“Dash, Flash, Crash”
November 17th, 2010
Last week I posted about concerns regarding Modern Family’s relationship with questions of race and ethnicity (albeit focused on the former), and over at TV Overmind the commenters were…well, they were angry. My point was not to say that the show is racist, but rather that there are moments when questions relating to sensitive issues are located within the production of the series rather than character actions.
Let’s take, for example, Phil’s “If you ain’t white, you ain’t right” t-shirt which angers an African American taxi cab. It’s highly offensive, sure, but it plays into his cluelessness in ways we recognize. It is the intersection of his inability to realize what his words mean with questions of race in today’s society, and its continued presence (“And this year I predict total White domination!”) makes it seem less like that single flashback is necessary in order to construct the joke. It seems like something Phil would do, makes me laugh, and happens to transition into the best episode since “Fizbo.”
In other words, next time you hear me ragging on Modern Family? Manny’s birthday.
The Construction of Race in Modern Family’s Second Season
November 10th, 2010
ABC’s Modern Family has always been concerned with questions of race: that Gloria and Manny are Colombian, and that Lily is Vietnamese, were prominent factors in the series’ pilot, so questions of race (and racism) have been evident throughout the series.
And yet, something seems different in the second season. While nothing has been fundamentally changed in terms of questions of race, the show is going to racial humor more often and in a few instances from a different perspective. I would never go so far as to say that the series is racist, but in its desire to increase the amount of racial humor it seems to have forced the issue without allowing it to flow naturally from its characters or even its storylines.
While it is not enough to condemn the series, I would argue that the way race has been presented so far this season shifts ownership of these dynamics to the people behind the scenes as opposed to the characters within the series, creating problematic questions of authorship that threaten both the series’ realism and its complexity.
“The Old Wagon”
September 22nd, 2010
“Time marches on, huh?”
The central storyline in “The Old Wagon” is about nostalgia: the Dunphy family keeps their station wagon around not because it’s functional, but because it holds treasured memories of their past that they are unwilling to let go.
My growing issue with Modern Family is that it doesn’t feel like a beat up station wagon with character; instead, it feels like one of those models which takes people’s nostalgia for classic cars and then crams it into a shiny new package. There are elements here that I enjoy as a viewer, and elements that are unquestionably well-executed, and yet the ultimate package feels as if it has been manufactured to create that response instead of earning it.
In an episode which emphasized the importance of reflecting on how fast things change in our lives, Modern Family demonstrated that absolutely nothing has changed since the show sprang to life a year ago. “The Old Wagon” is not even close to being a bad episode of television, but it fits so comfortably into the show’s patterns that it honestly frustrates me more than a legitimately bad episode would.
At least then there might have been a single moment of growth.
May 19th, 2010
Throughout Modern Family’s first season, episodes have been airing out of production order, which isn’t overly surprising: a lot of new comedies air this way based on the strength of certain episodes and to ensure new viewers stick around for a while. However, it means that we’re not really able to read too much into the show’s long term character development, as episodes become interchangeable; I’m not suggesting every sitcom needs to have such character development, but this feels like the kind of show where characters are going to get older over time (especially the kids), and where I’d hope that they would evolve into new stories as this successful show continues into future seasons.
However, I would have been perfectly fine had “Family Portrait” been aired earlier in the season, as I don’t entirely understand why it was chosen as the season finale. Rife with cliches and some fairly broad storylines which show the characters at their most archetypal, and fairly low on great material for the show’s breakout characters, it seems strange that this would be the note the show wanted to leave on when compared with last week’s vacation episode that ended on an earned emotional conclusion. For a show so willing to control the order of things to provide the best possible impact regardless of production order, to place this “okay” episode in this position as opposed to last week’s really strong outing either indicates they don’t really care what not they leave on or that they have a very different conception of what works about this from my own.
Considering that I’ve been sort of at arm’s length with the show all season, it’s probably the latter.
May 12th, 2010
I don’t think this was, in particular, one of the show’s funniest episodes. There were certainly some clever lines in “Hawaii,” as the show tried out some familiar but not yet tapped out character combinations within the central family, but the show wasn’t going for what you’d call broad humour here.
However, there was a nice sense of realism in the way these stories unfolded; everything reaches a heartwarming conclusion, but rather than undercutting some sort of broad comic satire it seems like a logical extension of a trip which got “real” in a hurry. Everyone was caught dealing with certain realities they hadn’t faced in their daily lives which people are technically supposed to leave behind on vacations, and that led to a focus on these characters as real people in a way the show sometimes elides in its search for comedy.
