Tag Archives: Sarah Walker

Chuck – “Chuck vs. the Suburbs”

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“Chuck vs. The Suburbs”

February 16th, 2009

“We can’t go back there – it was just a cover.”

There has always been a certain question of how, precisely, Chuck is going to be able to manage to draw out the relationship between its eponymous hero and his handler/cover girlfriend Sarah. The “will they/won’t they” of the scenario could get old quickly, something that nobody really wants to see happen when Levy and Strahovski actually have a lot of chemistry and the episodes that focus on the intricacies of their relationship, like “Chuck vs. The Suburbs” are amongst the show’s most resonant.

The episode is a sign, though, that there is going to come a point where we can’t keep getting the same memo over and over again. While bringing Chuck and Sarah to the brink of a real relationship before tearing it away from them might have worked the first time around, or even the second, we’re getting to the point where it doesn’t really have the same impact. Changing their cover from “dating” to “married” and placing them in the confines of a happy suburbia with a golden retriever and a whole bunch of photoshopped photos of a happy couple is a pretty good setup for this part of the series’ identity, but I feel as if things are beginning to wear somewhat thin.

And yet, this is all in theory: in theory this episode shouldn’t work, its central theme of “we can’t return to something that wasn’t real” being something that the show has dealt with numerous times, but in practice Zachary Levi and Yvonne Strahovski bring so much pathos to these scenes that it feels like the honeymoon is still ongoing long after the post-wedding bliss should have ended. And that’s a testament to the show’s quality, even if I feel they’re tempting fate at this point in the show’s run.

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Chuck – “Chuck vs. Santa Claus”

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“Chuck vs. Santa Claus”

December 15th, 2008

When someone thinks of what a good Christmas episode should be, “Chuck vs. Santa Claus” will meet many of these criteria. It has plenty of jokes within the holiday spirit, characters dressed up in seasonal garb, generous samplings of Christmas-themed music, and the absolutely genius decision to have Reginald VelJohnson reprise his role as “Big Al” from Die Hard to go with the episode’s Christmas-themed hostage situation. In these moments this episode felt like what we all expected: one of the most funny and enjoyable shows on television delivering a note of holiday cheer.

But what we got was less an example of a good Christmas episode than it was a demonstration of Chuck’s ability to balance the emotional with the hilarious, the dramatic with the comic, and the danger with the laughter. When things seemed to be wrapping up too neatly at the halfway point of the episode, it became clear this was about something more: it was about learning how far people were willing to go to protect those they loved, and continued a long streak of fantastic dramatic work from both Zachary Levi and Yvonne Strahovski.

It’s another fantastic episode, if not quite the one we expected, from a show that put together quite a great opening to the season.

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Chuck – “Chuck vs. The Fat Lady”

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“Chuck vs. The Fat Lady”

November 17th, 2008

One of the things that Chuck has done so well in its second season is the integration of all three parts of Chuck’s life, specifically how the Buy More and Friends/Family storylines have integrated (mostly) seamlessly into the cases that dominate the rest of Chuck’s time. “Chuck vs. The Fat Lady,” in many ways, is the toughest test of this yet: reintroducing Fulcrum in a big way, the show is given the task of personalizing a group that has remained very vague and poorly defined since the show’s first episode.

But, proving once again that it’s absolutely on the right path this season, the show demonstrates with a deft hand how it is able to personalize that which could seem impersonal, and familiarize storylines which could have felt even more diversionary. Capture under the theme of surveillance, the episode provides ample pleasures on every level: charactertization, eye candy, plot development and John Casey demonstrating his ability to hit a High C with only his pristine voice.

And that’s just fantastic stuff, there.

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