Tag Archives: Review

Season Premiere: Flight of the Conchords – “A Good Opportunity”

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“A Good Opportunity”

Season 2 Premiere

Over the summer, I finally got around to watching the first season of Flight of the Conchords, HBO’s wonderfully offbeat and hilarious comedy series from New Zealanders Bret and Jermaine. The first season, using songs from their great back catalogue of hits combined with new songs to stretch out the plot of each episode, was a triumph of comedy, and the very small but very alive world they created makes for the perfect antidote to the testosterone-laden comedies that more recently have dominated the pay cablers.

The second season won’t premiere on HBO until January, but U.S. viewers (and resourceful international folks) are able to catch the full episode on FunnyorDie.com. What you’ll find is the first episode where the Conchords are flying without a net: out of original material from the pre-television era, the second season is already confirmed as their last, the creative output necessary proving as taxing as you might imagine. Even the second season, though, feels different: once the backbone of the show, the music here felt by comparison to be either entirely unrelated or simply perfunctory.

This isn’t a total slight of the premiere, but rather an observation that it is changing: after spending a season developing a show that could support their music, they are now transitioning to music that can support their show. For that reason, unmemorable songs isn’t so much a concern as it is the show’s new reality: in terms of the quest of the Conchords to succeed in the music industry, with their bumbling manager Murray and their one fan Mel, the show has become about plot, specifically how the band more or less lost both of those things in the first season finale.

“A Good Opportunity” is not destined to be a classic, and doesn’t answer every question about how the show will manage a second season creatively, but the machinations of the episode are done in good form and, ultimately, add up to a welcome return for the winners of the Grammy Award for Best New Zealand Artist – or, more accurately, a pencil sharpener spray-painted gold.

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Season Finale: Dexter – “Do You Take Dexter Morgan?”

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“Do You Take Dexter Morgan?”

December 14th, 2008

I was minding my own business one night about a month ago when a (drunk) resident in my building asked if I would like to join a game of poker. I declined, planning on getting some work done that evening, but he saw that I had a fair amount of food in my room and asked if he could have a sandwich. I obliged, as it falls within my job description as a Resident Assistant to on occasion feed the inebriated folks who wander the halls.

The reason I bring this up (I swear, there’s a reason) is that we then got into a discussion about popular culture, and eventually we got into an argument about Showtime’s Dexter. He said he liked the show, which wouldn’t ellict an argument under normal circumstances, but then he proceeded to single it out as “one of the best written shows on television.” And, maybe it’s that my patience for drunk people goes out the window during food preparation, but I immediately scoffed at this remark. He demanded I name him some better examples, I listed off the usual (Wire, Mad Men, BSG, Lost – you read the blog, you know what I shower with praise), and eventually he went off to play his game of poker, no longer in danger of alcohol poisoning.

But that conversation has stuck with me, primarily because I don’t think I had ever been quite so quick to undersell Dexter as something below the level of the shows I just listed. Admittedly, I was more down on the second season than most people, but even I couldn’t argue against the palpable tension the show created. However, while I would never question the performance of Michael C. Hall who remains as fantastic as ever, something happened at the end of the second season (mainly Lila) that the third season wasn’t able to rectify in my critical mind.

Since then, Dexter’s been my favourite punching bag, perhaps unfairly: I even trotted it out while recording a podcast about The Wire, which is something that really isn’t fair to any show. The third season had a lot of elements that certainly helped the show: the introduction of Jimmy Smits to the show has given it two Emmy-level acting contenders for the first time, and the season’s slow start paid off in the end by allowing them to ratchet up the momentum at the right time instead of about three episodes too early.

But what “Do You Take Dexter Morgan?” reminds me, against my will, is that this is a show with limitations, one which in the introduction of Jimmy Smits shed more light on its weakly developed supporting cast, and in its slow start made us stop and think “what other directions could this show be taking that would be more dramaturgically interesting” for a few episodes too long. In those moments, I know exactly why I jumped on that drunk, hungry, and entirely innocent TV viewer: Dexter could be a better show than it is, and the third season was filled with warnings that the show seems unaware of its recurring problems.

