“No Man is an Island”
July 9th, 2009
Due to some thesis commitments, I’ve actually found myself doing something really strange: not only have I had no time to blog about television, but I’ve even found myself falling behind on watching it. Sure, I’ve gone through three seasons of Top Chef is about nine days, but watching new television just hasn’t been part of the game plan, which meant I just watched 10 Things I Hate About You, haven’t gotten to Warehouse 13, and was a day late getting to this week’s episodes of Burn Notice and Royal Pains.
And trust me, I’m as shocked as you are that the one show that shakes me out of my hiatus is Royal Pains, a show that two weeks earlier (before the show took a break for the holiday) had convinced me it was willing to settle for light and charming as opposed to something more substantial. However, “No Man is an Island” shocked me by emerging as a really compelling piece of television which did a lot of small things to bring to the surface intriguing characters dynamics, medical scenarios which start as one thing and evolve as medicine often can, plus a very Burn Notice/MacGyver piece of medicine from Dr. Hank.
It was the kind of episode that legitimately makes me think that these characters could eventually become their own less interesting but nonetheless entertaining versions of Michael, Sam and Fiona, a scenario I wouldn’t have predicted when the show started and that makes me more intrigued to see where the show goes from here.
“Friends and Family”
June 4th, 2009
“Danger isn’t always Obvious”
This is not a new edict for Michael Weston, or Burn Notice in general: since the beginning of the show, Michael’s greatest tip for the audience as told through his narration is to be able to spot danger before it happens, reading a situation in a way that few others can. He made his living being able to spot and avoid dangerous situations, and he has used those skills in his post-blacklist existence to find success in new areas of his life.
But moving into the show’s third season, danger is more unpredictable than ever before on the broad, serialized level the show has gradually built into its procedural frame. In the first season, Michael knew that he had been burned by someone in particular but was largely acclimating to his new existence and only occasionally interacting with the danger they represented. In the second season, Michael began to better understand that danger, even infiltrating it by using their interactions through Carla and others against them, and while they never became less dangerous he at least understood how they, as operatives similar to himself, might operate.
But now, as we open the season with Michael swimming five miles in suit pants, we discover an environment where even the observational technique of Michael Weston can’t really comprehend the dangers that could befall him on an individual mission. The show’s structure remains mostly unchanged, but more than ever before they are capable of (as we see in the premiere) spiraling into a far more dangerous situation than Michael first realized. Adhering to the old adage, the devil you know is often better than the devil which could take a multitude of forms ranging in danger and, more importantly, ranging in their approaches.
The result is “Friends and Family,” a setup for another great season, one presents another explosive and rewarding variable to the show’s already winning formula, and one which highlights some of the show’s best elements.