Tag Archives: Review

June 1, 2011 · 9:00 am

Coming of [a Certain] Age: The Return of TNT’s Men of a Certain Age

The Return of TNT’s Men of a Certain Age

June 1st, 2011

There are usually some questions about when, or why, critics write pre-air reviews for returning series. Personally, I tend to only do so in circumstances where the show is going through drastic changes, where my opinion of the show is going through drastic changes, or when the show simply deserves the recognition in light of its quality (and I’ve seen episodes in advance, of course).

TNT’s Men of a Certain Age, returning tonight at 10/9c, fits into the third category: in fact, considering that this is actually the seventh episode of the second season, it’s hard to argue that there are drastic changes when this is a sort of false premiere as opposed to a fresh start. This is the same show that returned for its second season back in December, and it remains that show through the first three episodes of the back half of the season (which is all I’ve gotten through to this point).

And yet I’m compelled to write down at least a few thoughts given the fact that I feel as though some people still aren’t paying attention as a result of the series’ subject matter. I had actually fallen behind on the first half of the season, and so I just recently sat down to the winter finale, in which Terry, Joe and Owen go and get colonoscopies. On paper, this sounds like something that is very distinct to the eponymous demographic, and you wouldn’t be entirely wrong: after all, the number of 25-year-olds getting colonoscopies is likely pretty slim.

That being said, the idea that the problems that these characters face are strictly “of a certain age” is false: although their experience is certainly more reflective of my parents’ generation than my own, given that I am likely among the youngest viewers the show has, this is as much a “coming of age” story as any show set in high school or university. However, instead of focusing on “coming of age” moments which are ingrained within our experience, mapped out for us from the time we are born, Men of a Certain Age focuses on the fact that middle age doesn’t work the same way: it’s amorphous and, well, anything but certain.

Men of a Certain Age is not a show about the perils of becoming older, it’s a show about the perils of defining yourself at a stage when there’s no clear path ahead of you. As it returns to conclude its second season, the characters are admittedly preoccupied with the notion of turning 50, but it’s not about what they can or can’t do. Instead, it’s about what they should or shouldn’t do, a question that speaks less to being “old” and more to simply being human.

And the result is a pretty terrific drama series.

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May 29, 2011 · 8:57 pm

Game of Thrones – “You Win or You Die”

“You Win or You Die”

May 29th, 2011

“It’s the family name that lives on. It’s all that lives on.”

[You can also hear additional thoughts on this episode in a special edition of the Talking TV with Ryan and Ryan podcast that I participated in.]

[Also, for more on “Sexposition,” check out my review of Season 2, Episode 2, “The Night Lands”]

There has been a lot of conversation surrounding the question of exposition with Game of Thrones, understandable given the high volume of material that has been revealed through conversations in an effort to capture the complexity of George R.R. Martin’s world.

“You Win or You Die” is not particularly exposition heavy, although there is one example that I will break down in greater detail, but the function of exposition is to provide a sense of history and context and I would argue that this episode is very interested in this idea. Some have argued that flashbacks might be considered another way to provide insight into history, and that it would beat the somewhat sloppy exposition that has to this point been deployed, but I would ask this: is the point of exposition to inform or remind the audience of particular information, or is it designed to inform the audience that the particular information in question is, in fact, important enough to be discussed in this context?

The answer, as always, is that it is meant to function as both, but I think those decrying the very existence of exposition in its current form should consider the latter more carefully. The role of history within this world is an important theme that is highlighted in “You Win or You Die,” as various threads comes to a point where the past is either given new meaning or forgotten entirely.

Or, rather, forgotten in some circles and remembered in others.

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May 27, 2011 · 11:26 am

Cultural Catchup Project: “After Life” (Buffy the Vampire Slayer)

“After Life”

May 27th, 2011

“What else is different?”

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

The term “Cultural Catchup” really has two meanings.

The first is the broad notion of catching up on television shows which have proven to be important cultural touchstones but which have escaped my gaze.

