Tag Archives: HBO

Flight of the Conchords – “Prime Minister”

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“Prime Minister”

March 1st, 2009

There are two stories in “Prime Minister,” and each of them is absolutely perfect for this surrealist world we’ve created. The show has leaned heavily this season on the humour to be found in New Zealand’s low level of cultural awareness, and less on the Conchords as an actual music duo: here, both of these elements are brought together with Bret and Jemaine spiraling into the world of cover bands while we get to meet Murray Hewitt’s own Murray Hewitt, the Prime Minister of New Zealand.

They end up coming together better than one might expect, especially late in the episode where the “lookalike” culture moves from one storyline into another, and both end up going in directions that are awfully nutty but in a way that is always noticed by the characters, either because they were responsible for its execution or because they are sober enough to realize that Art Garfunkel showing up at your girlfriend’s door while you’re in an Art Garfunkel wig is about time to hightail it out of there.

Yet, the episode was nonetheless another sign that while the comic foundation of the show is perhaps better than other, the songs just aren’t there: here is an opportunity to potentially have the episode soundtracked by Simon & Garfunkel-esque hits, and yet instead we get a Korean karaoke song and a 90s rock song with a nice hook but nothing to really connect it to the episode’s identity. And while I’m all for the show projecting such comic confidence on one end of the spectrum, I’m still left wanting for an episode that brings the two parts together.

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Flight of the Conchords – “Love is a Weapon of Choice”

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“Love is a Weapon of Choice”

February 22nd, 2009

After last week was, without question, my favourite episode of Flight of the Conchords’ second season, “Love is a Weapon of Choice” has a lot to live up to. Not only did last week’s “Unnatural Love” give us two of the season’s better songs, but it also delved into the wonderful Australia/New Zealand feud that has often underscored the series. It was vintage Conchords, directed by Michel Gondry, so expecting another episode to compare to it is probably unfair.

As a result, it is with tempered expectations that “Love is a Weapon of Choice” succeeds, if not overwhelmingly. Kristen Wiig proves that she fits well into this universe, something that we could have called based on her great work on Saturday Night Live, and while none of the three songs in the episode prove especially groundbreaking they fit into musical genres the show hasn’t often delved into, and were connected well enough to the romantic hijinx of the episode that I’ll forgive the lack of outright quality.

It’s not one that we’re going to remember, but it’s at least one that get a few laughs, a few catchy lyrics, and a commendation for some cleverness.

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Flight of the Conchords – “The New Cup”

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“The New Cup”

January 25th, 2009

It’s been a while since I visited Flight of the Conchords’ sophomore season, having reviewed last week’s premiere back in December when it was streaming online, but I have to say that I think “New Cup” is perhaps a slight improvement on some fronts and a bit of a step back in others.

The show is, largely, back to its old self in most ways here: the Murray/band dynamic is as inspired as ever, and their seasons crackle here. The problem is that the rest of the plot doesn’t, so much: comparatively, the dialogue seems forced and tired, and the prostitution storyline felt off for me. This is a bit of a shift, though, because I found the songs superior to that in the premiere, more tied to the action; it’s just unfortunate, then, that they were tied to the part of the episode that felt the most sitcom-esque and lacked what I view as the fundamentals of the show’s usual charm.

The basics are all here, don’t get me wrong: what other show can spin off of a new cup and suddenly spiral into prostitution, lewd rap songs about genitalia, and a ripoff of Roxanne? The show is still great at showing how the mundane can be exciting, but this felt a bit too exciting for its own good by a certain point.

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Credit Where It’s Due: The Golden Globes are not (entirely) Irrelevant

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Credit Where It’s Due:

The Golden Globes are not (entirely) Irrelevant

It is often very easy to discredit the Golden Globes for being one thing or another, or for not being one thing or another. It is not that these are all false: the Hollywood Foreign Press Association are not cinematic or television authorities, and it is often very clear in their choices that their criteria is both highly erratic and highly suspect on most occasions. The 2009 Golden Globes were in part a testament to this particular part of their mystique, with a variety of winners which felt like they were entirely unrelated to the film or television series beside their name.

But we have to admit that there are certain points where this type of crass favouritism can actually intersect with what we as both award show viewers and as appreciators of good film and television considering to be something approaching justice. While I could easily speak to how Slumdog Millioniare’s numerous wins are a result of its international production (Always a big thing with the HFPA, see Babel defeating The Departed), or how Tina Fey’s victory is only the result of her time in the mainstream as Sarah Palin, does this really override the fact that I loved Slumdog Millionaire and that Tina Fey is a comic sensation on 30 Rock?

