Tag Archives: Season 1

Season Finale: Privileged – “All About a Brand New You!”

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“All About a Brand New You!”

February 24th, 2009

Falling out of love with Privileged was something that I did not do with a light heart. When the season started, the show felt like it had something most pilots didn’t, an X factor of sorts which made it worth spending time with due to its status as a teen show with heart and, more importantly, some intelligence. And the thing is that these two things haven’t fundamentally disappeared, per se, in the time since I last wrote about the show, but something of that initial spark is missing.

“All About a Brand New You!” feels like the show’s attempt at a return to form, and in terms of some of its characters it is a very successful investigation into individualism, placing Rose and Sage as equivalent to Ibsen’s Nora from A Doll’s House. But while the episode uses a large, showy event in order to showcase these changes, and gives both sisters a sense of independence and control over their destinies that serve their characters well, our heroine Megan is more or less hung out to dry with a sadsack relationship that holds no interest and, upon its end in the episode, no real dramatic weight. When the episode ends with a cliffhanger about the state of that relationship, one comes to two conclusions: that the show is awfully presumptive to end with a cliffhanger considering its uncertain future but that, even if it gets that chance to come back (my fingers do remain crossed) I don’t particularly feel like its resolution is going to change my views on the show’s romantic center.

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Yes, I’m Still Watching…ABC’s Life on Mars

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Yes, I’m Still Watching…Life on Mars

February 23rd, 2009

There were many shows that I caught up on over the end of last week, finding myself recovering from one major academic deadline and then not wanting to start preparing for the next one immediately. And so I sat down and caught up on numerous shows that I’ve found myself falling behind on for this, that, or some other reason.

The one I’m choosing to write about first is the one that has perhaps been off the radar for the longest period of time. I blogged my way through the premiere of Life on Mars, but since that point I have been noticeably absent. But the show after a very strong fall finale of sorts in December, Life on Mars has returned after the break to struggling ratings (nothing ever performs well after Lost) but to a bit of a creative resurgence, picking the right kinds of stories and the right balance of 1973 reality and 1973 surreality to sustain my attention.

I still have some concerns with certain elements of the show’s storytelling, but at this point they have done more than enough in terms of creating endearing, well-acted and well-rounded characters for me to be too preoccupied with such matters, and although I am still remiss in not checking out the BBC original series I am pleased at some of the broader mythology stuff that is starting to appear.

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Dollhouse – “The Target”

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“The Target”

February 20th, 2009

When Joss Whedon first introduced the concept of Dollhouse, the show had potential largely based on its philosophical ideas, examining who these actives were, who they are now, and who they could potentially be in the future. In the show’s ostensible pilot of sorts, “Ghost,” we only really dealt with these questions on a surface level: we saw an example of the kind of job that Echo could be given, and a small glimpse into who she once was. But that middle question was left more or less unanswered: while we got some sense of complications with the actives and potential hazards, the philosophical questions (morality, ethics, all of that jazz) were never really investigated.

This is the reason why I’m not sure why “The Target” wasn’t the show’s pilot, because with a little bit more introduction to the key values this is a far more interesting hour of television. Not only was Echo’s “case of the week” far more interesting to watch, but the stakes were higher, and more importantly the people whose lives were at stake were people that we were supposed to care about. This episode, using Boyd’s first days at Dollhouse as a framework, show us a side of Dollhouse that is morally questionable, that raises some important questions both about the security of this process and the transparency of Dollhouse’s leadership, and does a lot more to make me excited about this show and its characters than last week’s comparatively pedestrian offering.

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Series Premiere: Dollhouse – “Ghost”

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“Ghost”

February 13th, 2009

According to logic, and the internal methodology given to Echo before an important mission, you can’t fight a Ghost. And, let’s be realistic, you can’t really pin one down either, trying to define it by regular rules of physics or biology ultimately proving a futile task.

In many ways, Dollhouse is a Ghost of Television, a show that is very tough to pin down and has almost no interest in trying to have this happen. The series, like the actives who are part of the Dollhouse roster, can be wiped clean after every episode, so it is very difficult to judge the pilot as we would normally judge a pilot. The point here is not to actually pin anything down, but to demonstrate for the viewer the types of things they might see and, most importantly, the types of things that we should keep an eye out for in the future.

And, as such, there’s something difficult about passing judgment on this as an actual series. All we can really do is take the parts that we’re given here that we know will remain constant and begin to judge them, but even then the show is going to be meandering all over the place and those parts might be able to rise to the occasion better than we currently realize. It makes all of this, well, a little bit inconsequential; I have a feeling that week by week I’ll be chiming in with another opinion that’s been altered from the week previous, something that with time could get a little old.

For now, though, I’m along for the ride, for two main reasons: because I think the show has some potential as a serialized procedural, and because I’m mildly afraid that the Whedon fans will hunt me down and break my legs if I don’t.

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Fringe – “Ability”

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“Ability”

February 10th, 2009

If there was ever any question about which J.J. Abrams show Fringe was trying to be, “Ability” sealed the deal.

For those who didn’t have the pleasure of seeing Abrams’ second major foray into television, Alias, this episode played out much like that series. At a certain point, Sydney Bristow walked into a residence during a mission (serving as a spy) and saw a puzzle lying scattered on a table. Within a few seconds, she was suddenly (and subconsciously) completing the puzzle before her, instinctively creating the tower that the pieces created. While I won’t spoil the actual reason why Sydney was able to complete the task, let’s just say that it was some sort of test project, and that there was a reason why she became a spy.

Ultimately, “Ability” is trying to do the same for Olivia Dunham, giving her a reason to be so intricately linked to this mysterious scientific conspiracy that is currently unfolding. Catapulting the mysterious and creepy Mr. Jones back into our main narrative, we learn some very important things in this episode, things that will go a very long way to allowing the series (upon its return in April) to expand into ideas that have laid dormant since the pilot or have yet to even be uncovered. The result is, if not the cleanest episode since the show first entered into this type of territory with “The Arrival,” then certainly the one that has felt the most expansive.

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Fringe – “Bound”

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“Bound”

January 20th, 2009

When it takes four people to write an episode of television, it is easy to become suspicious: there is nothing about “Bound” that screams as if it needs to have so many cooks in the kitchen, and the show has enough trouble keeping a consistent tone as it is without having so many independent voices in the writer’s room.

But this is a huge episode for Fringe: it is the first to air behind American Idol, the biggest lead-in in television and, as a result, a real test of the show’s ability to draw in new viewers. As a result, I can see why four writers had enough of a hand in this episode: it has to introduce potentially new viewers to the universe while at the same time dealing with the fall finale of sorts which left Olivia Dunham in the hands of some dangerous people.

What “Bound” becomes is a prime example of why these types of mid-season reboots for the purpose of drawing in new viewers are inherently dangerous, if not why they are an entirely bad idea: the episode is not a complete disaster by any means, and its back to basics approach will probably help it draw in some of the post-Idol audience for a few weeks at the very least.

But the problem lies in the fact that they bring to head a long gestating question of double agency in an episode where they are treading carefully with serialized elements: it’s hard to feel the sense of finality or build-up we should have felt when everything felt too clean due to the episode’s lack of time to really get dirty. There was something about the episode that just felt a bit too clean, mouth slugs be damned, and while I get the reasoning I can’t help but feel it’s nonetheless a step back in terms of momentum.

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