May 5th, 2010
There’s a point in this episode where I became very afraid. I really like episodes where the characters are all part of the same situation, but there’s a point where it seemed like the show was intending to play out every airport/flying cliche imaginable. Mitchell left his wallet at home, Claire was afraid of flying, and Manny was pulled aside for being on a “No Fly” list – combine with a lot of unpleasantness surrounding those events and Jay’s outward disappointment about the entire family joining them on their Hawaii vacation, and it just wasn’t coming together all that well.
However, “Airport 2010” ended up coming together rather remarkably well: there were some nice use of some non-linear narratives to keep things interesting, the cuts between different stories provided a real sense of dynamism, and when the show eventually gets to its heartwarming conclusion it feels more earned that most similar stories. This is largely because at a certain point the show lets characters talk to one another about their feelings rather than just getting into wacky comic situations that reveal them, very clearly laying out a reason for them to come together to fly to Maui at episode’s end and very clearly identifying what makes this show better than its sitcom situations.
March 31st, 2010
I’ve written a few times in the past about how Twitter can create certain expectations about a show before I get a chance to watch it, and this was very much the case with “Game Changer.” I didn’t know anything about the episode going into the day, but the people I follow on Twitter were all very interested in discussing the appearance of Apple’s shiny-new iPad on the series.
As I tweeted after watching the episode late last night, I don’t necessarily get the outraged response from some people: product integration is something that we need to start accepting as part of this television era, and the iPad is precisely the kind of product that Phil (who has to money to support his every technological impulse) would be desperate to purchase. My general view on product placement is that if it fits the show and the character then there’s nothing to be outraged about; as long as there’s congruity, outrage is simply not an emotion I’m likely to feel.
However, what we should be focusing on with “Game Changer” is that it didn’t really make me feel anything at all: rather than focusing on the product replacement as an easy target, let’s focus on how the Claire/Phil story was dangerously close to stories the show has done before, or how the rest of the episode felt just a bit “lazy.”
March 24th, 2010
I think we’re past the point where I need to go into my usual rant about Modern Family, a show which is well-crafted and funny but not necessarily funny because it is well-crafted. In other words, the show has some very funny performers who are often given funny things to do, but the structures of the show, for me personally, tend to impede rather than improve those stories. The show is unquestionably well-crafted, but there are times when I see the fingerprints of writers and directors all over the show, and it sort of takes me out of the moment and makes me appreciate the show more than I love it.
So while I’m tired of trying to lay out the whole “like, not love” situation with the show, I do want us to keep it in mind, since some very engaging stories were ever-so-slightly damaged by a bit of over-writing in “Starry Night.” While the sort of non-linear storytelling the show seems to love so much makes sense in certain instances, including one of the stories in this episode, it overcomplicated the others in a way which continues to frustrate me – I laughed in between my furrowed brows, don’t get me wrong, but I want to avoid the furrowing altogether.
March 4th, 2010
I understand sitcom formulas: I know why they exist, I know why they can sometimes be very funny, and I understand why there are quite a few viewers who are in love with them. And while I’m on the record as amongst those who are not quite on the Modern Family bandwagon, I respect a lot of what the show is doing, and do not begrudge it for being formulaic to varying degrees each week.
If I’m being honest, “Fears” was one of the best episodes the show has done in its most limiting formula, the separation of the three families into distinct stories. The theme was consistent, the comedy was varied, and the show perhaps came the closest yet to earning its saccharine conclusion. None of the stories fell too far into comic farce to feel like they were shoehorned into the corny conclusion, and while every story was on the edge of tipping into that land of love and caring that makes me want to throw up, they mostly stayed within something funny and sweet without going too far.
And yes, that’s the most convoluted way of saying “this was a pretty good episode of Modern Family” you’re likely to find.
“Not in My House”
January 13th, 2010
Sometimes, when I write something particularly critical show about a particular show, I wonder if people think I’m difficult to please. Because, while I may be deluding myself, I think I’m actually quite easy to please. I might be very particular about what I want from a show like Modern Family, which I feel isn’t living up to its potential, but that doesn’t mean that when it actually happens I’m just going to find something new to complain about. When a show listens to me like Microsoft listened to all of those annoying people in Windows 7 commercials and does exactly what I tell them to, it’s pretty much enough for me to ignore any other problems and sing from the rafters.
So while I do, yes, have some issues with “Not in My House,” which isn’t as riotous as the show has been in the past, the fact that two of the families interacted in an entirely natural, non-dysfunctional fashion without the show imploding into contrivance demonstrates how this should happen more often. It’s my Windows 7 moment, and it was enough to elevate this far above last week’s episode for me.
Oh, plus it has a Dog Butler. I would NEVER complain about a Dog Butler.