September 7th, 2010
In a post about the third season premiere of Sons of Anarchy, Kurt Sutter wrote the following:
“It would be very easy for me to repeat what worked in season two — create some internal beef that provided intensity and tension within the club, bring in another big nemesis, throw those two conflicts at each other and watch the blood flow. Yes, I’m sure it would be okay and people would like it. But ultimately, I would be cheating my own creative process and your dedication as well. I’ve learned that devoted fans are very sophisticated viewers. They know when they are being fed leftovers. Yeah, they may eat them for awhile, but eventually, they’ll get bored and leave to feed on something more tasty.”
This explains a great deal about “So,” an episode which lulls you into a false sense of security only to up the ante that much more after last season’s dark and twisted finale. Sons of Anarchy became one of television’s top dramas last year because Sutter is fearless, willing to go to particularly dark places and also willing to allow the story to escalate without concern over running out of story ideas in the future. There was actually enough story in the wake of that finale to sustain the season through the first few episodes: it wouldn’t even be leftovers so much as the rest of dinner, magically still warm despite having been sitting on the plate since last December.
What “So” establishes most clearly is that Sons’ action-packed narrative does not indicate a lack of nuance in its storytelling: as crafty as he is outspoken, Sutter creates the illusion of “moving on” while delivering a knockout blow which moves in an entirely different, yet perfectly complimentary, direction.
And, not surprisingly, I feel neither cheated nor bored: instead, I’m downright exhilarated.
November 24th, 2009
It’s been a couple of weeks since I’ve checked in on Sons of Anarchy, primarily because I’ve run out of superlative things to say about the show. Right now, the show is riding a wave of momentum that feels almost Wire-esque, relying less on twists or turns (which would perhaps illicit more of an immediate desire to write about it) and more on a clear depiction of SAMCRO accomplishing what they want to accomplish in the form of some really compelling asskickery.
“Culling” is the first time in a few episodes where things, you could argue, go wrong, but what’s most intriguing is how uniquely situated the audience is within this story from a traditional law and order perspective. Because our point of view lies with the Sons, who are in this for vengeance over justice, we root against the ATF and become legitimately concerned when the Charming P.D. enter into the equation. The show has us cheering things that television doesn’t necessarily always condition us to cheer, and it makes for an episode that builds tension not by having things go terribly wrong but rather having the definition of justice become a debatable topic on which different characters have very different perspectives.
It’s the complicated web the show has been spinning with shocking clarity all season, and it’s making for an enormously entertaining march to the finale.
October 13th, 2009
When I fall behind on a particular show, chances are that it’s not intentional. I don’t “decide” to not get around to watching the most recent episodes of Dexter before the DVR goes kaput, it just sort of happens in the midst of catching up with everything else I didn’t get to post-vacation. With Sons of Anarchy, this is equally true: after simply not getting around to the season’s fourth episode, the fifth was a casualty of the vacation and it was only last night that I caught up with the adventures of SAMCRO.
And they have been adventures this season, one that has been the very definition of rollicking. It’s the season where storylines never sleep: while it and Mad Men are at the top of the serialized drama food chain right now, their approaches this season could not be further apart. While Mad Men likes to isolate its stories on a particular set of characters, the very point of Sons of Anarchy’s second season is that you can’t escape the coming storm, and that no one (not Tara, not Gemma, not Hale) is capable of standing on the sidelines and avoiding the fray. Rather than trying to depict a slow and tragic fall, the season has never shied from the fact that Zobell is not kidding around, and that the Sons are in some serious trouble.
Some general thoughts on the last few episodes and more detailed thoughts on “Falx Celebri” after the jump.
Yes, I’m Still Watching…Life on Mars
February 23rd, 2009
There were many shows that I caught up on over the end of last week, finding myself recovering from one major academic deadline and then not wanting to start preparing for the next one immediately. And so I sat down and caught up on numerous shows that I’ve found myself falling behind on for this, that, or some other reason.
The one I’m choosing to write about first is the one that has perhaps been off the radar for the longest period of time. I blogged my way through the premiere of Life on Mars, but since that point I have been noticeably absent. But the show after a very strong fall finale of sorts in December, Life on Mars has returned after the break to struggling ratings (nothing ever performs well after Lost) but to a bit of a creative resurgence, picking the right kinds of stories and the right balance of 1973 reality and 1973 surreality to sustain my attention.
I still have some concerns with certain elements of the show’s storytelling, but at this point they have done more than enough in terms of creating endearing, well-acted and well-rounded characters for me to be too preoccupied with such matters, and although I am still remiss in not checking out the BBC original series I am pleased at some of the broader mythology stuff that is starting to appear.