The second, however, has been the experience of witnessing the conversation on a post and then quickly “catching up” with the context that informs the conversation. This is not to say that anyone has been spoiling the show, but it’s a basic fact that those of you commenting know what’s ahead, and so as I watch through a season I often find myself rereading (or at least thinking about) previous comments and putting two and two together.

I raise this point in part because the unique nature of this viewing experience is something I like theorizing and because this sort of retroactive sense making is at the heart of “After Life,” an episode that serves as a sort of Rosetta Stone for the season premiere and the season as a whole. In many ways, this is the start of the season: whereas “Bargaining” was saddled with the task of getting from Point A to Point B, “After Life” is allowed more space to breathe and more time to explore the magical and psychological consequences of that transition.

While I don’t think the result is particularly subtle on the level of plot, coming in the form of a metaphor-turned-monster-of-the-week, the strength of that metaphor is confirmed by the unbearable weight of Buffy’s return on her friends, the audience, and more importantly Buffy herself.

And although I don’t think it retroactively solves my issues with “Bargaining,” it certainly gives the title greater meaning and establishes a tragic and poetic frame to the show’s sixth season.

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May 24, 2011 · 11:06 pm

Season Finale: Glee – “New York”

“New York”

May 24th, 2011

“Make one…in your mind.”

As Rachel and Kurt stand on stage at the Gershwin Theater in New Your City, with the land of Oz behind them, Kurt suggests that they take this opportunity to belt out the closing song from Wicked, “For Good.” When Rachel remarks that there isn’t an orchestra, Kurt says the above line, and “New York” begins to fall into place.

Glee’s competition episodes have always felt like they’re sort of off in their own world, a world where show choirs earn standing ovations and where all of the season’s troubles can melt away through the sheer power of song. There was this giddy look on Naya Rivera’s face right before New Directions broke into “Light Up The World” that sells the kind of euphoria that being up on that stage can inspire, and these episodes have been among Glee’s strongest largely because of the emotional pull that the performances can inspire.

Nationals is the largest competition that the show has done so far, but its scale is not demonstrated in the number of songs or the seriousness of the competition. Instead, “New York” turns the euphoria up to 11, transforming the trip to the Big Apple into a glimpse of the dreams that seem so close yet so far away. Up until the moment where New Directions finally makes their way to that stage, this episode is like one long dream sequence, a world where original songs are written and rehearsed in a day, where musical idols are casually encountered, and where Gershwin Theater employees are willing to give two high school kids from Ohio some unsupervised time in a Broadway theater.

And “New York” would have damaged the show irrevocably if it hadn’t shattered that dream as it does. By returning back to the reality of Lima at episode’s end, Brad Falchuk makes it clear that the dreams present in this episode are unattainable, perhaps downright imaginary depending on how far you think the show is willing to stretch its own reality. However, in the spirit of the show and in a decision I don’t entirely hate, he also emphasizes that there’s room for dreams in Lima, Ohio.

At least until a year from now, when the dreams will contend with reality once more.

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May 22, 2011 · 8:55 pm

Game of Thrones – “A Golden Crown”

“A Golden Crown”

May 22nd, 2011

“That was not Kingly.”

Considering the title of the series, and the number of people who appear to be playing the eponymous game, the notion of what makes a true ruler is growing increasingly important as Game of Thrones continues its run. We’ve seen numerous conversations about what it takes to lead Westeros, as Viserys fights to reclaim his throne, Robert fights to keep it, and others on the margins consider whether it is a job they would ever truly desire (Renly, Joffrey, etc.).

We get some definitive action on this accord in “A Golden Crown,” which reveals a more deep-seated question of identity within these kingly questions. Throughout the various stories, notions of power and leadership are merged with questions of gender and sexuality while the duplicity of numerous figures is highlighted in order to further expand the series’ complexity, and further break down any single image of what it means to be the leader of Westeros.