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Down in the Hole: Podcasting HBO’s The Wire with Alan Sepinwall and the /Filmcast

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Podcasting HBO’s The Wire

December 10th, 2008

For those who follow me on Twitter, or have visited my twitter page, you’ll know that I refer to myself quite realistically as a “Wannabe T.V. Critic.” This is the wonder of the internet: through sheer productivity and a few karmic turns of fate, I have managed to fall into a routine that is both personally satisfying and, I hope, something that adds to the internet’s critical discourse of television.

This week has been a reminder of both how those turns of fate have manifested themselves and how much I enjoy doing this. Since I’ve started appearing on the /Filmcast, with the gang of Dave, Devindra and Adam who I quite incidentally teamed up with in their podcasting days before the big time, I’ve found another outlet for discussing television. Both on the podcast and (perhaps most importantly) through the chat room, I have been able to meet some great people and have some really great discussions.

Ultimately, though, Monday night’s /Filmcast was the one that will likely always stick out in my mind. It was what I would refer to as an exorcism: a chance for the /Filmcast to get everything it needed to say about a certain HBO drama series which is highly critically acclaimed, unduly underappreciated by the Emmy Awards, a personal favourite show of every member of the /Filmcast, and the show that enraptured me this past summer.

The show is The Wire, and what began as a germ of an idea suggested by a few readers ballooned into an epic 3 1/2 ode to the series that should have changed the face of television and instead only raised the standards by which we rate shows which come after it and fail to pick up on what made it such an amazing feat from David Simon and Ed Burns. And if you don’t believe us, consider that we spent 3 1/2 hours and both never ran out of things to say and, worst of all, barely scratched the surface with certain characters and events. Recording the podcast, and preparing for it ahead of time, was a reminder just what the show accomplished, and being able to revisit that was going to be a lot of fun.

It was also a real honour: Alan Sepinwall, from the New Jersey Star-Ledger, is a fantastic (and real) TV critic who I often link to, and who I certainly view as a “role model” when it comes to developing a critical discourse in a blog setting. He’s also one of the most vocal and knowledgeable voices on The Wire, which made Monday’s discussion that much more monumental for someone whose first post on this blog was an indepth expose on violence in university broomball. I just hope that I held myself well enough not to bring a bad name to criticism from my perch in “Wannabe” land.

Overall, it was another sign of how grateful I am for Dave, Adam and Devindra having me on the /Filmcast and Dave, in particular, for egging me on to start watching The Wire this summer. I haven’t written as much about it as I would have liked, but you can find what I’ve written by clicking here. In the meantime, if I were you, I’d subscribe to the /Filmcast – it’s most certainly going to pay dividends to your critical future.

The /Filmcast Episode 29: HBO’s The Wire (f. Alan Sepinwall and I)

NOTE: There’s a forty-five minute discussion with Alan which is light spoiler territory, for those who want to know why we spend 3 1/2 hours talking about the show. What follows is a season by season breakdown, although I’ll warn you ahead of time that we sometimes spoil future seasons within discussions of other ones. So, if you’ve only seen three seasons, I’d still get through the whole thing before listening.

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Chuck – “Chuck vs. The Gravitron”

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“Chuck vs. The Gravitron”

November 24th, 2008

The Jill Roberts-arc of Chuck was not what one would call new territory for the series, considering that Chuck’s past relationships from Stamford was such a focus of parts of the first season and earlier this season with the return of Bryce Larkin. The different of degrees, however, is that this is entirely Chuck’s burden: while Bryce had equal parts baggage as it related to Chuck and Sarah, Jill is all Chuck and therefore presents itself as his problem to handle. For two episodes, though, he’s melted into her arms only to have it all thrown out the window when he learns, as we did last week, that she is in fact a Fulcrum agent.

What “Chuck vs. the Gravitron” does so well is pit Chuck as much against himself than it does against Jill or against Fulcrum. While this entire season has been quite a fine showcase for Zachary Levi, this episode is a prime example of the kind of dramatic work that he is often required to bring forward in this type of role. His scenes with Jill this week followed exactly the arc they needed to: starting with terrified at the secret between them, moving into simple awkwardness, and then eventually turning into a realization that “the past is the past,” something that he hasn’t quite been able to do before.

