Tag Archives: NBC

Season Premiere: Chuck – “Chuck vs. the Pink Slip”/”Chuck vs. the Three Words”

“Chuck vs. the Pink Slip”/”Chuck vs. the Three Words”

January 10th, 2010

“Trust me, Chuck – it’s all going to work out fine.”

The title of every episode of Chuck implies a conflict. It tells us that Chuck is in a constant state of opposition, and that this show is defined by the adversarial life Chuck lives, trapped between the job the supercomputer in his head forces him to do and the life he would be leading if it were not for that supercomputer. Much of the show’s best material, both comic and dramatic, comes when world collide, when the Castle invades the Buy More and when Ellie and Awesome become acquainted with Sarah and Casey.

And yet, so much of what makes the show work from a creative standpoint is that these elements aren’t in conflict at all. Although it may be tough for Chuck to reconcile these elements, keeping secrets from the people he loves most, the show has always been at its best when these worlds seamlessly become one and the show reflects the beautiful concert of spy and nerd, of friend and friendly foe (Casey), of real family and work family. And what holds it all together is that these are characters who have relationships, who relate to one another in ways that feel funny when they need to be funny, meaningful when they need to be meaningful, and difficult when they need to be difficult. This is a show that wouldn’t work were it not for these characters feeling part of the same world: a world with conflict, yes, but a world which never feels defined by that conflict, episode titles aside.

I say all of this both to celebrate the return of Chuck, and to recognize that the season’s key theme seems to be the characters themselves coming to term with the role that emotional connection plays in this universe. While some feared the show’s game-changing twist would fundamentally change the series’ DNA, it has instead done quite the opposite: the series’ DNA has stayed quite the same, and what’s changed is how aware the characters are of the ties that bind them together which go beyond job descriptions. In “Chuck vs. the Pink Slip” and “Chuck vs. the Three Words,” we discover that for Chuck to tap into all of the knowledge he has available, and for Sarah to discover what she wants to do with her life, all they need to do is realize that the very thing that they believe to be a source of conflict between them may be the one thing which solves their problems.

Which perhaps, in the process, solves the show’s biggest problem, at least for now, and gets Season 3 off to a rollicking start.

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Stop Reading this Headline and Make Plans to Watch Chuck Season 3 Instead

Chuck Season Three Preview

January 10th, 2010

Chuck is awesome.

Its third season premieres tonight.

You should watch it.

…oh, that’s not enough detail?

Ask Alan. Or Todd. Or Dan. Or James.

They already saw it.

I didn’t.

So what am I going to do?

I’m going to WATCH IT.

9pm. NBC (CityTV in Canada). Tonight. Two hours.

Then again tomorrow at 8pm (although not on CityTV).

Do you know what it’s going to be?

That’s right – awesome.

[I’ll be back later tonight with my full review of the two-hour premiere – Myles]

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Friday Night Lights – “Toilet Bowl”

“Toilet Bowl”

January 6th, 2010

Friday Night Lights is a show that, despite various dips in quality, has not fundamentally changed since its first season. It has always been a show about the people in a football-crazy town, revealing both the problems which complicate their lives and the people (and the sport) that helps them keep grounded.

The show’s problem has been those moments (primarily isolated in the second season, but cropping up in the first season as well) where it feels as if the problems are the only thing that’s working about the show. The second season didn’t just struggle because a character murdered someone, but rather because the show simultaneously retreated from the football culture that was its heart: I don’t believe the murder would have ever been a good idea regardless, but it could have been handled much more efficiently if it had been folded into the community rather than remaining a distraction.

While the fourth season started as an homage to Season Three, with Matt Saracen’s farewell arc echoing Smash and Street’s exits, it has quickly evolved into an extended test of whether the show better understands the mistakes it has made in the past. The show has never been beyond having people make mistakes, and delaying the consequences of those mistakes, but the show is stepping into familiar stories, and not in a good way. “Toilet Bowl” is filled with red flags, characters taking actions that come from a somewhat logical place but which for the sake of narrative expediency are coming faster than they probably should.

It’s adding up to a show that I’m not quite as excited as watching, even if (relative to the second season) there are more reminders of the show and the community that elevate that drama to another level.

