“Chuck vs. the Honeymooners”
April 26th, 2010
“Chuck vs. the Honeymooners” is not an episode about “Chuck and Sarah.” It is an episode about Chuck, and Sarah, and their independent personalities; the argument the show makes is not that they should be together (although it does sort of implictly make this argument through its quality), but rather that they each independently want to be with the other, and that this is a conclusion which they have come to as human beings rather than as much-shipped television characters on a network series.
I’m not one of those people who particularly cares about “Chuck and Sarah,” but I am one of those people who cares about Chuck, and Sarah, and their own journeys through this crazy life they’re living. In an episode which has a lot of fun moments which play into the lengthy period of romantic tension which led to this inevitable conclusion, there are also a lot of fun moments which are just the result of how much chemistry that Zachary Levi and Yvonne Strahovski have independent of a relationship, and how great the show’s stunt team is at making a low budget show look like an action film when it comes time to throw down.
The show can never be exclusively “about” Chuck and Sarah’s relationship, but so long as the show’s investigation of its potential results in episodes like this one which are damn entertaining entirely independent of the shipper mentality, I’d say that this little six-episode mini-season could be quite the ride.
“I Think We’re Fighting the Germans, Right?”
March 14th, 2010
It’s been three weeks since I’ve been able to review The Amazing Race, which is pretty unfortunate. It just so happened that one week was the Academy awards, and the week before was the closing ceremonies of the Vancouver Olympics. I enjoy this show enough to keep watching it when these sorts of conflicts arise, but blogging about it is another story. There just isn’t enough time in the day, especially when the last few weeks have ultimately been what one would call predictable: there was no doubt that Monique and Shawne were too far behind two weeks ago in Argentina, and last week’s episode smelled like a non-elimination even before the fairly predictable conclusion (even if the nice Beatles touches were pretty enjoyable, and even if I was glad that Jeff and Jordan were not done in by an errant taxi ride that wasn’t their fault).
So, I figure I owe it to the show to put some thoughts on the table in regards to this week’s episode. Thus far, the cast is more or less living up to our early expectations: there are no teams that I abhor (although there are times where Carol/Brandy cut it pretty close), there are no teams I really love, and there are no teams that are running a really intelligent race.
However, there is one team that I like much better than I expected to, and that is running a far better race than I expected them to, and those sorts of underdog stories (See: Hippies) are the sorts of thing which keep my engaged all season long.
March 22nd, 2009
While the title above is fairly ambiguous, and HBO hasn’t come out and said what kind of finale this was in the end, the actual content of the episode spoke quite clearly: while this was not the season’s musical or comic highlight, it had that air of finality not just of some sort of season-long storyline but rather the very setup of the show. Offering up a meta-commentary wherein the show’s Bret and Jemaine move closer, albeit more wackily, to the commercialization of the real Bret and Jemaine feels like the way you end this series, not just a season, and coming back from the episode feels like it might not just be impossible, but also inadvisable.
And yet, at the same time, it also captures the reasons why the show is so charming, and why this second season has remained a weekly highlight even when I’ve been disappointed by much of the season’s musical interludes. The show found itself quite the comic voice as it headed into this season, and that’s something it has maintained with startling efficiency. While parts of this episode returned to more simple forms of humour that the show used in its original premise, the supporting characters around it have evolved so much further that it’s an entirely different show, and a better one.
So HBO and the Conchords have a very tough decision to make – is it good to go out while you’re still making people laugh and when you’ve crafted a satisfying conclusion, or do you want to continue to tell the story of the band that starts at the bottom, continues along the bottom, and ends up at the bottom for another season?
I’m still not sure which camp I find myself in.