“Time Will Tell”
July 6th, 2010
Warehouse 13 ended its first season on one of those cliffhangers that I generally despise – like White Collar’s mid-season finale late last year (where it seemed like Peter was the series’ big bad), the show ended on a note which implied a huge change in direction (in this case that Artie had been killed in the explosion at the Warehouse’s entrance, and that Leena was in league with MacPherson) but which in reality was entirely inconsequential. Any uncertainty you have about Artie being legitimately dead is ended within a few minutes, and any concerns about Leena are erased when she continues to appear in the main credits.
I’m fine with the fact that a sci-fi procedural isn’t going to make these sorts of huge changes, but my response to the second season was very much dependent on how they used the uncertainty surrounding the finale to its advantage. While it may be cheap storytelling in a lot of ways, Warehouse 13 has the unique ability to explain away sudden twists under the guise of expanding its catalogue of artifacts with inexplicable powers – while I thought White Collar took a few episodes to recover from the bait and switch, Warehouse 13 uses its pre-existing rules in order to leap frog over the initial uncertainty to confidently map out the season to come. “Time Will Tell” is a strong premiere, although in a different way than I had expected, giving viewers one last glimpse at the first season’s highly personal conflict between Artie and MacPherson before replacing it with a more generic, but also more inventive, narrative.
It’s a decision I think works in the show’s favour, going against the common logic of these types of procedurals by through simplification rather than complication while continuing to embrace the quirky, charming potential within the series’ premise.
July 21st, 2009
In choosing to blog about Warehouse 13 of the past few nights’ television lineups, I don’t want you to think I prefer it to any of them: I quite liked the third episode of Hung, preferred the second episode of Entourage’s sixth season to the premiere, thought last night’s Weeds and Nurse Jackie were decent and laughed a whole lot at tonight’s Better Off Ted. However, none of those things were particularly surprising, and Warehouse 13 is a show still trying to find its legs and thus somewhat more unique in terms of analysis.
While I thought “Resonance” was a really winning turn for the series, “Magnetism” starts to show some holes in the show’s premise. It’s clear why they aired episodes out of order in order to be able to go with the dramatic and compelling story of the world’s most powerful pop song as opposed to, say, an episode about a piece of furniture. In the same vein as the show’s pilot, which dragged in its mystery, this week’s episode has them searching for what’s causing some strange behaviour, a trope that is only as interesting as the behaviour itself considering that the object will remain a MacGuffin.
In the end, I thought “Magnetism” was ultimately quite charming, integrating enough humour into the storyline itself to overcome its seriousness. There’s a serious contrast going on with this show, where some rather broad (but entertaining) comedy emerges in storylines that are actually quite serious in their ramifications. The action demonstrated that the show could become tedious in its procedural plotting, especially if they repeat themselves too often, but the comedy and the relationship between characters was really strong, and inspired me to actually kind of like the episode despite some of my concerns over its tone.
It shows that the show continues to win the war, regardless of the battle at hand, which is a pretty good endorsement at this stage in its run.