April 6th, 2010
It is possible that I’m running out of ways to discuss the quiet confidence of The Good Wife, which has become one of network television’s most consistently entertaining drama series, but let me run this one by you.
“Doubt” is in many ways a concept episode: it takes us into the jury room to witness the post-trial deliberations of 12 men and women, then weaves its way back through the case in a vaguely chronological order that has us guessing at certain bits and pieces of information before they truly arrive.
However, maybe it’s just me, but it didn’t feel like a concept episode. This is not a show defined by its bells and whistles, neither within its premise (which focuses solely on character) or in its general approach to legal proceedings (where each case is handled separately). The show doesn’t do anything to call attention to an “extra-special episode,” but rather drops us into the jury room just as they dropped us into the clerks creating an impromptu court room a few episodes ago.
By balancing the novelty of this shift in format with an episode that relies just as much on serialized character development as it does on the narrative structure, “Doubt” continues a fairly lengthy streak of episodes that demonstrate the sheer potential in this series and its cast.
July 12th, 2009
This review is going to be hugely hypocritical for anyone who’s followed my…less than friendly relationship with Entourage.
See, I’ve always been of the mind that the show is at its best when it engages with its dramatic elements, and taps into something beyond “four bros hanging out.” It’s not a particularly popular opinion, as nearly everyone seems to disagree with me and lists their main reason for watching the show as “four bros hanging out,” but it’s the way the show works for me. And last season, I just kept getting more and more frustrated: the show had numerous opportunities to really engage with some real disruptions to Vince and E’s relationship, and to shake things up a little bit, and yet they refused to take them, leaving the dynamic intact as Vince’s career skyrockets.
So, on that criteria, I should have been really happy with “Drive,” which returns to the narrative with Vince riding a wave of Gatsby-related success but drifting apart from E, who is becoming successful in his own right and beginning to see the benefit of being more independent. The result is actually a really subtle statement about maturity, coupled with a couple of periphery storylines and a distinct lack of highly manufactured drama. Really, the episode should have been everything I should like in a half hour of Entourage: a little sex, a little drama, and more pathos than 99% of the show’s normal viewers like to see.
But, for a variety of reasons, I found this episode to be shockingly pedestrian in a way that baffles me. There was no zing to the one-liners, no bite to Ari Gold, and a distinct lack of any sort of dynamic between the signature foursome. While I’m actually kind of intrigued to see where they go from here, this half hour is the exact opposite of any of my past experiences: while before I found the plot lacking but enjoyed the show’s broad comedy for what it was, here I found absolutely nothing funny or clever to the point where even a storyline I should have liked did nothing for me.
Call me a hypocrite all you want, but this “Drive” never got out of first gear.