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30 Rock – “Dealbreakers Talk Show #0001”

“Dealbreakers Talk Show #0001”

December 3rd, 2009

After writing rather lengthy analysis of the other three NBC comedies, all of which tapped into the emotional recesses of their characters in uncomfortable or telling fashions, it’s refreshing to get to 30 Rock, which tried to do absolutely none of those things.

While it wasn’t an all-time classic, “Dealbreakers Talk Show #0001” was a prime example of what happens when you just let Liz Lemon run free. The episode follows a paper thin plot, rarely taking a story to any unexpected or surprising place, but Tina Fey is so inherently in control of this character that she is able to depict Liz’s downward spiral into a Jekyll/Hyde split persona in a way that makes you laugh so hard you forget just how pointless it all is.

It becomes a series of cleverly executed sight gags at a certain point in the episode, demonstrating that even the simplest of stories (even when that story surrounds an element of the show which could be complicated) can elicit laughs within the universe Fey has created here.

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The Office – “Scott’s Tots”

“Scott’s Tots”

December 3rd, 2009

“I’ve made some empty promises in my life, but hands down that was the most generous.”

There is a moment in “Scott’s Tots” where the storyline was going exactly in the direction I wanted it to go in…and in that same moment, there was every potential that it would go in a direction that would legitimately bother me.

Such is the tightrope that this episode chooses to walk by effectively demonstrating the aftermath, rather than the initiation, of one of Michael Scott’s horrible miscalculations. The show loves mining the comedy from Michael putting his foot in its mouth, but rarely does it craft so elaborate a scenario where Michael is forced to do precisely the opposite. The episode is about what happens when Michael is finally forced to pull the foot out of his mouth and try to make up for what he’s done, making up for a past mistake rather than receiving an immediate comic comeuppance for his error of judgment.

There are a number of logical leaps that make this episode inherently problematic, and I can see what many would turn against the episode considering the direction it heads in, but the situation “Scott’s Tots” creates is so inherently part of his characters and his journey that the episode feels like a perfect character piece to show the consequences of Michael Scott’s dreams living beyond his means (and, in some instances, his brains).

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Parks and Recreation – “The Fourth Floor”

“The Fourth Floor”

December 3rd, 2009

That Parks and Recreation is a consistently funny comedy is no longer a surprise, and we’re also to the point in “The Fourth Floor” where we’re not even learning anything particularly new about these characters and their dynamics. Rather, the show has turned into what every good comedy should be: a showcase for these characters, these actors, and these writers to tell stories that make us laugh and enrich the universe without necessarily having to expand that universe.

The interactions found within “The Fourth Floor” are ones we’ve seen in the past, picking up on elements of “Greg Pikitis” in order to tell the story of Tom Haverford’s (not-so) loveless marriage coming to an end and how Leslie, and the rest of the office, react to the news. What makes it work so well is how carefully the writers control Leslie’s response to the crisis, and how use two and develop two separate locations (Jurassic Fork and the Glitter Factory) to house that drama in a way that allows the characters to learn what we already know in a way that is both funny and more resonant than it could have been.

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Community – “The Politics of Human Sexuality”

“The Politics of Human Sexuality”

December 3rd, 2009

There was some discussion earlier this season surrounding ABC’s Modern Family about whether its eleventh hour moralizing (where a character, usually Jay, clearly states the episode’s theme so as to wrap everything up in a neat little package) was damaging its credibility. No one was arguing that the morals were themselves issues, but rather it was a question of whether their impact on our impressions of the characters was being limited by the repetition. Every comedy in its first season is out to define its identity and where its characters sit within that identity, but to actually draw attention to that fact in such a blatant way simply turns me off. Since that point, Modern Family has done a number of nice episodes that avoided this crutch, so the dialogue has drifted off.

What keeps me from raising the same issue with tonight’s Community, which is also about morals and what characters learn about themselves in the span of the episode, is that the show has always shown a deft hand with how it handles its more sentimental material. While Modern Family feels as if it started to end on that note regardless of an episode’s content, Community loves revelling in the fact that sometimes it’s a mature female escort who teaches you to respect women, and sometimes what makes you comfortable with your sexuality is entirely ignoring that sexuality.

