September 21st, 2010
The Sons of Anarchy have positioned themselves as a morally complex guardian angel for the people of Charming, but that image can only last for so long – in the wake of an event like a shootout where an innocent child and an authority figure are gunned down outside a church, two questions emerge. First, how could SAMCRO let this happen; and, second, was this SAMCRO’s fault?
These are questions that, in the past, remained largely within the club: the series was, after all, about the internal conflict between Jax and Clay, specifically the former’s struggle to reconcile the current club with his father’s vision, so the external side of things wasn’t particularly important. However, with political forces swirling and legal troubles surfacing and resurfacing, SAMCRO is facing an uncertain future for reasons that go beyond their internal volatility.
“Caregiver” is another strong entry for the show’s third season, and one which nicely captures the difficult position of taking care of someone who runs off without notice, or turns coat with little to no notice.
January 18th, 2010
When a network attempts to change its brand identity, it’s always an interesting balancing act. On the one hand, the network wants to be able to sell advertisers and viewers on the fact that they are new and exciting, charting a progressive path into the future. However, on the other hand, no network can entirely rebrand, so there will be remnants of the former identity kicking around both in order to provide a sense of stability for both advertisers and viewers alike.
Life Unexpected won’t be the last time I talk about this particular phenomenon this week (Hint: the other will be on Friday), but it’s definitely a show that hearkens back to The WB more than anything else in The CW’s lineup. It’s created a really interesting critical reaction to this show, where everyone points out how much it doesn’t fit the current CW brand and that, considering the critical opinion of said brand, it is better off for it. And I’m not going to deviate from this script: the show evokes Everwood and Gilmore Girls far more than Gossip Girl or Melrose Place, and I’m certainly not going to complain about that.
I do wonder, though, where the audience that watches a show as sweet and heartwarming as this one is currently located. I appreciate what the show has to offer, and I would certainly suggest that you check it out if The WB’s brand of charming drama series were up your alley, but I can’t help but wonder if the WB brand has become so stratified that the people who were silently sitting in their living rooms thinking to themselves “I wish there were shows like the WB used to have” have moved onto other networks (like ABC Family) and aren’t going to look past the network’s new brand.
I want to be wrong, though: I quite liked Life Unexpected, and I’d like to think shows like this could still succeed in this day and age.
June 18th, 2009
It seems like every time I’m writing about Burn Notice, like in a quick catchup piece I put together ahead of the season premiere for Geeks of Doom, I’m talking about the progression of the show from its first season to where it stands today. Watching “End Run,” it’s clear that the writers are a fan of evoking this particular discourse, for this episode presents itself as a high stakes, no holds barred, greatest hits of what the first season used to do on a small scale, and what now feels more suspenseful, more entertaining, and simply more effective.
By bringing absent Nate (Michael’s brother) back into the picture, the show reminds us that there was a time when “annoyingly ignorant family members” was actually a trope that the show was relying on for some of its drama. Now, meanwhile, the show finds drama from a no hold barred arms dealer holding Michael hostage in order to utilize his skillset for an upcoming job, and from a police threat that shows no signs of going away anytime soon. There was a time when Michael was fighting against the people around him, whether it was Sam reporting to the FBI or his mother knowing nothing about his job and annoying him, but now everyone is banding together in an effort to assist Michael in keeping his friends and family safe, and staying out of jail in the process.
For now, the result is an episode that simultaneously contributes to ongoing storylines, connects with numerous satellites within the show’s universe, and gives us perhaps the best showcase yet for Michael’s unique skillset, all without feeling the least bit contrived or put together.
October 27th, 2008
It’s been a long time since I’ve commented on Gossip Girl, but the show has been on a weird trajectory as of late. The season has had a lot of false starts: I thought they were going to villify Serena in her battle with Blair over supremacy, but now they’re back to being tight friends. I thought they were going to actually give the Nate/Vanessa storyline some time to breathe, and instead Vanessa’s back to being irrelevant and Nate’s moved in with the Humphreys. I thought that they were going to let Jenny settle into her new career in order to spare us more of her storyline, and instead they thrust her back into the show’s romantic and dramatic center.
Really, we’re right where we left off last season: with Blair and Chuck as the only interesting characters on the show, and everyone else just kind of puttering between pointless storylines. Even Blair and Chuck acknowledge, of course, that it’s the game that keeps them interesting, and even that could get old with time. And, to be fair to the show, “Pret-a-Poor-J” does represent the start of a new direction for the show (now 1/3 into its season, recently upped to 24 episodes), but it’s a start that seems too quick: new characters and new worlds can have an impact, but this feels more cheap than earned.