March 28th, 2011
When United States of Tara entered its second season, the Gregson family thought that everything had changed: Tara had defeated her alters through the use of medication, and the entire family was ready to move forward with something approaching a normal life. Of course, normalcy proved unattainable: the old alters returned, new alters emerged, and turmoil between family members left Max, Kate and Marshall confronting their own identities in light of their mother’s struggle.
What is immediately clear in the show’s third season premiere is that there is no such false normalcy. For better or for worse, the Gregson family has embraced (or will be forced to embrace) that they are in no way, shape, or form normal, and it shows in “…youwillnotwin…” It is a confident premiere on a number of levels, but primarily because it embraces the stabilizing influence of instability. By embracing the cyclical nature of life, and by placing the characters in positions to be impacted – but not defined by – those cycles, United States of Tara is in a position to continue to evolve without having to introduce dramatic new elements into the equation.
All it takes, it appears, is a bit of a push in the right direction and a willingness to ride the wave.
October 10th, 2010
“Not no; not now.”
As the penultimate episode of the season, “Blowing Smoke” has to do more than, well, blow smoke; while last season demonstrated the ability for a finale to offer an exciting climax without much direct plot momentum carried from the previous episode, the fate of Sterling Cooper Draper Pryce has been developing for a few weeks, and the worst thing that could happen is if its impact is lost.
What’s interesting in “Blowing Smoke” is that the show mirrors its characters: still somewhat in shock from the new of Lucky Strike’s departure, they find themselves sitting around with nothing to do. They can’t bring in accounts thanks to concerns over their longevity, they can’t make dramatic changes without seeming to be in crisis mode, which leaves almost no options to feel as if they’re really making a difference.
This episode is about that circumstance, what it drives Don Draper to do, and whether trading certain doom for an uncertain chaos is the right path to take – in other words, it’s about the danger of a situation where it’s not no, but it’s not now, and how a person like Don Draper lives within that liminal space.
The answer is different depending on who you ask.
“From This Day Forward”
June 7th, 2010
I wish that I had more to say about United States of Tara’s second season finale, but for the most part I don’t. This is not to say that the episode wasn’t enjoyable, or well-acted, but rather it seemed that the show had more or less choreographed all of its reveals, and so the primary function of “From This Day Forward” was more or less appearing to reset things to the status quo.
Again, this isn’t a slight on the episode: with some strong performances and some intense emotional moments, I think the series nicely capped off a complex and intriguing second season. The problem is that it works a little bit too hard to get to the point where the Gregson family is dancing wistfully in a beautifully lit backyard, cutting away the clutter of their lives for that brief moment of bliss. I understand the impulse behind that action, and the catharsis of the episode is helped by the calmness of those final moments, but it seems to be putting a button on too many story points which went unresolved or were cast aside with remaining potential. The series kept hinting at hidden motivations or long-kept secrets, and yet after revealing the biggest secret of them all the rest were sort of just chalked up to either misdrection or the frakked up nature of the Gregson family.
There’s something about that which is just a bit too easy, and something which all the catharsis in the world isn’t going to fix, and I feel like the finale needed to acknowledge that just a little bit more.
Handicapping the 2010 Emmys: Comedy Acting
June 2nd, 2010
In comedy this year, a lot depends on what shows make it big: we know that Glee and Modern Family are going to make a statement (as noted in my piece handicapping the Comedy Series race), but is it going to be a statement of “this is a great show” or a statement of “this is the greatest show since sliced bread?” The difference will largely be felt in the acting categories: both Modern Family and Glee have multiple Emmy contenders, but it’s unclear whether some of the less heralded performers will be able to rise along with the big “stars,” or whether the halo of series success won’t help them compete against some established names already entrenched in these categories.
Ultimately, I’m willing to say that there’s going to be some pretty big turnaround this year in some of these categories, but others feature quite a large number of former nominees who likely aren’t going anywhere, so it should be interesting to see how things shake out on July 8th. In the meantime, let’s take a look at the four major Comedy Acting Emmys and see where the chips lie.
“To Have and To Hold”
May 31st, 2010
“Is every single thing just lurking beneath the surface?”
United States of Tara isn’t a mystery show, per se, but there is a central search for answers at its core which we seem to be returning to once a season. After reaching out to her college rapist in an effort to discover the truth behind her condition only to discover that it went far deeper than that particular trauma, Tara stepped away from trying to find the source of her problems and instead tried to medicate and try to continue living life without that knowledge. However, as the second season has progressed, it’s clear that her condition is creating more strain in her life now than ever before, and through the help of a new alter (Shoshannah) and whatever it is that the Hubbard house brings out in her.
I recently caught up with the past three episodes of Tara (the end of the season turned out to be too busy to get to it live), and I’m on record as suggesting that Tara’s second season is perhaps the most confident on TV this year outside of Parks and Recreation and perhaps Sons of Anarchy. “To Have and to Hold” is another strong episode which speaks to both the mysteries of Tara’s past (which I think we have enough information to sort out, if not entirely comprehend) and the damage of Tara’s present, emphasizing the long-term ramifications of the former while reminding us that the gravity of the latter has yet to be determined.
“The Department of F*cked Up Family Services”
May 3rd, 2010
The challenge of the half-hour series intent on eroding the boundaries between comedy and drama is that a half-hour is not a lot of time. While hour-long series have the benefit of 40-50 minutes in which to draw out key themes or lay the groundwork for exciting climaxes, a show like United States of Tara has roughly 23-26 minutes in which to effectively accomplish the same thing.
In some cases, shows settle with telling less story, accepting that they can’t deal with issues as complicated as series with longer running times, but what’s struck me about Tara this year is that they’re not holding back. Not unlike the second season of Sons of Anarchy, it doesn’t feel like the show is saving stories for future seasons, or drawing things out. They know they don’t have time to waste, and they know the stories they want to tell, so Diablo Cody and Co. are just barreling on through with some pretty substantial success.
In the process, though, the show hasn’t been entirely transformed: the show has a much faster pace than last season, with more sources of conflict and a less predictable central protagonist, but the stories still come from someplace honest, and there are still scenes which feel like quiet ruminations amidst the chaos of it all. “The Department of F*cked Up Family Services” deals with a lot of pent up frustration from previous episodes, but it does so within a structure which manages to tell its own story at the same time – it’s not rocket science, really, but the show has a really strong hold on it this season.
April 19th, 2010
Last season, I managed to watch and enjoy an entire season of United States of Tara without writing about it beyond a preview, which seems like the sort of oversight which shouldn’t happen: sure, I don’t get paid to do this, and there are plenty of shows that I watch but don’t blog about (for various reasons), but this is a compelling and intriguing show featuring some great performances that seems like it would lend itself to the sort of analysis I like to do. And yet, here I am again this season – after writing about the premiere, I’ve fallen off the wagon for the past three weeks, and I still don’t really know why.
I think it happened last season because the show is admittedly paced a little bit slowly, and it seemed to be in a largely contemplative mood in regards to Tara’s conditions: if the show is going to do all the contemplation for me, largely playing out the paces of the stories we’d expect to see given its premise, then why do I need to write a thousand words about it? However, this season the show has switched gears: the show’s pacing has completely gone off the rails, and yet the characters continue to want to try to live as if things are normal, to ignore the chaos and try to sort of power their way through.
“Doin’ Time” manages to debrief a fairly substantial, and potentially show-breaking, development with an ease which reminds us that this show is on some really strong creative footing this year: while it remains at times slow and contemplative, it is applying those traits to situations that we couldn’t have imagined a season ago and making some damn fine television in the process.