I think this is an episode that wouldn’t have worked early in the season, and yet here feels like a nice bit of character work and comic execution for the folks at Greendale.

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FOE4 Musings: Chuck vs. Fan Management vs. Fan Facilitation

Chuck vs. Fan Management vs. Fan Facilitation

November 20th, 2009

Currently ongoing at MIT, the Futures of Entertainment 4 Conference is a gathering of academics, industry leaders, and interested parties for a discussion of how “the creation of transmedia storyworlds, understanding how to appeal to migratory audiences, and the production of digital extensions for traditional materials are becoming the bread and butter of working in the media.” And while I’m not at the conference myself, through the joys of the #FoE4 Hashtag on Twitter and some extensive liveblogging it’s as if I am, which is a wonderful feeling for an academic who is isolated from these types of major conferences by geography and funding both.

However, as regular readers of Cultural Learnings know, I rarely engage in wholly academic discussions in this setting, and in terms of this conference I’m particularly interested in the convergence between the discussions being held at the conference and my own experience looking at both television and the culture that surrounds it. In particular, this morning’s panel (moderated by friend of the blog Jason Mittell) on transmedia storytelling from the perspective of the producers (both in terms of third party companies who work on tie-in websites, etc., and those who are in charge of organizing those efforts) raised an important question that perhaps Henry Jenkins put best in a tweet:

There’s obviously an ideological difference between the two terms, one designed to control and the other designed to empower, and in an example like NBC’s Chuck (which, as announced yesterday, is returning in January) we can use these terms to describe the challenge facing the show’s relaunch.. The successful fan campaign which “saved” the show and earned it a third season was facilitated indirectly, as fans created their own transmedia experience by taking product placement and turning it into their own mini-marketing campaign.

And, as a result, NBC is in a position where Fan Facilitation and Fan Management start to blur, as the existence of an existing fan base more often inspires networks to attempt to control and manipulate that group rather than understanding the intelligence implied in their earlier behaviour and using that to their advantage, risking turning them away and squandering the potential they offer.

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Chuck Season 3 Premiere Date Set: 2-Night Event on January 10th/11th, 2010

Chuck Season 3 Premiere Details

November 19th, 2009

Just an hour after the news breaks about Lost’s sixth season premiere, another internet criticism favourite breaks similar news. After rumours of the show gaining an order for six additional episodes broke about a month ago, it was expected that the show would be moved up from its schedule March premiere date, and today’s news of a two-night, three-hour premiere event of sorts confirms those expectations.

And yes, you read that correctly: in the spirit of 24 (and launching around the same time, really), Chuck will be airing a two-hour season premiere (which is actually two episodes, as they had not planned for a lengthy premiere) on Sunday, January 10th, at 9pm before moving to their regular timeslot with a third new episode on Monday, January 11th, at 8pm. Now, there’s something to be said about this strategy: it creates more of an “event” style premiere to capture people’s attention, which is why 24 has been doing them for a while, and it also ensures that the show gets some plot momentum going into the Olympics break in February.

However, there’s enough concerns surrounding this move for my excitement to be tempered by at least a little bit of concern, as I’ll discuss after the break.

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Community – “Debate 109”

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“Debate 109”

November 12th, 2009

Community, effectively, operates on two levels. One of them is a broader investigation of the community college lifestyle, this week in the form of a debate competition. The other is a character-driven model where archetypes are either challenged or substantiated in an effort to create comic interest. The show doesn’t necessarily need for both to work in the same fashion, but it depends on both to be present in order for the show to seem moderately balanced.

“Debate 109” is intriguing because of how it brings to the surface the question of how unique these characters really are, and as Jeff and Annie debate about human nature everyone else discovers that in the eyes of Abed they are as predictable as they are quirky. The former storyline offers some fun interactions and more opportunities for Alison Brie to outright steal this show out from under the rest of the cast, while the latter manages to give the episode the sort of manic connectivity that made the show’s Halloween episode so effective.

It was just a really well balanced half hour, something that I’m not sure the show had a handle on during early episodes.

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