September 4th, 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.
Marti Noxon faced certain challenges in “Forever,” transitioning from the tragedy of “The Body” into the season’s conclusion, but Jane Espenson faces more substantial obstacles with “Intervention.” She’s given the task of bringing back the series’ sense of fun and its second of humour, qualities that seem particularly incongruous with the grieving process still unfolding. The episode is going to be awkward no matter what you do with it, which is what makes it a difficult task for any writer.
However, Jane Espenson does awkward pretty damn well: her episodes are always strong at mixing the dramatic with the comic, and here she adds the tragic into the mix with little difficulty. “Intervention” picks up the story where “I Was Made To Love You” left off, comfortably settling into the path which will lead the season to its end and delivering some meaningful laughs along the way
David vs. Goliath vs. Laziness
March 8th, 2010
If you were going to watch a television show where two characters reach for the ultimate goal in their chosen field, one as the popular frontrunner and one as the almost-forgotten underdog, I think there’s a lot of dramatic potential there. There is something about the battle between David and Goliath that should automatically draw us in, and while Avatar and The Hurt Locker are not multi-dimensional characters (cue 3-D joke) they are fairly compelling award show narratives.
And while normal people, according to lore, only watch award shows to see things they like be liked by stuffshirts, people like me watch them because of the politics, because of the predictions, and because of the sense of surprise and anticipation. We watch them because we see a narrative in their story, able to chart momentum as the show goes on, moving towards the big award of the night with the pulse of a great year in film…ideally.
The 2010 Oscars will go down in the books as a rather colossal failure, the polar opposite of the simple and understated Oscars that followed the year before. In some ways, the show took risks not that dissimilar from last year’s show, but a few major missteps combined with some absolutely disappointing material from hosts Steve Martin and Alec Baldwin resulted in an infinitely cynical response that, unfortunately, became the pulse of this show.
What was supposed to be thrilling and exciting, the story of two films in an epic fight for victory, became the story of how the show’s producers chose interpretive dance over cinematic integrity, and the predictable winners in most categories did little to keep this Oscars from being tepid, uninteresting and, perhaps worst of all, uneventful. A show like this should be an event, and this…this was just sad.
“The Rough Patch”
November 9th, 2009
One of the intriguing elements of How I Met Your Mother is its use of skewed memory, as what we’re seeing is not reality so much as it is Future Ted’s perception of reality. In some instances, the show uses it for subtle jokes such as the opening one here, when Future Ted manufactures a preposterous story for how a pornographic movie happened to find its way into the VCR. In other instances, however, the show creates more of what I’d call gags, like how Robin’s older boyfriend at Thanksgiving was played by Orson Bean so as to exaggerate his age for the sake of the story being told. These are unique because, unlike those established mainly through voiceover, they become a running gag in their own right.
Last week’s “Bagpipes” used a combination of the two in the running gag of sexual noises emerging as bagpipe music, which was clever and underplayed. However, “The Rough Patch” fails because it uses such a gag at the heart of a fairly substantial bit of character development, one which is not capable of transcending the pop cultural stereotypes. Putting Barney into a fat suit as a one-off gag is fine, but using it as a representation of an integral piece of character development feels both false (in that the exaggeration seems too central) and rushed (in that the story doesn’t feel like it has come to its conclusion).
It results in an episode that is wholly dissatisfying, a failure both in terms of its premise and in its execution.
November 5th, 2009
I think that 30 Rock would be far funnier if it wasn’t so annoying.
This likely seems like a derogatory statement, but it’s really not: I thought “Audition Day” was the most enjoyable episode of the season yet, but yet I wouldn’t necessarily say it was that great, which reflects on both the quality of the season so far and the reality of this type of episode. It’s effectively a grab bag of comedy, as by the end of the episode you have plenty of jokes that you remember fondly, and callbacks to previous episodes that make you reminisce, and even some new jokes that really connect. However, while you’re happy with what you’ve received in those arenas, there’s also a bunch of other crap that didn’t connect comically, and that served only to promote business networking tools.
When there’s no real central premise to hold an episode like this one together, you’re left feeling like something was missing even as you gush over the genius of Brian Williams, which is pretty much where I stand with 30 Rock right now. I laughed, I commented on its cleverness, and yet still in the end I can’t help but be annoyed with elements of the episode that didn’t quite work. It’s particularly frustrating in that I actually think “Audition Day” was a pretty solid and funny episode, but there’s just something about the show that’s taking a shotgun approach to comedy that I’m just not responding well to.
At least we’ll always have Moonvest.