Tag Archives: Season 1

Top 10 Episodes of 2010: “Modern Warfare” (Community)

“Modern Warfare”

Aired: May 6th, 2010

[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list as it goes up, click here.]

I liked episodes of Community more than I liked “Modern Warfare.”

When I first watched the episode it couldn’t live up to the mountain of hype, and my general lack of emotional connection with the specific films being referenced meant that I didn’t have the same thrill that others might have found in the episode. I enjoyed it, as I’ve enjoyed most if not all of Community’s first and second seasons, but the episode was not as life-changing as it seemed to be for others.

And yet there was no single episode of Community more important than “Modern Warfare” this year. It was evidence that this was a world which could sustain these flights of fancy, that Greendale could become a paintball battleground without losing that which made the show tenable. It was indulgent and self-reflexive without being reflexively self-indulgent, never stepping back from the parody and yet never allowing that parody to swallow or bastardize the character arcs caught up in this conflict.

The show achieved higher highs, and perhaps even took greater risks as the year went on, but I feel pretty confident that none of it would have worked as well were it not for the confidence and goodwill gained from the day that Greendale went to war.

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Series Premiere: The Walking Dead – “Days Gone Bye”

“Days Gone Bye”

October 31st, 2010

I addressed The Walking Dead generally in my piece last night, but I do want to address the premiere in particular.

As far as premieres go, this is a really strong effort aesthetically: character is largely on the backburner in an effort to define the scale of this world, which operates directly in opposition to characterization. The whole point of the series, after all, is that humanity has dwindled down to a small collection of survivors, and yet this creates an even grander sense of scale as a result of the sheer emptiness.

I want to talk about that emptiness a bit, and the role it plays in telling the story in “Days Gone Bye.”

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Return to Rubicon: A Cultural Catchup Project

Return to Rubicon

October 16th, 2010

As some of you may know, I’m in the midst of starting a PhD program, which means that there have been certain televisual casualties this fall.

Some of them have been pretty insignificant: I don’t think that giving up on Undercovers after the pilot, for example, is a huge loss considering the series’ imminent demise. However, others have been more substantial, or more accurately have become more substantial with time.

Back at the end of August, I didn’t think that falling behind on AMC’s Rubicon was going to be a problem. While I liked the show, and thought it had potential, the first five episodes were not must-see television, and so the episodes started piling up on the DVR.

And yet, over time this became more problematic: critical and fan responses indicated that the show was starting to live up to is potential, and so it became a sort of social stigma to not be caught up with the series. Thankfully, the show seems to be fairly spoiler-proof, more interested in atmosphere than “plot” movement, but I was still anxious about being behind. I can see only so many “Arliss Howard better get nominated for an Emmy” tweets before I become uncontrollably curious, and so I knew that I would need to catch up before the finale.

As a result, I set aside all of yesterday to watch the last seven episodes of the AMC series ahead of the season finale – tonight at 9/8c – and I brought (some of) you along for the ride; over a 12-hour period, I watched all seven episodes, and returned here to offer some commentary, some links to other reviews, and a record of my growing appreciation for the AMC drama.

It’s not as substantial as it would have been if I had kept up throughout the season, but I’m just excited to finally enter into this conversation that will hopefully be enough to get the series a second season.

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Season Premiere: Caprica – “Unvanquished”

“Unvanquished”

October 5th, 2010

Returning to numbers below its performance earlier this year, Caprica seems to be heading for an early death. On the one hand, this disappoints me: as a fan of this franchise, I am interested in seeing where the show might be headed. However, watching “Unvanquished” I realized that I do not feel any particular need for the series to continue. There is a decided lack of urgency to the way we approach the series: I’m co-editing Antenna this month, and I concur with Derek Johnson’s question mark in regards to our anticipation regarding the series’ return (in fact, I couldn’t prepare his piece for publication until I watched the finale, which only happened last night, thus proving his thesis).

What’s fascinating is that “Unvanquished” seems like an incredibly intelligent start to the second half of the season and yet does nothing to make the series seem more exciting; it seems more logically planned out, but logic is not enough to convince me that this show deserves to be saved.

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The Stealth Launch: Lie to Me and Caprica Return on Short Notice

The Stealth Launch: Lie to Me, Caprica Return

October 4th, 2010

This week marks the return of two series which were supposed to remain on the bench for a bit longer.

FOX’s Lie to Me was originally scheduled to return in November, but its third season will slot behind House (where it was last season) starting tonight at 9/8c.

SyFy’s Caprica, meanwhile, wasn’t going to return until January, but the decision was made to pair the conclusion of the series’ first season (10/9c) with the return of Stargate Universe on Tuesday.

As someone who was compelled by Caprica, and who finds Lie to Me to be a solid procedural, I should be excited by these returns. However, both because of a general lack of promotion in one case and a sheer lack of warning in the other, these series risk being missed by their prospective audience. While there is some value to flying under the radar, and it is possible that reduced awareness could lead to reduced expectation, I can’t help but feel that these series are being put in a position where sooner is not necessarily better.

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Lone Star Lament: Kyle Killen Discusses the Series’ Rise and Demise at Flow 2010

Lone Star Lament: A Q&A with Kyle Killen

October 1st, 2010

While the online narrative about Lone Star‘s demise considered the show as an example of the divide between cable and network, or as a sign that critical praise actually hurts television series, I personally chose to take something positive: although I was sad to see the show progress into the rest of its first season, which I think had the potential to be a very good television series, I was pleased to see that creator/writer Kyle Killen seemed to be approaching the cancellation with a sense of purpose (in putting himself out there to promote the series between the first and second episodes) and class (by resisting any sort of vitriolic response to its cancellation).

