Awkward. has been successful with MTV’s key market, drawing significant fan response for its relatable teen characters among young female demographics. It’s a show that fits comfortably into expectations for a show in the age of social media, eminently hashtaggable, and it’s become a key cornerstone in the channel’s original programming efforts.
However, it would be wrong to reduce Awkward. to its hashtags. In a diverse first season, creator/showrunner Lauren Iungerich explored a wide range of storylines, balanced characters from different age groups, and successfully managed to keep a love triangle from becoming either a foregone conclusion or a waste of time.
In this second part of my conversation with Iungerich—you can find Part One here—we explore what worked in Awkward.’s first season, how that’s changing in the second season, and a slight digression into the show’s southern California setting.
Is there a story in Awkward.’s first season that you felt best captured the show you were trying to make? The moment where it all clicked for you?
LI: The moment in “Queen Bee-atches” with Sadie, where we really sort of humanize her, where we understand her powerlessness to her weight, was something I was really proud of. The moment in “Fateful” where Lacey gives her daughter that dress, that sort of recognition of acceptance of her kid, and realizing she had made a lot of mistakes. The journey of Lacey in the first season was about going through the five stages of grief, and that was her coming to that phase of acceptance, of realizing how much she loved her daughter, and how precious she was. In “My Super Bittersweet Sixteen” when Matty shows up at the back door on her birthday, on this terrible birthday, and wants to be more than her friend. That is such a romantic tenet. And Dead Stacy [in “Over My Dead Body”], being able to take something and not make a particular TV trope, to do something that hadn’t been done before. That’s a real tenet of our show: we try not to do anything that’s super tropey.
May 20th, 2010
When I write about the Thursday comedies, I have to write about them after I finish watching them all, as there’s too many other Thursday programs recording on the common DVR which requires I watch them on a recording device-free television set. This is normally fine, but it seemed especially tough tonight, as every other show has to live up to the level of quality that Parks and Recreation has right now.
The best comedy finales are those which find elements of conflict within elements of stability, emphasizing the reasons that we love watching the show week-after-week and the reasons why it remains lively and eventful enough to keep from becoming too familiar. “Freddy Spaghetti” is the epitome of this type of finale, delivering plenty of evidence which captures the heart and soul of this show while introducing other elements that threaten that stability without necessarily overwhelming the positivity inherent to these characters.
It ends up leaving everything in a state of flux, with very little optimism about the future, and yet the show’s characters still seem so positive about their present situation that you feel like they can rise above any potential challenges. It doesn’t actually bring any of the season’s storylines to a wholly positive conclusion, but it complicates things in such an infectious fashion that it loses none of its momentum, and heads into a (sadly too, too long) hiatus with the best season of comic television we saw this year in its back pocket.
And no seven month break is going to change that fact.
“Pascal’s Triangle Revisited”
May 20th, 2010
Last week felt like a finale, or at least how I had anticipated a Community finale to feel like. It felt like it solidified the group dynamics, offering evidence that the show has grown a great deal over the past season. It was a confident statement on which to head into a second season, emphasizing the dynamics that we’ve enjoyed thus far and would continue to enjoy into the future.
“Pascal’s Triangle Revisited” also feels like a finale, but I’m not entirely convinced it felt like what I anticipated a Community finale to feel like, or even what I want a Community finale to feel like. Throwing the group dynamics out the window, and focusing a lot of its time on supporting characters who aren’t part of the core group, the episode places the group’s future in chaos and delivers a traditional “shake up the status quo” finale that doesn’t feel like it reaches any of the series heights.
Instead, it feels like Dan Harmon and company have taken a small network note and delivered a slightly exaggerated, but never quite subverted, take on what you would traditionally expect from a sitcom finale. I don’t necessarily think that the events which transpire are bad, and I had a few good laughs in the episode, but the show I love was purposefully placed into peril, and I don’t really think that it resulted in a particularly great half-hour of comedy even if I respect the show for some of the choices it eventually made.
February 11th, 2010
I wrote about Valentine’s Day episodes on Wednesday night, and in the process I argued that I prefer shows which use the holiday to service their existing universe rather than forcing their universe to conform to the holiday. Accordingly, I was legitimately excited about how Parks was going to handle the holiday, because the show has a lot of characters in love, falling in love, or in a position where love is possible but perhaps not materializing as they might have wanted.
“Galentine’s Day” manages to handle those relationships with a subtlety beyond most shows in their second season, building the episode around a romantic story which loses its romance once it enters reality, in the process shedding light on the state of the show’s various relationships. And since, as noted, I’m more invested in these relationships than I had realized, it made for a great episode for a lot of different characters.
“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.