“Flip of the Coin”
November 14th, 2009
Now four weeks into its run, White Collar is about where it was in its pilot: a solid entry in USA’s lineup. The show has yet to really transcend to the point where I would say it’s really growing into something new, or where it’s establishing a more complex identity, which isn’t problematic so much as it is perhaps a sign of the show being unwilling to go to that stage so quickly.
There are some growing pains, however, in terms of how the episode wants its stories to work and how they’re actually capable of working. “Flip of the Coin” has a couple of nice set pieces in it, along with some high quality guest stars to help bolster the episode, but it struggles to make all of that come together. There are some scenes where Neal’s suave nature feels perfectly at home in the context of these investigations, and other sequences where the believability is stripped away for the sake of convenience.
Still, there’s a lot of enjoyment within this episode, to the point where some of the shortcuts are ultimately overcome by one development in particular that could help the show going forward.
“Mr. Ferguson is Ill Today”
November 10th, 2008
At the end of “Mr. Ferguson is Ill Today,” Sarah Connor says that nothing ever changes: that it is the same thing that drives her every day, and that all of her decisions will continue to revolve around that concern. While I don’t doubt this mother’s dedication to her son’s safety, I feel like this statement paints a picture of this show as something repetitive, something that boils down to an action-packed joy ride of destruction at its best and an elaborate holding pattern at its most languid.
And there have been moments when Terminator: Sarah Connor Chronicles has felt like both of those things, especially in the early parts of its first season. However, like the first season finale before it, this week’s episode (the eighth of the show’s twenty-two episode season) is an example of the ways in which the show has resisted becoming a pure action series, and how those potentially slow-moving sections have given the show a chance to build characters who believe in things, who have complex emotions, and who can fire off some guns while remaining grounded in some kind of reality.
As this week’s episode weaves in and out of everyone’s stories, there was never once where I questioned whether that character had something to contribute to this story (even if the device seemed unnecessary, gimmicky), and each of them reached an apex of sorts in this episode as it relates to their characters. For a season that has spent considerable time tracing the origins of Skynet through the introduction of Shirley Manson’s Terminator model, it is telling that the most action-packed episode so far is all about people (as sucky as they might be, Riley) – it’s also the best episode of the season so far.