Tag Archives: Review

Season Finale: The Good Wife – “Running”

“Running”

May 25th, 2010

A lot has been written about how The Good Wife is a wolf in sheep’s clothing, presenting itself as a combination of legal procedural and workplace drama on a weekly basis while at its heart remaining a serialized character study. The series’ pilot was one of those skillful bits of television where they presumably lay out all their cards and yet really tell you nothing at all. The clear “structures” of the season were put into place (the competition with Carey, the complications surrounding Peter’s trial, Alicia’s romantic tension with Will, etc.), but it couldn’t tell us that those structures would evolve, and that from their “resolutions” would emerge structures which offer greater complexity.

Ending where the series began, “Running” very purposefully asks us how much has changed since Alicia Florrick stood on stage with her husband one year ago, a cyclical conclusion which for some shows would seem a bit cute (and, admittedly, the ending eventually veers into that territory). However, when you actually consider that question beyond the rote cliffhanger that the episode provides, you realize how much more complex this environment seems, how much it feels like we’ve lived in Alicia Florrick’s shoes and understand the ways in which she’s trapped between different definitions of the series’ title.

And while its ending may be predictable when taken out of that context, I would very much argue that the series’ position heading into its second season is more impressive than even the strong pilot predicted.

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Season Finale: How I Met Your Mother – “Doppelgangers”

“Doppelgangers”

May 24th, 2010

How I Met Your Mother has always been a show about ideas: the central premise of the show is more complex and philosophical than your traditional sitcom, leaning on themes of fate and narrative which are not necessarily what one would call common comedy fare. However, it was also a show where things happened within the thematic realm, where characters felt like they were making decisions and potentially heading “off course” from our expectations.

In its fifth season, HIMYM has lost that dynamism, as seen in a finale where nothing that happens feels of any consequence. “Doppelgangers” has a plot, and some “big” things happen in the series’ realm, but none of it feels organic or noteworthy. Instead, the episode feels like a rumination on the idea of controlling your own fate which just happens to relate to things characters happen to be experiencing at this point in time.

And while I still value that part of the series’ identity, and still appreciate these characters, the heart of the series has been notably absent in what I would easily call the show’s weakest season, and unfortunately “Doppelgangers” does nothing to change this even while providing one of the emotional moments we’ve been anticipating since early in the series’ run.

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Series Finale: Lost – “The End”

“The End”

May 23rd, 2010

“There are no shortcuts, no do-overs – what happened, happened. All of this matters.”

[For more of my thoughts on “The End,” check out my analysis of the critical response to the episode, which expands on some of the points I raise here while bringing up arguments that I didn’t get to.]

I don’t know where to begin.

I know how I feel about “The End” because I have notes which capture my intense emotional responses to the action onscreen. I also know many of the points I want to make about the episode as a whole, and how it fits into the sixth season, and how it works with the remainder of the series. In fact, I could probably write every other part of this review but the first sentence, and I’d probably be able to fill it in just fine after the fact.

However, that would be dishonest: it would make you think that I, the moment I sat down at my desk after the finale finished airing, knew precisely the topic sentence which would boil this finale down, the words that would unearth its secrets and solve its mysteries. I may know the things I want to say, and I may have my opinions about the quality of this finale, but I don’t know what I can really say to get it all started.

As the quote above indicates, and as I believe the finale embodied, there are no do-overs: what happened, happened, which is why you’re reading a short meandering consideration rather than a definitive statement. “The End” lacks any definitive statements: we learn nothing about what the island really is, we get no new information about the Dharma Initiative or any of the people involved, and the episode leans towards spiritual conclusiveness rather than any resolution of the series narrative. Lost doesn’t try to end in a way which closes off its plot holes or pieces together its own meandering qualities, but rather creates an episode that says the journey was worthwhile, that the time these characters spent with each other and the time we spent with these characters was all worth it.

And for all of the questions that we may still have – and trust me, I think all of us still have questions – I firmly believe that the quality of this series finale and the overall quality of the series simply cannot be among them. Beautiful and heartwrenching, “The End” captures more than any other series finale I’ve watched the sum total of the series’ experience, awakening in viewers the same power of recall which pulls together half of the series’ narrative.