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May 20, 2011 · 1:59 pm

Season Finale: Parks and Recreation – “The Bubble”/”Lil’ Sebastian”

“The Bubble”/”Lil’ Sebastian”

May 19th, 2011

It’s unfortunate that I haven’t been able to review Parks and Recreation more regularly this season: while I had screeners for the first six episodes, anything after that proved difficult since so much of my Thursday evenings was spent watching and writing about The Office for The A.V. Club. Obviously, given my affection for the show, I always watched it as soon as possible, and have felt that the third season has been a strong continuation of the momentum gained during a stellar second season.

However, I find myself in the position of being more critical of the show than I’ve been all year in regards to “The Bubble” and “Lil’ Sebastian,” two very funny episodes that felt rushed from a plot perspective. Even as someone who has been on board with Ben and Leslie’s relationship this season, something about its presence in these episodes gave me pause. Everything just felt like it was moving too quickly, and in a way which was considerably more transparent than the rote, yet still fairly passive, romantic chemistry that has been building throughout the season.

Which is not to say that my opinion of the show has diminished (it has not), or that these were bad episodes (they were very good); It’s simply that this particular season finale got a bit lost in the plot, never quite able to focus on telling the kinds of stories I feel the show is most effective at telling.

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May 18, 2011 · 6:42 pm

Cultural Catchup Project: Angel – “Heartthrob”

“Heartthrob”

May 18th, 2011

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

There’s a bit of whiplash in covering “Bargaining” and “Heartthrob” back-to-back. Whereas Buffy seems to be heading into a period of intense transition, dealing with a whole lot of plot development that necessitates an eventful and complicated premiere, Angel is in a far more stable place without any of the same broad upheaval.

This may be considered a viable reason to watch the two series entirely separately, but for me it offers a nice juxtaposition that does much to highlight the strengths of both series, and the strengths of Angel in particular. While “Heartthrob” ends up being pretty simple, and more than a bit on the nose in regards to its central theme, I think there’s an economy to the storytelling that is equally matched with a certain swagger (which was understandably absent in “Bargaining”). While Greenwalt has to deal with questions of grief after the conclusion of Buffy’s fifth season, he’s far enough removed to be able to have a bit of fun at the same time.

Although “Heartthrob” may not have the same emotional resonance of “Bargaining,” it also feels more finely tuned in its shorter running time and in its thematically (rather than narratively) convenient standalone storyline which also proves a stealth transition into the budding mythology introduced at episode’s end. “Heartthrob” is in no position to become an all-time great episode of the series, at least based on what I’ve seen of the series thus far, but it quite comfortably lives in this particular moment while laying the groundwork for the season that comes.

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May 18, 2011 · 8:30 am

Cultural Catchup Project: Buffy the Vampire Slayer – “Bargaining”

“Bargaining”

May 18th, 2011

“Is this hell?”

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

While I may have remained mostly spoiler-free for the major events in the final two seasons of Buffy the Vampire Slayer, it’s hard not to feel that my experience with them will nonetheless be very much influenced by the conversations I’ve heard about these seasons over the past number of years.

While my Twitter friends have been kind enough to walk on tiptoes around me when it comes to specific spoilers, the general topic of whether or not the final two seasons of Buffy are a crippling disappointment, a misunderstood masterpiece, or somewhere in between was sort of unavoidable. While these conversations started in the comments going back to the fourth season, and certainly lingered through the fifth, we are entering the period where the fans are decidedly divided, and where my opinion (rather than simply my analysis) will be more closely watched to see which camp I fall in.

Although my six-month delay in the Cultural Catchup Project was certainly not ideal, I will say that I think it helps clear the slate for the season that follows. This is not to say that I have forgotten so much that fundamental differences (or problematic similarities) are going to go unnoticed, but it means I am recreating something closer to the experience of those who were watching in October 2001 than if I had picked up the first disc of Season 6 back in the fall. While my seven months are slightly more than the four months between the fifth and sixth seasons, returning to “Bargaining” felt like a return in ways that highlight its function as an episode, and offered a clear framework through which we can understand its successes and failures.

