Tag Archives: Kate

Season Premiere: United States of Tara – “…youwillnotwin…”

“…youwillnotwin…”

March 28th, 2011

When United States of Tara entered its second season, the Gregson family thought that everything had changed: Tara had defeated her alters through the use of medication, and the entire family was ready to move forward with something approaching a normal life. Of course, normalcy proved unattainable: the old alters returned, new alters emerged, and turmoil between family members left Max, Kate and Marshall confronting their own identities in light of their mother’s struggle.

What is immediately clear in the show’s third season premiere is that there is no such false normalcy. For better or for worse, the Gregson family has embraced (or will be forced to embrace) that they are in no way, shape, or form normal, and it shows in “…youwillnotwin…” It is a confident premiere on a number of levels, but primarily because it embraces the stabilizing influence of instability. By embracing the cyclical nature of life, and by placing the characters in positions to be impacted – but not defined by – those cycles, United States of Tara is in a position to continue to evolve without having to introduce dramatic new elements into the equation.

All it takes, it appears, is a bit of a push in the right direction and a willingness to ride the wave.

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Cultural Catchup Project: Moving On while Moving Apart (Angel)

Moving On while Moving Apart

August 20th, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

When a series makes a pretty substantial change to its basic structure, we usually respond in one of two ways: either we fret over how the series will handle that change, or we shrug our shoulders and presume that things will be back to normal eventually. This is not to say that we don’t enjoy this change, but as someone who is averse to change as a general rule it makes me anxious when I see a favourite series taking a glimpse over the edge as if it plans on jumping, even if that jump ends up being a spectacular sight.

However, I honestly didn’t flinch when Angel fired his staff at the end of “Reunion.” This isn’t because I am not enjoying the series, or that I am not engaged with its characters, but rather because the series is naturally suited to these sorts of changes. Admittedly, I knew in advance that reinvention was one of the series’ strong suits, but I didn’t expect for those reinventions to feel so purposeful: when Angel fires his staff, it feels like a logical progression of his character, and the crisis it creates doesn’t feel like an effort to shake things up for the sake of ratings. Indeed, instead of feeling shocking, the range of episodes from “Blood Money” to “Reprise” feel decidedly normal, a statement that even a substantial shift in the character dynamics of the series needn’t disrupt its basic themes or structures.

They aren’t the strongest episodes of the series, but they serve an important role: while they make the argument that Angel and his former employees will not remain apart forever, they also demonstrate how their separation only broadens the series’ potential, continuing a strong second season.

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Season Premiere: White Collar – “Withdrawal”

“Withdrawal”

July 13th, 2010

I would posit that it is impossible to truly suffer from White Collar withdrawal – while I will not begrudge those who love the series more than I, I don’t think that the show is substantial enough for its overall package to be considered something to which one could become addicted and suffer from symptoms of televisual withdrawl (I am, however, aware that “Matt Bomer withdrawal” is likely a fairly common condition).

However, “Withdrawal” focuses on the parts of the show which I think have it on the verge of becoming an addictive substance, albeit more for those who have a particular appetite for this sort of procedural fare. The series still struggles to pull together its serialized storylines, as the premiere would have been better off without the tease at episode’s end which throw numerous character relationships into peril, but the central case and the way in which it was solved had enough charm to make the episode feel like a more welcome return than I had imagined.

I may not be jumping for joy that it has returned to my television specifically, but I’m pleased that it has returned in a form which makes for some nice summer escapism which is starting to build enough of a history to become something more.

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Cultural Catchup Project: A Case of Deja Vu (Angel)

A Case of Deja Vu

July 3rd, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

As I get closer to the end of Angel and Buffy’s first and fourth seasons, respectively, the two shows are suffering from opposite problems when it comes to writing about them. While Buffy has gone through a lot of plot development which makes it difficult to write about a single episode as opposed to an arc, Angel is so devoid of plot development that nothing is really jumping out at me. It’s not that either show is depreciating in quality, but rather that Buffy is barreling through while Angel remains in the logical first season holding pattern (albeit with a twist, due to the events of “Hero”).

