Tag Archives: Season 2

The strangest thing about Stranger Things is its (potentially) undefined future

stranger-things-netflix-trailer

Stranger Things is the latest in a long line of originals from Netflix, a stable that is growing to the point where any one series is no longer really all that pivotal to their brand identity. Netflix doesn’t really put a significant promotional pitch behind a show like Stranger Things: they do some light marketing, some press (if critics/reporters are interested), and then season one becomes a litmus test. If it’s a “hit,” it goes into the list of shows that Netflix will push harder for a second season. If it’s not, it becomes like Marco Polo, which received almost no fanfare when its second season debuted earlier this month.

Stranger Things does pretty well in this litmus test. Critics embraced the show—although it received a slightly lower metacritic aggregate score than Narcos, it also had eleven more reviews in total, suggesting a wider interest in the series from the press. If I had to pinpoint a reason for this, it’s because Stranger Things feels different. Netflix’s series have at times slotted comfortably into existing genres: Narcos into the Breaking Bad anti-hero mold, Marco Polo trying to be a historical action epic, etc. And while Stranger Things‘ cinematic points of inspiration are none-too-subtle, it has less precedent in television, and thus feels novel even though one of Netflix’s first original series (Hemlock Grove) was a spin on the horror genre. The 80s period, Spielbergian, Stephen King-esque take on the material stands out amidst what I once dubbed the “psychosexual horror arms race” ongoing elsewhere in the genre, and the show overcomes some shoddy procedure—more on that after the jump—to construct a compelling milieu, fun characters, and a mythology that draws you in without getting overly complicated.

But there is another litmus test in Stranger Things that I want to focus on, which is this: what kind of television show is this in our era of limited series and seasonal anthologies? At only eight episodes, Stranger Things sits in a decidedly liminal position in an evolving TV industry, and the way the first season ends tells me that even those making the series aren’t entirely convinced where they want this show to fit. It’s a fascinating decision that creates an entirely new “postmortem” conversation about a season of TV: What, indeed, do we want a second season of Stranger Things—all but guaranteed given Netflix has never canceled anything, and certainly wouldn’t cancel something with reviews like this—to look like?

And, perhaps more importantly, do the show’s creators and Netflix feel the same way?

[Spoilers for “season one” of Stranger Things to follow.]

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Hate To Say I Told You So?: Jane The Virgin’s Finale Non-Shocker

At what point does a fan theory become so ubiquitous that it stops being a theory?

Back in January of last year, as Jane The Virgin was in the midst of its first season, I tweeted the following to my A.V. Club colleague Kayla:

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This was a week after the show’s Latin Lover Narrator told audiences that Michael would believe he and Jane should be together “for long as Michael lived, until he drew his very last breath.” It was a notable piece of foreshadowing for a show that had already shown its interest in exploring the high stakes of the telenovela, and antennae have been up ever since.

But it was later in the second season that Michael’s fate became a larger topic of conversation. And in this case, it wasn’t the kind of explicit foreshadowing that the writers introduced in the first season, but rather a practical reality of the situation that was being established: Michael was too perfect to leave the season unscathed. The life being set up for Michael and Jane following their engagement was too perfect: he was too understanding about the co-parenting with Rafael, he was too willing to accommodate Jane’s neuroses, and he was romantic in ways that are simply not sustainable for an ongoing television series. Jane can’t be as happy as Michael was making her for the show to move forward with wedded bliss as the status quo. Something had to give.

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And people noticed. Some of us simply trolled our Twitter followers, making sure they were prepared for the pending doom (it was what The New Yorker‘s Emily Nussbaum was talking about on Twitter in the hours before she earned her Pulitzer). Vulture wrote a whole article about whether or not Michael was going to die. And the textual evidence was only kept mounting: the couple exchanged their vows before their wedding, for example, which is a telltale sign that something is about to go terribly wrong. And so by the time we got to tonight’s season finale, we were past the point where the antennae were up, and to the point where I turned to my mother—who has only seen the pilot, which I showed her earlier today while visiting—and told her flat out that Michael was about to die.

But as much as something terrible happening to Michael wasn’t a question going into “Chapter Forty-Four” wasn’t a question, I did have a question about it: is it a problem that we all knew it was going to happen?

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American Crime puts Pedagogy before Story

LILI TAYLOR, CONNOR JESSUP

(ABC/Felicia Graham)

A lot of television criticism becomes a critique of execution. Good ideas are put forward, but something’s off: a performance doesn’t quite land, the character logic doesn’t quite track, or limitations of budget or time—basic realities of making broadcast television—stand in the way of telling the story the way they wanted to.

But then you have cases like tonight’s American Crime, which I believe is executing the story it wants to tell at a high level. It’s just not the story I thought they were telling, and dramatically alters the scale and focus of the show in ways that in my experience undercut what made the show so compelling earlier in the season.

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Cultural Interview: Quick Draw’s John Lehr on Being Renewed at Hulu

quickdraw-season-2-key-art-huluDuring Hulu’s presentations during this summer’s Television Critics Association press tour, there was something new for the streaming service: shows going into their second seasons. After their first original scripted series Battleground came and went without even an official cancellation, the Hulu development process was something of a mystery, with most of their multi-season exclusive content coming through international licensing deals. And so 2013 was a big year for the company, as they debuted and renewed their first three series: animated series The Awesomes, Latino-focused teen soap opera East Los High, and improv comedy western Quick Draw, created by John Lehr and Nancy Hower, which debuts its second season on Hulu today.


