Tag Archives: Flashbacks

Cultural Catchup Project: A Case of Deja Vu (Angel)

A Case of Deja Vu

July 3rd, 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.

As I get closer to the end of Angel and Buffy’s first and fourth seasons, respectively, the two shows are suffering from opposite problems when it comes to writing about them. While Buffy has gone through a lot of plot development which makes it difficult to write about a single episode as opposed to an arc, Angel is so devoid of plot development that nothing is really jumping out at me. It’s not that either show is depreciating in quality, but rather that Buffy is barreling through while Angel remains in the logical first season holding pattern (albeit with a twist, due to the events of “Hero”).

And so, while it isn’t ideal, I figure it’s best if I offer some quick comments on a large series of episodes for each show as opposed to trying to review them individually. These aren’t really thematic pieces, but more a grab bag assortment of comments regarding particular episodes. Now, I have some reservations about doing this for Buffy, and when that piece goes up later in the weekend I can assure you that it will go a bit more indepth with the growing arcs and some of the character work ongoing in the episodes leading up to the two-parter – however, for Angel, these episodes standalone in such a fashion that a quick paragraph on each seems like a nice way to capture the series’ progress of sorts.

If we can call it that, considering how much of it feels like a case of Deja Vu.

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Cultural Catchup Project: “Becoming” (Buffy the Vampire Slayer)

“Becoming”

May 4th, 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.

Every good drama series boils down to character development, and I started my analysis of Buffy the Vampire Slayer’s second season talking about how Joss Whedon was willing to create clear consequences from the end of the first season within Buffy as a character. This wasn’t a show that was going to forget where it came from, where the events of the past were going to simple fade away. As we’ve discussed, there are occasionally episodes which offer a palette cleanser, a way to sort of wind down from particularly important episodes, but the show neither forgets nor forgives.

“Becoming,” the show’s two-part second season finale, is ultimately evidence of the importance of character to the show, but it’s an episode which feels like it’s doing a lot more heavy lifting than we’re used to. This is not to say that the show isn’t building on what has been done in the past, or that any of the character development in the episode feels unearned in any way, but the introduction of flashbacks and the ability for magic to undo substantial character development are nonetheless kinks in the series’ structure. It doesn’t revolutionize the show, but it very clearly reminds us that the rules can change at any moment, and that characters are sometimes slaves to fate or magical intervention in ways which threaten their happiness, their health, and their proper development as human beings.

It’s a non-linear, unpredictable sort of character development which offers a nice conclusion to a non-linear, unpredictable sort of season.

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Life Unexpected – “Storm Weathered”

“Storm Weathered”

March 29th, 2010

Mark it on your calendars, ladies and gentlemen: today is the day when Life Unexpected finally stopped showing its basic premise in its “Previously on Life Unexpected” clip package.

It’s a momentous occasion, really, a sign that the show might be ready to grow beyond that premise to become something which goes beyond its initial dramatic potential. This is not to say that that initial potential has resulted in a weak television series, as I’ve found the show to be a fun and effective piece of drama thus far in its first season. The problem, though, is that we knew that from the beginning: the show has showed signs of wanting to evolve, but it’s always sort of reverted back to the same drama over and over again to its detriment.

“Storm Weathered” does not signal an entirely new show, and the show somewhat returns to the status quo of showcestual tensions which threaten to explode at any moment, but it does signal that we are at least at the point where the drama is no longer contingent on the pilot, and that the show has the opportunity (if still not the willingness) to move on.

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Review: Dollhouse – “Epitaph One”

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“Epitaph One”

July 26th, 2009

We intend to honor what you’ve seen here today, but we will question the veracity of it. A lot of it was memories and whether all those memories are completely true” will be questioned. The future “will inform where we go” with the show”– Joss Whedon on “Epitaph One”

Friday night at Comic-Con in San Diego, a selection of fans, bloggers and critics were able to view the much-anticipated “Epitaph One,” the lost thirteenth episode of Dollhouse’s first season. It’s a really unique piece of television, fascinating in its position: as FOX counted the abandoned pilot as one of the thirteen episodes it would pay for, they had no interest in airing the episode; however, since 20th Century Fox (who produces the show) had DVD contracts which called for 13 episodes, Whedon delivered “Epitapth One.” At the same time, the episode was also used as proof of his ability to shoot the show on a considerably smaller budget without sacrificing quality. The result, both in terms of story and in terms of style, will form the blueprint for Dollhouse’s second season, a season that may not exist were it not for this episode.

That’s a lot of hype going into this particular hour of television, particularly considering that Dollhouse is a show that’s been all about hyperbole: everyone remembers how “Man on the Street” was supposed to cure every disease known to mankind, and people’s patience with the show’s rough start has been tested at numerous points along the way. However, “Epitaph One” ultimately succeeds at meeting these high expectations primarily because of just how ballsy a piece of television it is: unafraid of stepping out on a limb, or connecting with anything which came before it, the episode is definitive evidence that Joss Whedon has crafted an environment worth investigating with this series. It’s the best thing I think Dollhouse has produced yet, and if Whedon sticks to his guns that “Epitaph One” is canonical the sheer volumes of promise found within this episode are nearly overwhelming.

