“Parents Weekend – Part One”
August 23rd, 2010
In “Letters Home,” which was, like “Parents Weekend – Part One,” scripted by Gayle Abrams, we ‘met’ the parents.
Sure, we only met each camper’s parents through letters they wrote to them, but we got a sense of how each of them related with their parents. Trent, instead of writing to his father, writes to his deceased mother, while Will writes a scathing letter to her parents which she promptly rips up when she realizes it’s too honest for her standards. We didn’t actually meet their parents, but we saw enough to understand that family relationships play an enormous role in the larger psychological issues at play in the series.
Over the weekend, I watched the pilot to Winnie Holzman’s My So-Called Life, which is available on Hulu and which was pretty fantastic. That series was similarly interested in the relationship between teenagers and their parents, but what sets Huge apart for me is how many diverse scenarios its camp setting allows it to present. Whereas more dramas would be content to follow a few pairings, the sheer depth of this cast means that there are a good half dozen parental scenarios which unfold in the span of the episode, each connecting to the same basic themes while presenting an entirely different set of circumstances.
It doesn’t exactly have as much of a cliffhanger as it thinks it has, and treads water in a few too many areas, but there’s some really great subtlety here which continues the series’ trend towards greatness.
“What’s My Line Parts 1 & 2”
April 27th, 2010
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The end of what is almost a four-episode arc, the two-part “What’s My Line” manages to play perfectly into Buffy’s crisis of identity which stems from both the concerns regarding maturity and the future in “Lie to Me” and the threads of responsibility and consequences in “The Dark Age.” Buffy has spent a few episodes questioning the life she leads, and the Career Fair does a great job of both crystallizing those concerns and transferring them into the realm of the ordinary teenage girl who wonders about her future.
Just as Giles’ inescapable future as a Watcher led him to leave Oxford and fall in with the wrong crowd in London, Buffy watches her classmates become excited about their future and starts to worry about her own. However, “What’s My Line” introduces so many different roadblocks, including a trio of assassins and the wonder that is Kendra the Vampire Slayer, to her experience that she starts to reconsider what it’s like to live a day in her shoes, and the show nicely unites a potentially chaotic episode within key themes that resonate throughout the second season.
February 2nd, 2010
“Nothing is Irreversible.”
To say that I am excited about the final season of Lost is an understatement, but it doesn’t tell the entire story.
I was excited, for instance, for the final season of Battlestar Galactica, but that season had clear expectations in terms of dealing with the identities of the final five Cylons, and was divided into two halves so as to stretch it out further. With Lost, there is no such clarity, as the show could be headed in any bloody direction we could imagine, and it will be completely over in only a few short months. And this is a show that I started watching on day one, that I remained devoted to throughout its run, and that was an important part of my transition into TV criticism.
So “LA X” is the culmination of a six-year journey, and my only hope going into the premiere was that it would feel like the beginning of the end without feeling like the end of the beginning, that it would seem like it was the same show that came before while clearly marching towards a conclusion.
And what we got was an episode of television that turns the show’s world upside down while simultaneously fitting pieces together to work towards that conclusion, and by balancing the two almost to perfection Lindelof and Cuse have made this just as exciting and eventful as I hoped it would be, all while making me even more confused than I was before. It starts a season that promises to probe the above question in terms of an abstract impression of these characters and the journey they have taken on our television screens, a ballsy move that promises another year of complex but precise television.
Welcome back, Lost – we missed you.
“Daybreak Part One”
March 13th, 2009
Methinks that Ronald D. Moore has placed a red line right down the ranks of the Galactica faithful, which is something that he seems to revel in – it is not that the beginning of “Daybreak” is inherently a bad episode, but rather that it represents a very cautious approach that is treating this three-hour finale as an episode in and of itself as opposed to an extension of the episodes that came before it. The result is another in a long line of setup episodes, weaving in and out from his main character’s past lives in Caprica City in a way that makes thematic sense to the show as a whole, but doesn’t actually feel like it connects with the mutiny, or the rest of the fourth season thus far.
There’s something to be said for this kind of approach: with a cast this large and with a timeline this varied in terms of both action and reaction, it’s easy to see why returning to who these people were before “the Fall” would be of some value. And yet, at the same time, I left the episode not pondering how much these characters have changed but rather how much they’ve remained the same. Something about the way the episode was structured made it a bit too easy, the parallels between their former lives and their current predicament too simply stated, for us to forget some of what has happened to them, to remove the context of forward momentum and replace it with a potent nostalgia.
The result is something different, not something wrong: when Adama has his heroic speech, we are properly on the edge of our seat, properly considering the gravity of this situation, and properly realizing just how epic this is going to eventually be. But we’ve been waiting for something epic for a long time now, and by layering that suspense with the catharsis of the flashbacks we’re taken out of the season and placed into a series perspective perhaps too disconnected from the season thus far.
I’m left wondering not whether Moore is steering this ship in the right direction for the finale, which has the right kind of epic qualities as we need it to have coupled with a strong connection to these characters and their past lives, but rather whether this finale remains unchanged from the plan originally designed for when the second season was to be only 13 episodes – I have a feeling that it wouldn’t have been any different. As a result, while it feels like we’re heading in the right direction for a series finale, I don’t quite know if it feels like an ideal capoff to the season in and of itself.
February 5th, 2009
Only four days after I was admittedly frustrated by an hour long episode, we have a unique test of my concerns in “Lecture Circuit,” the first of two parts of the same basic episode. What we have, essentially, is an hour long episode split into two parts: we leave most of our storylines at a cliffhanger, and it’s clear that we’re picking this up next week.
As the first half of an hour long episode, this was actually a very well containted episode that despite never really grasping at resolutions nonetheless offers a logical buildup to next week’s conclusion. The episode paces itself very logically: it’s a slow build, and one that isn’t really concerned about breaking new ground, but I enjoyed it for precisely that reason. While the hour-long Super Bowl episode was far funnier, and ultimately the better example of the show’s comic potential, it’s nice to be able to sit back and spend some time with the characters.