“Water & Power”
June 6th, 2009
“It’s like putting your faith in the idea of someone before really knowing who they are.”
The above quotation, pulled from the episode, was my personal reaction to Pushing Daisies. I was “all in” from the moment I heard the premise of the pilot, pretty much, and was even more excited based on that episode. And there is something dangerous about that like, for example, having to deal with the fact that it was on the air for about 1/8 the amount of time as According to Jim. But the one thing that Pushing Daisies, as a show, never did was to displace my faith in any violent fashion – I was disappointed by its short end, but its quality rarely faltered, and that is something important to remember as we continue our journey through these final three episodes.
When you enter into a bittersweet series of episodes like these, knowing that the show has been canceled and that not all resolutions will be possible, an episode like “Water & Power” is a real microcosm of that feeling. As soon as the episode begins with a shot of a young Emerson Cod, you realize that this will be the show’s last chance to give this character a proper sendoff, especially as it relates to his search for his missing daughter. It was a recurring bit of story that was never actually a storyline: we saw the book he made, and we were there when he told Ned for the first time, but it’s never actually been the central point of a mystery of the week.
But, of course, it never will be again either: although the episode allows the issue of young Penny to emerge as the purpose of the show’s narrative, it doesn’t resolve the storyline in some sort of final way, and leaves the door open for all of the things we know the show won’t have. It introduces a few highly compelling recurring guest stars, for example, but we know the show will never get to see them return, and since it doesn’t offer any real finality for Emerson and Penny it feels like yet another chapter that, while satisfying for what it could have been, isn’t all that satisfying for what it ended up being.
“Oh Oh Oh…It’s Magic”
November 19th, 2008
With production on the thirteenth episode of its second season completed last week, Pushing Daisies has officially completed all episodes ordered by ABC. This is an alarming fact that hasn’t been lost on fans of the series, and they’re (justifiably) hoping that tonight’s episode brings a solid ratings bump and a chance for a third season (or, even, the order of more episodes for the Spring). As someone who is very much a fan of this series, I count myself amongst them: my fingers are crossed for tomorrow moning. Call it a cliche, but we’re hoping for a little bit of magic.
“Oh Oh Oh…It’s Magic” is actually a really interesting study for the show, and poses a question to this particular critical eye: is it the fanciful locations and atmospheric qualities that give Pushing Daisies its magical quality, or is it the characters who populate this world who have such pure and human emotions that magic spontaneously erupts when they’re on screen? While Fred Willard’s guest appearance as an illusionist (“The Great Herrmann”) and the world of magic offer some points of interest, the season has had better locations (in particular, the monastery and the circus exploded off the screen in ways that the claustrophobic stage just doesn’t).
Instead, this first episode back from a three week hiatus finds the show leaning on its characters, finding its emotion in their humour (Emerson and Olive) as well as their own tragic pasts (Ned and Chuck’s parent troubles). While there have been some who have called this one of the show’s best episodes yet, I felt somewhat more lukewarm about it. Until it kicks into gear in the third act, where the emotions finally overflow into a very exciting and meaningful conclusion, it was what Pushing Daisies always is: a show that finds magic in procedural mystery, and one that we hope continues to do so for a long time to come.
October 8th, 2008
In the prologue to the second episode of Pushing Daisies’ second season, Ned learns a lesson that may be all too self-prophetic for Bryan Fuller’s charming show: that “new beginnings only lead to painful ends.” Considering last week’s alarmingly low ratings numbers, joining Chuck and Terminator: Sarah Connor Chronicles on the lists of shows bouncing back creatively if not in terms of viewership after the writers’ strike cut their seasons short, Pushing Daisies might well be headed for an end that will certainly be painful considering how much I love this show.
But as the episode progresses, what is demonstrates is that new beginnings aren’t nearly as hard as Ned’s initial lesson made it out to be: that striking out on your own, or suddenly being on your own, or hoping for a new period in your life to begin, can be both exhilarating and terrifying at the same time without having to fall into either category. While it may seem like a show shouldn’t be able to create a common thread for a pie maker who can bring back the dead, an alive again childhood sweetheart, a picture-book making detective, two eccentric Aunts, and an employee who’s at a nunnery, all while also managing to construct an entertaining circus-based murder mystery, Pushing Daisies has proven its mettle.
October 1st, 2008
Sometimes a show isn’t profound, or fascinating, or deep. Sometimes, a show’s originality and charm are what elevate it to the level of being one of the most anticipated returns of the fall season, not a cliffhanger or any sort of buzzworthy (I know, I know) story element.
Pushing Daisies is one of these shows. I’ve always found it tough to blog about Pushing Daisies on any sort of extremely critical perspective: it’s a show that people either love or hate, and falling so strongly on the love side of things I can’t help but be more giddy with excitement than brimming with allegorical readings. If Pushing Daisies offers a cranky Emerson Cod, spastic Olive Snook, optimistic Chuck, awkward Ned, wacky Aunts Lily and Vivian, and more of Digby (Television’s best canine co-star) than I could ask for, I’m not going to be complaining anytime soon.
“Bzzzzzzzzz!” (With exactly nine Zs, I checked) is more of the same: not quite the revolution that Chuck’s second season premiere was for that show’s trajectory, it’s an episode that smartly places the focus on the central premise of the series while allowing the opportunity for almost all of its characters to have their various little moments. Settling in from the end of season drama that we were left with, Pushing Daisies remains what it was before: a comfy, cozy and whimsical universe to escape to for an hour each week.