Lost was more than our experience, featuring a complex plot which goes beyond those powerful and emotional moments so lovingly punctuated by Michael Giacchino’s stirring music, but I feel “The End” paid respect to the series that’s been: it may have taken shortcuts, and it may have prioritized certain questions differently than some viewers, but at no point did it feel like the series was making that argument that what we saw tonight was the only thing that mattered.

All of this matters, for better or for worse, and by wearing its heart and soul on its sleeve Lost has gone out the same way it came in: presenting a very big world with some very big ideas through the eye(s) of those who live their lives within it.

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Cultural Catchup Project: Plumbing the Depths of Darkness (Buffy the Vampire Slayer)

Plumbing the Depths of Darkness

May 23rd, 2010

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.

I am at the point in Buffy the Vampire Slayer’s run where I’m starting to see the trends forming: when I hear that it’s Buffy’s birthday, for example, I know that things aren’t going to go so well.

However, I’m still capable of being surprised when I’m supposed to be surprised; when the show wants to pull the rug out from under me, chances are I’m still going trip and fall just like everyone did at the end of the last century. Part of Buffy’s appeal is the ability to zig when you expect them to zag, to turn a story from a playful romp into something much darker. What I’m finding really evocative in the third season is the ways in which the darkness seems darker (see: “Consequences”) even as the lighter stories are perhaps the lightest we’ve ever seen them (see: “The Zeppo,” although in a weird sort of way I’ll get into), two things which few shows rarely attempt to do simultaneously.

I think it ultimately works, both because it’s extremely well-executed and (more importantly) because it’s remarkably ballsy.

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Party Down – “Steve Guttenberg’s Birthday”

“Steve Guttenberg’s Birthday”

May 21st, 2010

I told myself I was going to be content with just a Twitter conversation about this week’s superlative episode of Party Down featuring Steve Guttenberg as himself, but then I actually started to have that Twitter conversation and realized that I was going to need to write something down.

Specifically, I want to discuss what it is that makes “Steve Guttenberg’s Birthday” so fantastic, because it isn’t just Steve Guttenberg. The episode is entirely atypical, eschewing the traditional catering setup for a more casual atmosphere, and the trade of the show’s usual employment drama for more complex interpersonal drama is really well handled. It raises an interesting question for a series which relies so heavily on formula: is it possible for the show to veer away from its structure more often, or would episodes like this one become overbearing if they become too common?

It’s complicated enough that I want to spend a few paragraphs talking about it, plus I’ve got some thoughts on whether the show could live on without half its cast.

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Doctor Who – “The Vampires of Venice,” “Amy’s Choice” & “The Hungry Earth”

“The Vampires of Venice, “Amy’s Choice” & “The Hungry Earth”

May 22nd, 2010

I’ve never watched Doctor Who before, but I think I’m starting discover that the mid-portion of each season is not necessarily conducive to weekly reviews (although it’s probably still conducive for weekly discussion, so sorry for my negligence). I didn’t review “The Vampires of Venice” or “Amy’s Choice” because I was busy on those respective weekends, but I also didn’t review the former because it didn’t feel particularly eventful even when I did get to the episode. This is not to say the episode isn’t worth our time, or that it serves no function, but rather that it will take a paragraph to discuss its function rather than an entire review.

However, there’s more to say about “Amy’s Choice,” and some preliminary thoughts on “The Hungry Earth” (on which judgment can’t really be laid until “Cold Blood” next week), so let’s take a look at these mid-season transition episodes, shall we?

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Season Finale: Fringe – “Over There: Part 2”

“Over There: Part 2”

May 20th, 2010

When Fringe began, its “pseudoscience” was a vague conspiracy – the “Pattern” was ill-defined and faceless, a series of circumstances with no causation and thus no real emotional stakes. Over time, the show worked to provide a face to the threat (the villainous Mr. Jones, the shapeshifter taking Charlie’s form, etc.), but even then it was largely putting lipstick on a pig. Even when the show introduced another universe, that universe felt so abstract that it seemed like the show becoming more complex without any real effect on my enjoyment of the series.