And unlike some other shows, where burning through the built-in dramatic storylines leaves them nothing to accomplish, I get no sense from this episode that Chuck’s journey is complete, or that the season has no further direction. As it concludes Jill’s storyline on a high note, I have complete faith that they’ll find another one in a week’s time – and that’s the joy of Chuck right now.

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House – “Emancipation”

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“Emancipation”

November 18th, 2008

A week after throwing the show’s structure for a loop by reintroducing Chase and Cameron to the central narrative, House is at the kind of place where the show never really was last season. It’s a sort of unstable normalcy, where everything on the surface is the same but underneath there is clearly unrest amongst the team. There’s drama building everywhere, and it’s the kind of drama that will eventually explode in some fashion.

It’s a lot of moving parts, so I wonder how long they can make it last. “Emancipation” largely only works because of Omar Epps giving Foreman a very real sense of tarnished pride, a character who tried making it on his own last season only to find that he’s too much like House for his own good but now finds himself unable to get himself out from his shadow. While the fragmented nature of the episode was problematic in a few ways, the dual cases gave Foreman his biggest showcase of the season to date, more Chase and Cameron than we’ve received on average, some Wilson and House interaction, and even some new ripples appearing in the world of the three newer cast members.

No individual part of the episode really got to stand out beyond Foreman, but it all felt like positive momentum at this stage in the game.

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Fringe – “The Equation”

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“The Equation”

November 18th, 2008

In a burst of inspiration over the weekend, I wrote a piece about the sort of transitional state of Fringe, a procedural series that people expect to offer heavily serialized content; it appears to have various states of being, and the confusion between them has kept me (to this point) from really becoming a fan of the show. Yes, there have been high points (“The Observer” has got to be on everyone’s list), but the uneven nature of the show’s opening episodes have made falling in love with Fringe a problematic scenario.

No longer, however – “The Equation” was maybe the show’s best episode yet, one which felt less contrived (if not entirely organic) and infinitely more personal than most of what we’ve seen so far. Much as “The Observer” delved deeper into Walter and Peter’s personal lives in search of an answer to a question about the Pattern and how it operates, “The Equation” takes Walter back to his time at St. Claire’s Hospital and it send us on a creepy and atmospheric journey into a quest to solve the end of an unsolvable equation.

Yes, the show still feels a bit like a low stakes Alias at points, but this episode combined some of the most interesting qualities of Alias’ mythology while focusing on the dramatic pathos of the right character at the right time. I’m not quite ready to see it as a trend, perhaps, but I was enraptured and hooked on tonight’s episode and, well, might just now call myself a fan.

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Chuck – “Chuck vs. The Ex”

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“Chuck vs. The Ex”

November 10th, 2008

If I was going to make one complaint about Chuck’s 99% sublime second season, it would be that we haven’t spent enough time on Chuck himself – sure, he had his crisis in the premiere, but the show has dealt mainly with his relationship with Sarah as opposed to really letting Zachary Levi cut loose in this role. While he is perhaps the most unsung hero of the show, Levi continually gives Chuck a certain humanity that makes this show work, quite simply – without him, I’m not sure it would be the show it has been so far this season.

As far as episodes go overall, this one was a bit slower and more open-ended than our last few, the multi-episode arc element meaning that we get only part of a broader story (plus, this week’s Buy More storyline was one of the weaker ones in a good season for the store). But the return of Jill, Chuck’s ex-girlfriend from Stamford who broke his heart by running off to Bryce Larking so soon after their breakup, is the kind of thing that lets Levi demonstrate that he is the heart of this show, an element that can often be forgotten when we’re running at the kind of breakneck speed this season has been maintaining.

And that’s what turns what could have felt like a slow, exposition-driven introduction to a new character into something so successful: sure, it’s a bit slower plot wise than anything we’ve seen lately, but the episode was so chock full of double entendres, stylish one-liners and hilarious iPhone photos that any loss of momentum is entirely negated. This is a show that can stop, detour, or hit any multitude of speed bumps, and something will be there to pick up the slack, what little of it there is.