At the end of the day, “Bargaining” is more successful in theory than in practice, never quite stringing together its most successful scenes into a cohesive whole. While the value of its in medias res opening is clear by the conclusion of the episode, there is an artificiality in the way the episode is presented that it could never quite shake. Instead of the Scoobies feeling lost and aimless without Buffy, the episode felt as though it was always choreographing its next step, dropping in at the very moment where the more thematically interesting material was replaced with a rush of plot to get us to the point where Buffy Summers can rise from the dead.

While the resonance is not entirely lost, captured in brief moments of grief that are nicely drawn, there’s an inevitability to “Bargaining” which renders its poetry less effective than might be ideal.

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May 17, 2011 · 8:58 pm

Glee – “Funeral”

“Funeral”

May 17th, 2011

“I’m Lima good. Not New York City good.”

Last season, we didn’t get a “real” penultimate episode: “Funk” was moved into the penultimate spot arbitrarily when FOX wanted to move the Lady Gaga-enhanced “Theatricality,” which created a whole issue in regards to plot continuity.

This time around, “Funeral” was meant as the penultimate episode all along, and I’ve got to be honest: this just doesn’t work. I actually understand the logic here, as Ryan Murphy takes us back to the pilot by staging a new set of auditions and returning us to the hopes and dreams of Will Schuester. I actually really like parts of this, and the idea of Nationals unearthing some of the initial divisions of talent within the Glee club is actually sort of logical – the line above really gets to the heart of the hopelessness that drives the show’s small town aesthetic, and I really like when the show revisits that idea.

But the way Murphy goes about it only highlights how heading in this old direction undercuts all of the other directions that have been built into this season. As a standalone piece, “Funeral” is a fine showcase for Jane Lynch’s ability to depict the emotional turmoil that makes the character the way she is, and a fine musical showcase for a variety of members of the show’s cast. But as an actual penultimate episode as part of the show’s second season, it takes too long to find the story threads it needed to find to feel connected to that which came before, even if it connects nicely into what comes after (which remains an inherent possibility).

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May 16, 2011 · 8:07 pm

Season Finale: How I Met Your Mother – “Challenge Accepted”

“Challenge Accepted”

May 16th, 2011

Considering that this entire season of How I Met Your Mother has been built around an absolutely terrible metaphor, I think it’s only fair that we try to consider what exact challenge this season of the series was accepting, precisely.

If it was to create the most overdone metaphor possible and threaten the series’ narrative integrity in the process, then they have certainly met the challenge: the longer the Arcadian story was dragged out, the more it became clear that it was one of those circumstances where the idea of using the building as a central tenet of the season was introduced with no conception of its limitations. Did it make sense on some level? Absolutely – the idea of allowing Ted an opportunity to design a building, and for that to conflict with a budding relationship, is solid. There was just never anything else: no other point of chemistry, no other narrative momentum, and no way of tapping into something more profound than just another stopgap relationship on the way to the Mother. It was a story about how a building was like a relationship, and how a season was about a building, and how a series has become boiled down to a single question more than ever before.

“Challenge Accepted” attempts to own this on some level, playing with how random events can lead Ted to make serious relationship decisions, but to say it doesn’t live up to the challenge would be an understatement. While there are parts of this episode which could work, there is nothing to build up to them: everything is predicated on a building and a relationship that never properly developed, and it reinforces that the problem with Zoey was never Jennifer Morrison but rather the context in which she was introduced. It is a simple creative failure, a season marred by an ill-advised plotline that they drag out until the bitter end and attempt to turn into something meaningful through temporal trickery, some shoe-horned nostalgia, and an emotionally meaningful yet utterly contrived B-Story.

And that’s no way to suggest that you’re up to the challenge of paying it all off in the seasons to come.

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