As a result, I was extremely excited for Killen’s appearance at Flow 2010, a television and media conference at the University of Texas at Austin; not only would it give us a chance to learn more about the series, but I could also see whether or not my impression of Killen (pieced together from interviews, tweets and some press tour quotes) would hold in person. During the Q&A after a screening of the series’ pilot, Killen was honest about the show’s failure, open to more complex discussions of the series’ gender representations, and realistic about the way the television industry operates. While the show’s failure identifies much of the cruelty in terms of how the industry evaluates a series’ success, Killen rose above the victim narrative and focused on what he learned from the process, what he wishes he could have achieved, and how he feels about how the process unfolded.

The result was a glimpse into a world of disappointment that, even after learning that we’d be screening the pilot instead of the unfinished third episode, was not close to being disappointing in and of itself.

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Lone Star – “One in Every Family”

“One in Every Family”

September 27th, 2010

“Everything’s always a blur.”

Lying in bed, the newly married Lindsay Allen observes to her husband that her life is sort of like drowning: when he’s away (with his other wife), she feels like she’s drowning, and when he returns it’s like a sudden breath of air.

This scene does little to elevate Lone Star’s gender representations, as effectively Lindsay is arguing that she is lost without her man; however, while I will get to those questions in a moment, I want to focus on the way Lindsay’s description describes Lone Star in and of itself. The show feels sort of like a blur, really: while the show has a fairly leisurely pace, the threat of a reveal remains at every corner, creating just enough instability for an episode like “One in Every Family” to feel meaningful even when it doesn’t have any huge or groundbreaking scenes.

The show continues to paint in fairly broad strokes on some levels, but its second episode quite successfully expands on the nuance within its various worlds: the show still remains fairly centered on James Wolk’s Robert Allen, but the show around him has been effectively given additional depth which would indicate that this show is about more than its premise.

Emphasizing potential, of course, that is unlikely to see the light of the fall season.

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Review: NBC’s Outsourced Lives Down to the Anti-Hype

Review: NBC’s Outsourced

September 23rd, 2010

Considering how terrible Outsourced – debuting tonight at 9:30/8:30c on NBC – is, we need to ask ourselves the question: where did this go wrong?

While it awfulness perhaps pushes us to suggest that it was simply a terrible idea from the very beginning, I think there was comedy to be mined here. I think, for example, there is potential in the idea of setting a comedy within an Indian call center which deals with American customers, investigating how the Americanization of their workplace influences their cultural heritage. There’s also theoretical potential in looking at how an outsider struggles to adapt to Indian culture after being shipped there against his will.

Outsourced lives up to none of this potential, however, largely because there is not an ounce of depth within its characters or its narrative. It is, like Mid America Novelties itself, interested in novelty and little else, sacrificing any of the complexities of this situation in favour to getting down to what really matters: feces, broad stereotypes, and cultural imperialism.

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Review: NBC’s The Event an Exercise in Zeitgeist-Chasing Self-Indulgence

Review: NBC’s The Event

September 19th, 2010

What is the function of mystery?

You might feel that this is a particularly silly question, but I think that television producers are beginning to misinterpret just what makes mysteries a key component of television drama. Yes, the most basic definition of mystery is uncertainty, so there is a certain value to keeping your audience guessing throughout your narrative. However, mystery is about more than guesswork and confusion; it is about suspenseful situations, and about the way each individual character responds to their uncertainty. In other words, a good mystery isn’t an elaborate conspiracy unfolding in fractured narratives designed to obscure the truth; rather, a good mystery is one which the viewer experiences as opposed to one which has been explicitly created for their consumption, one where the characters and the audience share the same feelings of suspense or uncertainty as the series continues.

This is all a fancy way of saying that NBC’s The Eventwhich debuts at 9/8c on Monday, September 20th – is a show which tries so hard to be mysterious that it loses track of basic principles of storytelling: with a chronology designed to confuse, and with characterization that ranges from vague to non-existent, there is nothing for the viewer to latch onto but the elephant-sized mystery in the room. And yet by organizing the pilot as a series of neon signs with flashing arrows pointing towards the mystery, the manipulations necessary to create said mystery become readily apparent, and render The Event an exercise of zeitgeist-chasing self-indulgence.

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Interview: Talking Huge with Savannah Dooley

Interview: Talking Huge with Savannah Dooley

September 7th, 2010

If you’re a regular visitor, you know that I spent much of my summer obsessed with ABC Family’s Huge, a show which really surprised me in its premiere and continued to build throughout the summer. After starting as an interesting glimpse into the experience at a summer camp designed to help teenagers lose weight, over time it became a nuanced take on adolescent self-discovery. Without directly subverting summer camp cliches, the mother-daughter development team of Savannah Dooley and Winnie Holzman elevated their simple structure into the summer’s finest drama series.

[For all of my reviews of Huge’s first season, click here.]

However, since it was more or less just Todd VanDerWerff and I writing about the show, there wasn’t a whole lot of analysis being done, so I felt a certain obligation to do what I could to dig deeper into the series’ subtexts – as a result, after reaching out to the production, I got in contact with Savannah Dooley, who was kind enough to answer some questions via Email about how the series developed, the ways in which the characters evolved over the course of the season, what awaits the show should ABC Family decide to pick up the back half of Season One, and the latest news on the chances of that pickup in the months ahead, all of which can be found after the break.

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