As for whether they’re too overwhelming, though, will become a question for the show’s second season – and, considering that Whedon notes that all of this is a complex road map rather than a clear image through the heart of the series, it’s going to be quite a complex undertaking. And, for a show like Dollhouse, that’s a damn good thing. Continue reading

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Series Finale: Battlestar Galactica – “Daybreak Part Two”

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“Daybreak Part Two”

Series Finale – March 20th, 2009

“Ever since we found out who…what we are…”

When the Battlestar Galactica Miniseries first began, there were two main questions: who are these people who are leading humanity forward after this devastating tragedy, and what is the nature of the Cylons who caused that devastation? It was part of that central binary the show put forward, humans vs. Cylons, but from the very beginning these are not two separate questions. In the character of Boomer, this balance between who/what was inherently questioned, as those who straddled the line between human and Cylon were forced to confront these types of questions. When the Final Four Cylons were revealed, they all fell on different sides: Tyrol accepted “what” begrudgingly in the quotation above, Tory downright embraced it, while Tigh refused to abandon “who” and continued to emphasize his personal identity.

At this point, we as viewers are all people straddling this line between “who” and “what” in the shadow of “Daybreak,” a series finale which struggles less from pressure within the show itself and more from the external pressure of fan expectation. The problem is that we, as fans, grapple with similar problems: are we concerned, moving into the finale, about who these characters are and what journey they have taken, or are we too caught up in the “plot holes” or the questions to which we demand answers? It’s not a new binary amongst viewers: for ages people have been complaining about episodes for having too few explosions, or for being too slow, or for not doing enough to advance the show’s complicated plot structure. Whereas for most of those episodes, I’ve noticed strong character development, effective mood building, and an almost cathartic sense of pacing that is part of what makes the series more than just science fiction.

“Daybreak” is an episode that, more than answering which side of this binary people should fall on, should destroy it altogether. This isn’t about plot, or character, but the intersection of these ideas. In the show’s fourth season, amidst some admittedly complicated and on occasion bungled storylines, one thing that has remained consistent is the idea that the definitions of human and Cylon are melding together. Much as Edward James Olmos argued against race being used as a cultural determinant during the United Nations panel earlier in the week, we should be beyond the point of considering these people purely along the lines of human vs. Cylon, just as we should be beyond the point of considering the show in terms of plot vs. character.

So, let there be no red line drawn down the deck: with this epic, sprawling, action-filled and philosophically-driven finale, Ronald D. Moore has accomplished what he set out to do. He manages to meld together the cheeky with the solemn, the profound with the surreal, the whimsical with the emotional, in a way that gives you that sense that destiny is not a four-letter word, that plot and character are neither slave to the other, and that whatever this show accomplished it will go down in a fashion befitting of one of television’s most effective pieces of programming, period, independent of its science fiction heritage.

So say, if not us all, then at least this particular believer.

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Battlestar Galactica – “Daybreak Part One”

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“Daybreak Part One”

March 13th, 2009

Methinks that Ronald D. Moore has placed a red line right down the ranks of the Galactica faithful, which is something that he seems to revel in – it is not that the beginning of “Daybreak” is inherently a bad episode, but rather that it represents a very cautious approach that is treating this three-hour finale as an episode in and of itself as opposed to an extension of the episodes that came before it. The result is another in a long line of setup episodes, weaving in and out from his main character’s past lives in Caprica City in a way that makes thematic sense to the show as a whole, but doesn’t actually feel like it connects with the mutiny, or the rest of the fourth season thus far.

There’s something to be said for this kind of approach: with a cast this large and with a timeline this varied in terms of both action and reaction, it’s easy to see why returning to who these people were before “the Fall” would be of some value. And yet, at the same time, I left the episode not pondering how much these characters have changed but rather how much they’ve remained the same. Something about the way the episode was structured made it a bit too easy, the parallels between their former lives and their current predicament too simply stated, for us to forget some of what has happened to them, to remove the context of forward momentum and replace it with a potent nostalgia.

The result is something different, not something wrong: when Adama has his heroic speech, we are properly on the edge of our seat, properly considering the gravity of this situation, and properly realizing just how epic this is going to eventually be. But we’ve been waiting for something epic for a long time now, and by layering that suspense with the catharsis of the flashbacks we’re taken out of the season and placed into a series perspective perhaps too disconnected from the season thus far.

I’m left wondering not whether Moore is steering this ship in the right direction for the finale, which has the right kind of epic qualities as we need it to have coupled with a strong connection to these characters and their past lives, but rather whether this finale remains unchanged from the plan originally designed for when the second season was to be only 13 episodes – I have a feeling that it wouldn’t have been any different. As a result, while it feels like we’re heading in the right direction for a series finale, I don’t quite know if it feels like an ideal capoff to the season in and of itself.

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