And so, while it isn’t ideal, I figure it’s best if I offer some quick comments on a large series of episodes for each show as opposed to trying to review them individually. These aren’t really thematic pieces, but more a grab bag assortment of comments regarding particular episodes. Now, I have some reservations about doing this for Buffy, and when that piece goes up later in the weekend I can assure you that it will go a bit more indepth with the growing arcs and some of the character work ongoing in the episodes leading up to the two-parter – however, for Angel, these episodes standalone in such a fashion that a quick paragraph on each seems like a nice way to capture the series’ progress of sorts.

If we can call it that, considering how much of it feels like a case of Deja Vu.

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Season Finale: United States of Tara – “From This Day Forward”

“From This Day Forward”

June 7th, 2010

I wish that I had more to say about United States of Tara’s second season finale, but for the most part I don’t. This is not to say that the episode wasn’t enjoyable, or well-acted, but rather it seemed that the show had more or less choreographed all of its reveals, and so the primary function of “From This Day Forward” was more or less appearing to reset things to the status quo.

Again, this isn’t a slight on the episode: with some strong performances and some intense emotional moments, I think the series nicely capped off a complex and intriguing second season. The problem is that it works a little bit too hard to get to the point where the Gregson family is dancing wistfully in a beautifully lit backyard, cutting away the clutter of their lives for that brief moment of bliss. I understand the impulse behind that action, and the catharsis of the episode is helped by the calmness of those final moments, but it seems to be putting a button on too many story points which went unresolved or were cast aside with remaining potential. The series kept hinting at hidden motivations or long-kept secrets, and yet after revealing the biggest secret of them all the rest were sort of just chalked up to either misdrection or the frakked up nature of the Gregson family.

There’s something about that which is just a bit too easy, and something which all the catharsis in the world isn’t going to fix, and I feel like the finale needed to acknowledge that just a little bit more.

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United States of Tara – “To Have and To Hold”

“To Have and To Hold”

May 31st, 2010

“Is every single thing just lurking beneath the surface?”

United States of Tara isn’t a mystery show, per se, but there is a central search for answers at its core which we seem to be returning to once a season. After reaching out to her college rapist in an effort to discover the truth behind her condition only to discover that it went far deeper than that particular trauma, Tara stepped away from trying to find the source of her problems and instead tried to medicate and try to continue living life without that knowledge. However, as the second season has progressed, it’s clear that her condition is creating more strain in her life now than ever before, and through the help of a new alter (Shoshannah) and whatever it is that the Hubbard house brings out in her.

I recently caught up with the past three episodes of Tara (the end of the season turned out to be too busy to get to it live), and I’m on record as suggesting that Tara’s second season is perhaps the most confident on TV this year outside of Parks and Recreation and perhaps Sons of Anarchy. “To Have and to Hold” is another strong episode which speaks to both the mysteries of Tara’s past (which I think we have enough information to sort out, if not entirely comprehend) and the damage of Tara’s present, emphasizing the long-term ramifications of the former while reminding us that the gravity of the latter has yet to be determined.

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Series Finale: Lost – “The End”

“The End”

May 23rd, 2010

“There are no shortcuts, no do-overs – what happened, happened. All of this matters.”

[For more of my thoughts on “The End,” check out my analysis of the critical response to the episode, which expands on some of the points I raise here while bringing up arguments that I didn’t get to.]

I don’t know where to begin.

I know how I feel about “The End” because I have notes which capture my intense emotional responses to the action onscreen. I also know many of the points I want to make about the episode as a whole, and how it fits into the sixth season, and how it works with the remainder of the series. In fact, I could probably write every other part of this review but the first sentence, and I’d probably be able to fill it in just fine after the fact.

However, that would be dishonest: it would make you think that I, the moment I sat down at my desk after the finale finished airing, knew precisely the topic sentence which would boil this finale down, the words that would unearth its secrets and solve its mysteries. I may know the things I want to say, and I may have my opinions about the quality of this finale, but I don’t know what I can really say to get it all started.

As the quote above indicates, and as I believe the finale embodied, there are no do-overs: what happened, happened, which is why you’re reading a short meandering consideration rather than a definitive statement. “The End” lacks any definitive statements: we learn nothing about what the island really is, we get no new information about the Dharma Initiative or any of the people involved, and the episode leans towards spiritual conclusiveness rather than any resolution of the series narrative. Lost doesn’t try to end in a way which closes off its plot holes or pieces together its own meandering qualities, but rather creates an episode that says the journey was worthwhile, that the time these characters spent with each other and the time we spent with these characters was all worth it.