The rise in streaming services has complicated the traditional way we measure television success, requiring new logics for why a show earns a second season given that we’re dealing with new data sets and lack the traditional data set—Nielsen ratings—that we consider more heavily in such analysis. As a result, I spoke with Lehr regarding the experience of “getting renewed” at Hulu, and the way the experience both does and does not reflect the traditional process with a broadcast network or cable channel, in addition to his experience as the creator of a show that lives in this still-emergent televisual space online.

Cultural Learnings: So when did you know you were getting a second season?

John Lehr: It was crazy. It was unlike any pickup I’ve ever experienced. We literally turned in the final hard drive for the first season, and the next day got the pickup for season two, which was just like—psychologically—“Yay! We’re employed!” Because usually it’s nailbiting, and that’s just horrible when you’re waiting. But on the creative side too, we dove right in that day and started thinking about season two. So I think it really helps in terms of the quality as well, because it gives us more time, and more time is always a good thing—well, not always, but in our case it is.

Given that you aren’t seeing traditional ratings, and Hulu had never renewed a series until after you premiered, did you have any idea going into the process what it would take to get a season two?

[Laughs] You know, that is an intriguing question. We didn’t know. I mean, we knew that no matter what, it’s about viewers—whether you’re on network, cable, or broadband, it’s all the same. It’s just “Do people want to watch this show, and how many of them are watching, and who are they, and what is their age, and what kind of things do they buy?” That doesn’t change. You don’t have the Nielsens, but somewhere there’s a counter going on, or some sort of understanding of how many people are watching this thing. And from the get-go, we were shocked at the response we were getting from Hulu and from people online about how many people liked the show, so almost out of the gate our Facebook blew up, there were tumblr pages. The response from fans was really, really good.

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Season Finale: Homeland – “The Choice”

HomelandTitle

“The Choice”

December 16th, 2012

When Homeland’s first season ended, it offered what some viewed as a clean slate: Carrie’s memory was wiped, Brody’s secret was safe, and it seemed to set the table for everything to go back to normal as though nothing had ever happened. And when the second season began, there was certainly some semblance of stability, every character going on with the new version of their lives.

“The Choice” draws a similar picture of the post-Nazir era for Brody and Carrie, in that they believe they have a clean slate, that this is the second chance Carrie referred to earlier this season in the motel room. And yet just as the early part of this season exploded any sense of stability more quickly than we would have imagined heading into the season, so too does any post-Nazir calm disappear with great efficiency.

It’s a thematic parallel that fell into place for me as I was watching the finale, one which did little to assuage my frustrations with a central principle of the season but did much to piece together how and why certain storylines were constructed leading up to this point. The season makes more sense as a result of the events in “The Choice,” but it didn’t necessarily become any more successful than the mixed bad heading into the finale, capping off a season of television that I admire for its commitment and question for its choices.

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Season Premiere: Homeland – “The Smile”

“The Smile”

September 30th, 2012

Carrie’s life is just getting back on track when we rejoin her narrative. She’s living in her sister’s house, spending time with the family and teaching English as a Second Language. And so when the CIA comes calling, asking her to fly to Lebanon and engage a former contact, it asks her to return to the life she’s been trying to avoid.

Similarly, Brody is moving forward with his life as a congressman hoping that his relationship with Abu Nazir won’t become an active part in his life. He wants to believe that his subtle influence of policy is his role in the larger game, that his way of protecting Isa’s memory is to find ways to keep the same kind of attack from happening again. And so when he is contacted by one of Abu Nazir’s people to play a role in the planned attack in retaliation for the Israeli strikes on Iran, he’s forced back to that moment when he almost pulled the trigger. There, he was killing men responsible for the killing of innocents; now, he’s being asked to play a role in the killing of innocents in response.

“The Smile” asks us who these characters are in light of these new circumstances, testing their new identities based on their old lives. Does Brody still believe what he used to believe? Does Carrie still desire to live on the edge even once she’s spent time on stable ground? By combining the introduction of the season’s over-arching plot with this character study, “The Smile” serves as the perfect reintroduction to this world and the characters operating within it.

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Cultural Interview: Awkward. Creator/Showrunner Lauren Iungerich [Part Two]

Awkward. has been successful with MTV’s key market, drawing significant fan response for its relatable teen characters among young female demographics. It’s a show that fits comfortably into expectations for a show in the age of social media, eminently hashtaggable, and it’s become a key cornerstone in the channel’s original programming efforts.

However, it would be wrong to reduce Awkward. to its hashtags. In a diverse first season, creator/showrunner Lauren Iungerich explored a wide range of storylines, balanced characters from different age groups, and successfully managed to keep a love triangle from becoming either a foregone conclusion or a waste of time.

In this second part of my conversation with Iungerich—you can find Part One here—we explore what worked in Awkward.’s first season, how that’s changing in the second season, and a slight digression into the show’s southern California setting.

Is there a story in Awkward.’s first season that you felt best captured the show you were trying to make? The moment where it all clicked for you?

LI: The moment in “Queen Bee-atches” with Sadie, where we really sort of humanize her, where we understand her powerlessness to her weight, was something I was really proud of. The moment in “Fateful” where Lacey gives her daughter that dress, that sort of recognition of acceptance of her kid, and realizing she had made a lot of mistakes. The journey of Lacey in the first season was about going through the five stages of grief, and that was her coming to that phase of acceptance, of realizing how much she loved her daughter, and how precious she was. In “My Super Bittersweet Sixteen” when Matty shows up at the back door on her birthday, on this terrible birthday, and wants to be more than her friend. That is such a romantic tenet. And Dead Stacy [in “Over My Dead Body”], being able to take something and not make a particular TV trope, to do something that hadn’t been done before. That’s a real tenet of our show: we try not to do anything that’s super tropey.

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