Good Man Goes to War”
June 11th, 2011
My choice not to review “The Rebel Flesh” and “The Almost People” is partly due to the awkwardness created by BBC America making the idiotic decision to take a one-week hiatus over Memorial Day Weekend, but I’ve also got to be honest: I didn’t think they were very good.
I saw a Twitter conversation go by, I think involving Jeremy Mongeau, and it really captured what I think the problem was. He made the argument, if memory serves me correctly, that serialization has actually damaged the show through the first half of the sixth series: everything has been so caught up in laying groundwork for future events or setting up the seasonal arc that it doesn’t really have time to breathe (or, if you’re “The Curse of the Black Spot,” was kind of just too dull to stand out).
Even if we argue that the serial elements have remained intriguing (which I would), and even if “The Doctor’s Wife” was a really compelling standalone that spoke to overarching themes in a strong fashion (which it was), “The Rebel Flesh” and “The Almost People” were like a narrative fetchquest. The Doctor needed to learn more about the flesh, and therefore traveled to where it first originated in order to better understand it, and a story had to be created around that particular event. It just seemed like Matthew Graham’s script never quite managed to make the characters compelling enough, implying a sense of depth instead of actually showing it to us.
Did the two-parter lay some important groundwork for explaining the Doctor’s “death” back in the premiere? Absolutely. And did it quite effectively transition into the reveal that Amy has been flesh since the beginning of the season? Yes. But it becomes a two-hour exhibit in exposition when “A Good Man Goes to War” begins, a too-long detour in a season that seemed to lose its momentum. Mind you, Steven Moffat regains that momentum in about three minutes and forty seconds, give or take a minute or two, and “A Good Man Goes to War” is a stellar effort that benefits from having some truly substantial exposition to relay.
It also tells a compelling story to go along with it, one that we can be certain will resonate both in the fall and beyond.
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Tagged as Amy Pond, Analysis, BBC, BBC America, Episode 7, Finale, Let's Kill Hitler, Madame Kovarian, Melody Pond, Midseason Finale, Review, River Song, Rory, Season 6, Serialization, Series 6, Steven Moffat, TARDIS, Television, The Almost People, The Doctor, The Last Centurion, The Rebel Flesh, TV, Warrior
May 24, 2011 · 11:06 pm
May 24th, 2011
“Make one…in your mind.”
As Rachel and Kurt stand on stage at the Gershwin Theater in New Your City, with the land of Oz behind them, Kurt suggests that they take this opportunity to belt out the closing song from Wicked, “For Good.” When Rachel remarks that there isn’t an orchestra, Kurt says the above line, and “New York” begins to fall into place.
Glee’s competition episodes have always felt like they’re sort of off in their own world, a world where show choirs earn standing ovations and where all of the season’s troubles can melt away through the sheer power of song. There was this giddy look on Naya Rivera’s face right before New Directions broke into “Light Up The World” that sells the kind of euphoria that being up on that stage can inspire, and these episodes have been among Glee’s strongest largely because of the emotional pull that the performances can inspire.
Nationals is the largest competition that the show has done so far, but its scale is not demonstrated in the number of songs or the seriousness of the competition. Instead, “New York” turns the euphoria up to 11, transforming the trip to the Big Apple into a glimpse of the dreams that seem so close yet so far away. Up until the moment where New Directions finally makes their way to that stage, this episode is like one long dream sequence, a world where original songs are written and rehearsed in a day, where musical idols are casually encountered, and where Gershwin Theater employees are willing to give two high school kids from Ohio some unsupervised time in a Broadway theater.
And “New York” would have damaged the show irrevocably if it hadn’t shattered that dream as it does. By returning back to the reality of Lima at episode’s end, Brad Falchuk makes it clear that the dreams present in this episode are unattainable, perhaps downright imaginary depending on how far you think the show is willing to stretch its own reality. However, in the spirit of the show and in a decision I don’t entirely hate, he also emphasizes that there’s room for dreams in Lima, Ohio.
At least until a year from now, when the dreams will contend with reality once more.
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Tagged as Analysis, As Long As You're There, Bella Notte, Brad Falchuk, Brittany, Charice, Chris Colfer, Epilogue, Episode 22, Finale, Finn, For Good, FOX, Heather Morris, I Love New York, Kurt, Lea Michele, Light Up the World, Nationals, Naya Rivera, New Directions, New York, Original Songs, Pretending, Rachel, Review, Season 2, Season Finale, Television, TV, Vocal Adrenaline, Wicked, Wicker, Will
May 20, 2011 · 1:59 pm
“The Bubble”/”Lil’ Sebastian”
May 19th, 2011
It’s unfortunate that I haven’t been able to review Parks and Recreation more regularly this season: while I had screeners for the first six episodes, anything after that proved difficult since so much of my Thursday evenings was spent watching and writing about The Office for The A.V. Club. Obviously, given my affection for the show, I always watched it as soon as possible, and have felt that the third season has been a strong continuation of the momentum gained during a stellar second season.
However, I find myself in the position of being more critical of the show than I’ve been all year in regards to “The Bubble” and “Lil’ Sebastian,” two very funny episodes that felt rushed from a plot perspective. Even as someone who has been on board with Ben and Leslie’s relationship this season, something about its presence in these episodes gave me pause. Everything just felt like it was moving too quickly, and in a way which was considerably more transparent than the rote, yet still fairly passive, romantic chemistry that has been building throughout the season.
Which is not to say that my opinion of the show has diminished (it has not), or that these were bad episodes (they were very good); It’s simply that this particular season finale got a bit lost in the plot, never quite able to focus on telling the kinds of stories I feel the show is most effective at telling.
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Tagged as Analysis, Ben, Circle Desk, Entertainment 7twenty, Episode 15, Episode 16, Finale, Fireball, Leslie, Li'l Sebastian, NBC, Review, Ron, Season 3, Season Finale, Television, The Bubble, TV