However, the back end of the show’s second season has gone a long way to personifying the show’s science fiction; while it may be cheating to make John Noble’s Walter (and Walternate) central within the storyline, and the introduction of “alternate” versions of existing characters enables some shortcuts, it can’t be denied that the other reality has finally come into its own with both parts of “Over There.” Willing to blur the lines between evil and empathetic, the show delivers the sort of story which is unquestionably complex but which feels like it stems from decades of conflict and challenging character dynamics rather than a conflict created to fit a season finale.

I just hope nobody thinks it’s going to last.

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Season Finale: 30 Rock – “I Do Do”

“I Do Do”

May 20th, 2010

I haven’t written about 30 Rock in a very long time, so you’d think I’d have a lot to say: after all, “I Do Do” actually had a “Previously on 30 Rock” sequence, which is rare on a show that is usually so off-the-wall that it doesn’t need to worry so much about continuity.

However, this was an aggressively plot-heavy conclusion for the series, so it makes sense that we might need a refresher on why Liz is going to three weddings, and why she would go anywhere with Wesley Snipes, and how smart the show was to have Jack dating two celebrity guest stars so that you really don’t know who he’s going to pick. This being said, however, “I Do Do” isn’t really plot-heavy at all – rather, it just sort of revels in the situation that has already been created, introducing new elements and providing conclusions that do a pretty good job of boiling it down to characters.

There are jokes, and there are plots, but even with some fairly ridiculous star power there is no point in time where all of it overwhelms the ways in which the episode plays out as a story about Jack, Liz and Kenneth, which makes it a successful conclusion to both these storylines and the season as a whole.

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Season Finale: The Office – “Whistleblower”

“Whistleblower”

May 20th, 2010

Last week’s episode of The Office was absolutely, unfathomably terrible: it embodied the absolute worst characterization of Michael Scott (as a purposefully ignorant jerk with no self-awareness or human decency) until the very end, where it tried to claim that a moment of quiet reflection finally forced Michael into realizing what we, and the rest of the show’s characters, had known for the entire episode. It was a bizarre decision because it only frustrates me more: if Michael is inherently a decent human being, why are they forcing viewers to sit through twenty minutes of the character acting like a complete jerk when it’s not nearly as funny as they think it is?

I’m aware they aren’t forcing us to do anything, but when you’ve been watching a show for six years you have a certain attachment to it. And while I may have despised “The Chump,” at least I had some sort of emotional response to it. By comparison, “Whistleblower” was listless to the point of boredom, failing to feel the least bit conclusive and struggling to make anything out of what has been a complete mess of a season from a narrative perspective. None of what happened in the episode felt like it came from anything that we care about, or anything that was even developed adequately in early episodes.

And just like last week, a single moment at episode’s end is meant to make us feel like this unengaging exercise was all worth it; I’m not falling for it, and I may just be to the point where I’m falling out of even an abusive relationship with the series.

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Season Finale: Parks and Recreation – “Freddy Spaghetti”

“Freddy Spaghetti”

May 20th, 2010

When I write about the Thursday comedies, I have to write about them after I finish watching them all, as there’s too many other Thursday programs recording on the common DVR which requires I watch them on a recording device-free television set. This is normally fine, but it seemed especially tough tonight, as every other show has to live up to the level of quality that Parks and Recreation has right now.

The best comedy finales are those which find elements of conflict within elements of stability, emphasizing the reasons that we love watching the show week-after-week and the reasons why it remains lively and eventful enough to keep from becoming too familiar. “Freddy Spaghetti” is the epitome of this type of finale, delivering plenty of evidence which captures the heart and soul of this show while introducing other elements that threaten that stability without necessarily overwhelming the positivity inherent to these characters.

It ends up leaving everything in a state of flux, with very little optimism about the future, and yet the show’s characters still seem so positive about their present situation that you feel like they can rise above any potential challenges. It doesn’t actually bring any of the season’s storylines to a wholly positive conclusion, but it complicates things in such an infectious fashion that it loses none of its momentum, and heads into a (sadly too, too long) hiatus with the best season of comic television we saw this year in its back pocket.

And no seven month break is going to change that fact.

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