While the sheer cynicism with which we view the subjectivity of the Golden Globes is not wholly unique within the major awards circuit, I nonetheless feel like it is sometimes overstated in the case of the Globes for the purpose of focusing on those winners that we don’t like while choosing to view good decisions as the exception to the rule. This isn’t going to stop me from attacking the HFPA for being irrelevant with some of their choices, especially as it relates to nominees, but when it comes to the winners I think it’s safe to say that they might have actually paid attention to what they were watching in the past year.

Even if it was, per usual, for the wrong reasons in some instances.

[For a complete LiveBlog rundown of the show, click here!]

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The 2008 Television Time Capsule: The Wire – “Complete Series”

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“Complete Series”

Release Date: December 9th, 2008

Yes, I know this is cheating, but I have my reasons for refusing to choose only one episode of The Wire’s fifth season to include within this set. Yes, only the show’s fifth season aired this year, but on a personal level I got to experience all five seasons of fantastic dramatic television in the past calendar year. Since this is my Television Time Capsule, and because the Complete Series boxset is both readily available and surprisingly compact, the entire series makes it into the Time Capsule.

When the season started airing, I posted to a message board about whether it would be possible for me to jump in without watching the previous four seasons. Almost immediately, I received the resounding response of an empathic no; jumping in at the end was entirely misguided. It was the first time I had seen such a passionate response about it, but over time I was able to discover many more such responses, and eventually the reason why.

Considering the three-hour long podcast, and the rather lengthy piece I wrote in conjunction with it, I won’t say much more on the show’s merits. What I will say is that its fifth season deserves it spot here just as much as the previous four, not quite as perfect but nonetheless one of the finest specimens of television which aired during the period.

One thing I will add is that I understand the frustrations with the fifth season’s newspaper storylines: while the political world was given a slow introduction in Seasons three and four that allowed it to integrate into this world, and the education system had a clear enough relationship with what we’d seen before it, the media had been surprisingly absent at every other stage of the series. It felt like the most “left field” argument, and many of the connections to the main narrative felt coincidental as opposed to consequential. I don’t think it was an irreparable concern, but it helped contribute to a sort of paradox of getting our final moments with these characters, at least partially, through a lens more unfamiliar to the series than the ones previous introduced.

So while saying goodbye to the show was no doubt difficult, it was kind of nice to be able to say Hello to it in the same year: the balance helps elevate the series’ impact on my year in television, and hopefully the years of many more people to come.

Related Posts at Cultural Learnings

[For more details on the Cultural Learnings 2008 Television Time Capsule, click here!]

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The 2008 Television Time Capsule: Recount (HBO)

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Made for Television Movie

Airdate: May 25th, 2008

While many of the selections in the 2008 TV Time Capsule deserve Emmy attention in their future, this is one selection that has already made its way to Emmy glory. I watched Recount over the summer, and much like Generation Kill it follows a highly political event in America’s history, taking us behind the scenes of the 2000 Federal Recount which decided whether George Bush or Al Gore would become President of the United States.

As with Generation Kill, we know the ending already: this doesn’t, however, make the film any less powerful. With great turns from Kevin Spacey, Tom Wilkinson, Bob Balaban, Denis Leary, and especially Laura Dern as Catherine Harris, the film manages to elide the candidates themselves while maintaining all of the momentum of those final moments. By focusing on the minutia, the lawyers and the campaign staff and the people who handled the various recounts, the film revels in not the result of the film (the cancellation of the recount and the victory of George W. Bush) but how that result was felt by the people who fought on both sides.

The film shouldn’t have been the success it was: written by Danny Strong, best known for his stints on Buffy the Vampire Slayer and Gilmore Girls as an actor and not a writer, and directed by Jay Roach, best known for his directorial work with Mike Myers, it didn’t feel like it had the kind of prestige you often see from these HBO “Special Events.” But its quality, and its eventual Emmy win, are a testament to the work of both men, rising to the challenge; you could tell this was an intensely personal project for all involved, a fact which took a potentially clichéd piece of political opportunism in the buildup to the ’08 election and turned it into a darn great television movie.