And for all of the questions that we may still have – and trust me, I think all of us still have questions – I firmly believe that the quality of this series finale and the overall quality of the series simply cannot be among them. Beautiful and heartwrenching, “The End” captures more than any other series finale I’ve watched the sum total of the series’ experience, awakening in viewers the same power of recall which pulls together half of the series’ narrative.

Lost was more than our experience, featuring a complex plot which goes beyond those powerful and emotional moments so lovingly punctuated by Michael Giacchino’s stirring music, but I feel “The End” paid respect to the series that’s been: it may have taken shortcuts, and it may have prioritized certain questions differently than some viewers, but at no point did it feel like the series was making that argument that what we saw tonight was the only thing that mattered.

All of this matters, for better or for worse, and by wearing its heart and soul on its sleeve Lost has gone out the same way it came in: presenting a very big world with some very big ideas through the eye(s) of those who live their lives within it.

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Lost – “What They Died For”

“What They Died For”

May 18, 2010

“I think you’re mistaking coincidence for fate.”

[For more analysis of this week’s penultimate episode of Lost, check out my roundup of Critics’ commentary from across the web.]

Earlier today, TV scholar Jason Mittell wrote a rather fantastic analysis of the variety of different types of questions floating around as Lost comes to an end, nicely capturing the ways in which categorizing the questions helps us outline our own “priorities.” Say what you will about “Across the Sea” (as I, or the critics, did), but it has certainly forced Lost’s active audience to consider which questions matter most at this late stage in the series – rather than forcing us to see things a certain way, the episode forced us to see things of our own choosing, things which help form our personal view of the series heading into its conclusion.

When the episode was labeled as “divisive,” it’s easy to presume that the division lies between those who liked it and those who hated it, but the divisions go much deeper than that. The discussion of the episode brought to light how each individual viewer (rather than “groups” of viewers who we bundle into particular categories) has viewed the series thus far, and in doing so led them to the variety of questions which Mittell classifies; rather than eliding these sorts of big questions or attempting to lead viewers in a certain direction, Lindelof and Cuse sat their audience down by the fire and told them that they had a choice to see this show in whichever way they wanted to going into these final episodes, and they have been more than willing to take the criticism and praise found in the questions that viewers have been asking in the past week.

I make this point because “What They Died For” is all about human agency, about how and why we make choices and what it is that pushes us to do things which may seem morally reprehensible or potentially dangerous. The episode is an important connecting point between the show’s two realities, emphasizing the ways in which choices – and the trust implicit or explicit to those choices – shape both the show and its characters on the island and within the newly introduced sideways stories. By putting to rest any doubts about the position of free will within the series, one can’t help but feel that the show is also empowering its audience to enjoy the same type of agency as we head into the finale, picking up on the spirit (if not necessarily the content) of last week’s divisive episode.

And I, speaking entirely personally, think it worked really well, but I think we’re to the point where saying this objectively may be going against the point of it all.

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Lost – “The Candidate”

“The Candidate”

May 4th, 2010

For the first half of its running time, “The Candidate” felt like the show was going through a list of the ways in which this season has somewhat struggled with its competing narrative foci. The Flash Sideways structure is thematically interesting, but it feels as if the initial “what’s going on” dynamism has been replaced by a sort of meandering structure as Jack stumbles upon connections that we made weeks ago, and reveals elements of the story which bear emotional weight but which get saved until the episode’s conclusion. This might be fine, perhaps, if there was anything happening on the island to compare it to, but through the first half of the episode the show’s action seemed borderline illogical, leaving me pondering just how cranky this review was doing to sound.

And then, at a certain point in the episode, all hell broke loose, and the stakes of the season went up by roughly ten thousand percent. Life becomes a commodity, trust becomes more important than perhaps life itself, and the show’s poetic style gets turned on its ear like perhaps it’s never been turned on its ear before. “The Candidate” is not an exemplary hour of television, struggling mightily to set up its eventual conclusion, but that conclusion ends up being such a rollercoaster that it leaves the show in perhaps the best shape its been all year while leaving us emotional wrecks.

It’s something the show hasn’t really accomplished thus far this season, which means that we’re officially in the home stretch.

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