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Grey’s Anatomy – “Rise Up”

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“Rise Up”

November 6th, 2008

After what fans are starting to call “Brookegate” (a title I quite like since it emphasizes that the loss of the actress is equally as frustrating as the loss of the character), going into “Rise Up” was a very strange feeling. While we all knew, based on Michael Ausiello’s story at Entertainment Weekly, that this was her last episode, and we even knew that her final scene saw her walking off to her car never to be heard from again, we didn’t know the circumstances that caused it.

After learning the circumstances, though, I don’t think it’s resolved any of the issues currently rising within a campaign against ABC for their decision. What the episode was for Callie and Erica was a reversal of roles, of Callie’s reservations being replaced with Erica’s ethical dilemma about working at the hospital and being part of this staff. As a storyline, it felt natural: it was entirely logical that Hahn would explode with anger after finding out that Izzie was responsible for her patient losing a heart, and this was something that could challenge her position at Seattle Grace.

But it felt like a detour, not the end of the road: rather than send Dr. Hahn off into the sunset, this felt like a storyline set to add a professional wrinkle to the same sex relationship and Erica’s relationship with her fellow surgeons at Seattle Grace. Instead of taking this opportunity to investigate the ethics of this situation, however, Shonda Rhimes has chosen instead to send Erica off into the sunet – the irony is that while there’s a web of deceit surrounding the firing, everything that the character said to Callie in that final scene about this situation was entirely true.

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Privileged – “All About Defining Yourself”

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“All About Defining Yourself”

November 4th, 2008

I always hate to be too literal with titles that have some meaning within my review, but checking back in with The CW’s Privileged on this particular episode title is quite fortunate. This is a show that, from its pilot, defined itself very carefully, establishing some fairly standard forms of drama that would play out in the episodes that followed. You had your plucky heroine who’s in over her head with a strict boss, two out of control teenagers, a best friend who is in love with her, a sexy neighbour who flirts with her, a sister she hates, a drunk father she resents, and a runaway mother who she has written out of her life. Let the melodramatic hijinx commence!

In the hands of Rita Mimoun, I think that those of us who have been watching Privileged have seen many of these things play out in ways that are more charming than cliched, a fact that has elevated the series in our eyes. It’s considered to be, at this point, the one freshman show that critics and discerning viewers are really getting behind (Pushing Daisies being the sophomore series getting the same treatment), and that is very much about its strongly defined sense of identity that has been formed over its opening episodes.

But, as of late it feels as if the show is burning through its storylines a bit too quickly: we’ve met Megan’s troublesome sister, introduced her reformed father, had her clash with the two teenagers, and pitted her neuroses against her boss on numerous occasions (plus, Sharon Lawrence has recently been cast in an extended guest arc as, you guessed it, Megan’s mother). With a lot of the show’s built-in drama being expended so quickly, one feels like the show is going to fall into a trap of either repetition or, similar to shows like Gilmore Girls and The O.C., having to keep introducing new characters and stimuli while repeating the same patterns.

So, I entered “All About Defining Yourself” with this concerned pointof view, and I left it with two general sentiments: that I still don’t know if the show has enough of a foundation to head down that path, and that I think we owe it some more time to get there.

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Season Premiere: 30 Rock – “Do-Over”

“Do-Over”

October 30th, 2008

Thanks to the kindness of Ashley, a newfound Twitterquaintance, I was able to snatch the 30 Rock premiere for free on iTunes on Sunday through TV Guide’s promotion. So, let it be known that I am writing this review while the premiere has had time to sit…or, more accurately, that I am writing this review having watched the episode four times.

“Do-Over” is not the best episode of 30 Rock, nor is it necessarily an entry into the show’s catalogue of fantastic ones. Rather, it is familiarity that makes this episode so memorable: it offers plenty of showcase opportunities for Tina Fey and Alec Baldwin (albeit leaning towards the former), it has a sharp storyline that offers every character a small moment, and it uses its guest star (Will & Grace’s Megan Mullally) wisely, unlike last season’s unfortunately flat appearance by Jerry Seinfeld.

While NBC is hoping that this is going to be a do-over for 30 Rock, a show that never quite captured the kind of audience the network is looking for, that’s all based on ratings: creatively speaking, the show barely needed a fresh coat of paint to return as the funniest comedy on television.

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