Like Generation Kill, the film poses questions about what might have been, but there is more distance here: yes, Bush’s presidency has played a largely detrimental role over these eight years, but as we head towards his final days as President there is an end in sight. The film never feels like propaganda, but Recount is nonetheless the kind of sort of statement that democracy needs: it presents people committed to the process in a way that nearly changed history, and if that inspired anyone to the polls in November then the film deserves its place in the Time Capsule that much more.

[For more details on the Cultural Learnings 2008 Television Time Capsule, click here!]

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Season Premiere: Flight of the Conchords – “A Good Opportunity”

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“A Good Opportunity”

Season 2 Premiere

Over the summer, I finally got around to watching the first season of Flight of the Conchords, HBO’s wonderfully offbeat and hilarious comedy series from New Zealanders Bret and Jermaine. The first season, using songs from their great back catalogue of hits combined with new songs to stretch out the plot of each episode, was a triumph of comedy, and the very small but very alive world they created makes for the perfect antidote to the testosterone-laden comedies that more recently have dominated the pay cablers.

The second season won’t premiere on HBO until January, but U.S. viewers (and resourceful international folks) are able to catch the full episode on FunnyorDie.com. What you’ll find is the first episode where the Conchords are flying without a net: out of original material from the pre-television era, the second season is already confirmed as their last, the creative output necessary proving as taxing as you might imagine. Even the second season, though, feels different: once the backbone of the show, the music here felt by comparison to be either entirely unrelated or simply perfunctory.

This isn’t a total slight of the premiere, but rather an observation that it is changing: after spending a season developing a show that could support their music, they are now transitioning to music that can support their show. For that reason, unmemorable songs isn’t so much a concern as it is the show’s new reality: in terms of the quest of the Conchords to succeed in the music industry, with their bumbling manager Murray and their one fan Mel, the show has become about plot, specifically how the band more or less lost both of those things in the first season finale.

“A Good Opportunity” is not destined to be a classic, and doesn’t answer every question about how the show will manage a second season creatively, but the machinations of the episode are done in good form and, ultimately, add up to a welcome return for the winners of the Grammy Award for Best New Zealand Artist – or, more accurately, a pencil sharpener spray-painted gold.

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Down in the Hole: Podcasting HBO’s The Wire with Alan Sepinwall and the /Filmcast

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Podcasting HBO’s The Wire

December 10th, 2008

For those who follow me on Twitter, or have visited my twitter page, you’ll know that I refer to myself quite realistically as a “Wannabe T.V. Critic.” This is the wonder of the internet: through sheer productivity and a few karmic turns of fate, I have managed to fall into a routine that is both personally satisfying and, I hope, something that adds to the internet’s critical discourse of television.

This week has been a reminder of both how those turns of fate have manifested themselves and how much I enjoy doing this. Since I’ve started appearing on the /Filmcast, with the gang of Dave, Devindra and Adam who I quite incidentally teamed up with in their podcasting days before the big time, I’ve found another outlet for discussing television. Both on the podcast and (perhaps most importantly) through the chat room, I have been able to meet some great people and have some really great discussions.

Ultimately, though, Monday night’s /Filmcast was the one that will likely always stick out in my mind. It was what I would refer to as an exorcism: a chance for the /Filmcast to get everything it needed to say about a certain HBO drama series which is highly critically acclaimed, unduly underappreciated by the Emmy Awards, a personal favourite show of every member of the /Filmcast, and the show that enraptured me this past summer.

The show is The Wire, and what began as a germ of an idea suggested by a few readers ballooned into an epic 3 1/2 ode to the series that should have changed the face of television and instead only raised the standards by which we rate shows which come after it and fail to pick up on what made it such an amazing feat from David Simon and Ed Burns. And if you don’t believe us, consider that we spent 3 1/2 hours and both never ran out of things to say and, worst of all, barely scratched the surface with certain characters and events. Recording the podcast, and preparing for it ahead of time, was a reminder just what the show accomplished, and being able to revisit that was going to be a lot of fun.

It was also a real honour: Alan Sepinwall, from the New Jersey Star-Ledger, is a fantastic (and real) TV critic who I often link to, and who I certainly view as a “role model” when it comes to developing a critical discourse in a blog setting. He’s also one of the most vocal and knowledgeable voices on The Wire, which made Monday’s discussion that much more monumental for someone whose first post on this blog was an indepth expose on violence in university broomball. I just hope that I held myself well enough not to bring a bad name to criticism from my perch in “Wannabe” land.

Overall, it was another sign of how grateful I am for Dave, Adam and Devindra having me on the /Filmcast and Dave, in particular, for egging me on to start watching The Wire this summer. I haven’t written as much about it as I would have liked, but you can find what I’ve written by clicking here. In the meantime, if I were you, I’d subscribe to the /Filmcast – it’s most certainly going to pay dividends to your critical future.

The /Filmcast Episode 29: HBO’s The Wire (f. Alan Sepinwall and I)

NOTE: There’s a forty-five minute discussion with Alan which is light spoiler territory, for those who want to know why we spend 3 1/2 hours talking about the show. What follows is a season by season breakdown, although I’ll warn you ahead of time that we sometimes spoil future seasons within discussions of other ones. So, if you’ve only seen three seasons, I’d still get through the whole thing before listening.

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Catharsis: Thoughts and Ruminations on HBO’s The Wire

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Thoughts and Ruminations on HBO’s The Wire

December 8th, 2008

I doubt that anyone has ever really thought about it, but I’ve been living in a state of shame since, earlier this summer, I reviewed the first two episodes of The Wire, Season One, and made the follow proclamation:

“I figured that the more people talk about what is (thus far, and by all accounts) a fantastic series the better for my readers, readers everywhere, and maybe even the show’s long-shot Emmy chances.”

That post, and a post comparing the show to The Dark Knight, were the only two times I’ve talked about The Wire on this blog. Now, this isn’t that uncommon in terms of other shows I’ve caught up on: I got through four and a half seasons of Six Feet Under without talking about it (no, I haven’t finished it yet. Maybe next summer), and until the third season started I didn’t fill you all in last summer when I caught up on How I Met Your Mother. Due to both the speed at which I burn through these episodes, and the relative age of the material, it doesn’t seem like something that is entirely necessary.

But the difference with The Wire is that it wasn’t a normal catchup session – stretched out over a number of months, experiencing The Wire for the first time was something that still hasn’t left me. While I’ve almost forgotten I’ve seen most of Six Feet Under, I can’t help but wax philosophical about The Wire at every opportunity. Those of us who have seen the series, admittedly, must sound like a broken record, but there’s a certain creed of sorts: in any discussion raising the question about television shows to recommend, or television shows that have made an impact, or television shows that deserved more awards attention, or sometimes even just television in general, The Wire is going to be our go-to suggestion.

Tonight at 9pm EST, I will be joining Dave, Devindra and Adam of the /Filmcast for a live indepth discussion of The Wire, which will be the first time that I have truly entered into a dialogue about this amazing series. [To listen in to the live podcast, click here at 9pm] Considering this I felt like, even if I don’t have the substantial back catalogue I wish I had and that could have pulled you as readers into this universe sooner, I could at least offer some brief thoughts as I (if not through watching it) revisit the Shakespearean journey that is David Simon and Ed Burns’ The Wire.

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Entourage – “Play’n with Fire”

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“Play’n with Fire”

November 16th, 2008

It has been a good many episodes since I last discussed Entourage, a period explained by a variety of reasons. Perhaps first and foremost, I don’t quite have time: while Mad Men left a gap in my Sunday nights, other commitments have meant that The Amazing Race is all the time I’ve got (I’m two weeks behind on Dexter and barely catching up with Brothers & Sisters as it is).

But if Entourage had been anything but a mixed bag over these past few weeks, I may have been more likely to discuss it in earnest. Whether it had been horrible (like much of the fourth season) or fantastic (like the early days of the series), I would have found time to make note of the various developments; instead, the season just took its initial setup (Vince is in tough shape career wise, needs a new opportunity) and played that chord over and over again.

It was a good chord, in the begnning, and I’d tend to argue that it’s a good chord in the end; the entire on-set experience of “Smoke Jumpers” has been a return to the show’s proper perspective, and the explosion that takes place within this episode is a far more natural and logical wrinkle in the development process than anything we saw from the caricature of Billy Walsh. “Play’n with Fire” features a lot of things which feel natural: by abandoning the member of the group who has most resembled a walking punchline (Drama, that’d be you) for the one who is perhaps the most emotionally interesting and undefined (Turtle), and by frontlining Vince as someone facing a crisis of his own, the show just feels likes it’s on a more logical path heading into next week’s finale.

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