Tag Archives: Season 3

Friday Night Lights – “A Hard Rain’s Gonna Fall”

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“A Hard Rain’s Gonna Fall”

December 17th, 2008

It’s kind of inexplicably saddening to know that my two favourite Wednesday shows, Friday Night Lights and Pushing Daisies, are both in similar positions. They are both shows with a shortened life expectancy, airing episodes that are forced to start slowly wrapping up one side of storylines to please fans should they not get a renewal, and at the same time laying the groundwork for a next season that will likely never happen. For Pushing Daisies, we know its fate; for Friday Night Lights, everything remains (perhaps unrealistically) up in the air.

In the case of the football drama, in particular, this status is proving problematic, as Jason Katims and company are being forced to keep one foot planted firmly on each side (either wrapping up our existing stable of characters or preparing for a pipedream season four) of the fence, posturing like a sumo wrestler, putting their weight on one foot at a time at various points in each episode. The problem is that this never feels organic: when Jamarkus was introduced a number of episodes ago, alarm bells of “random, never before seen character = setup for season four” went off, and this week’s redistricting is by design something that won’t have an impact on the current plot but rather some long term ramifications.

But the largest example of all of this is the story of the McCoy family, which has gotten the short end of the stick since it began. Joe McCoy as a character has always been a bit of a threat to Eric, and to the team’s dynamic, thanks to his ironclad control of his son. In this episode, he transforms into something much more than that, and it feels like we needed considerably more time to get there. But this is a storyline that doesn’t have the same life as everything else: it isn’t wrapping up any storylines, it can’t really boil its way into season four, and as a result it was never given enough time to be as meaningful as possible.

The result is a sort of rushed shorthand, drawing from the depths of television villainy and the show’s own playbook to give the illusion of a truly meaningful and emotional storyline. What’s more frustrating, though, is that it actually ends up coming together as a pretty good episode in the end, because the two sides of the fence were achieving something just about right for this point in the season.

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Season Finale: Dexter – “Do You Take Dexter Morgan?”

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“Do You Take Dexter Morgan?”

December 14th, 2008

I was minding my own business one night about a month ago when a (drunk) resident in my building asked if I would like to join a game of poker. I declined, planning on getting some work done that evening, but he saw that I had a fair amount of food in my room and asked if he could have a sandwich. I obliged, as it falls within my job description as a Resident Assistant to on occasion feed the inebriated folks who wander the halls.

The reason I bring this up (I swear, there’s a reason) is that we then got into a discussion about popular culture, and eventually we got into an argument about Showtime’s Dexter. He said he liked the show, which wouldn’t ellict an argument under normal circumstances, but then he proceeded to single it out as “one of the best written shows on television.” And, maybe it’s that my patience for drunk people goes out the window during food preparation, but I immediately scoffed at this remark. He demanded I name him some better examples, I listed off the usual (Wire, Mad Men, BSG, Lost – you read the blog, you know what I shower with praise), and eventually he went off to play his game of poker, no longer in danger of alcohol poisoning.

But that conversation has stuck with me, primarily because I don’t think I had ever been quite so quick to undersell Dexter as something below the level of the shows I just listed. Admittedly, I was more down on the second season than most people, but even I couldn’t argue against the palpable tension the show created. However, while I would never question the performance of Michael C. Hall who remains as fantastic as ever, something happened at the end of the second season (mainly Lila) that the third season wasn’t able to rectify in my critical mind.

Since then, Dexter’s been my favourite punching bag, perhaps unfairly: I even trotted it out while recording a podcast about The Wire, which is something that really isn’t fair to any show. The third season had a lot of elements that certainly helped the show: the introduction of Jimmy Smits to the show has given it two Emmy-level acting contenders for the first time, and the season’s slow start paid off in the end by allowing them to ratchet up the momentum at the right time instead of about three episodes too early.

But what “Do You Take Dexter Morgan?” reminds me, against my will, is that this is a show with limitations, one which in the introduction of Jimmy Smits shed more light on its weakly developed supporting cast, and in its slow start made us stop and think “what other directions could this show be taking that would be more dramaturgically interesting” for a few episodes too long. In those moments, I know exactly why I jumped on that drunk, hungry, and entirely innocent TV viewer: Dexter could be a better show than it is, and the third season was filled with warnings that the show seems unaware of its recurring problems.

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Friday Night Lights – “The Giving Tree”

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“The Giving Tree”

December 10th, 2008

If you’re a fan of Friday Night Lights, “The Giving Tree” is an episode made for you. It’s all about callbacks to past events, to incidents that are three seasons in the making and which are reflective of past events. The episode’s main problem, in fact, is that it leans somewhat too heavily on those elements of the story, feeling fairly limited in its real “new” developments moving forward.

But I think we’re reaching the point where, the show’s renewal seeming more and more unlikely within the newly limited primetime environment at NBC, anything that speaks to the future seems premature (but tantalizingly interesting) while everything that speaks to its past seems like a justified farewell. So when the storyline circles back to the question of Julie having sex, and its impact on her mother in particular, it feels like something that had to happen, and did admittedly feel like a new sort of conversation than what we saw in “I Think We Should Have Sex.”

The other two major storylines in the episode felt somewhat more derivative, one because of the history of the two characters (as loathe as I am to discuss that history) and the other because it felt like a fairly contrived if socioeconomically realistic plot development. This isn’t to fault the episode on some broader level, and I’m happy that the resulting points of conflict are happening for the sake of getting more of characters I enjoy, but with only three episodes left in the season I’m getting to that point where I’m caught between past and future events.

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30 Rock – “Christmas Special”

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“Christmas Special”

December 11th, 2008

If there is a recipe for a good Christmas episode, it’s primarily comprised of two things: heart and musical numbers. This is all I really ask for: a Christmas episode, even for a comedy, where Christmas is just a punchline and where nobody breaks out into song is just not the kind of lively affair that I want to see at this time of year. Thankfully for 30 Rock, they got the basics right: “Christmas Special” had plenty of heart, and featured a nice end-of-episode musical number that warmed the cockles of my overtired and somewhat chilly heart.

As far as episodes of 30 Rock go, it was par for the course: Jack is in full of neuroses move over his Mother’s arrival in town (and, worst of all, confined to bedrest with a bell at her side), Liz tries to do something good but lets her own neuroses lead her to doubt the spirit of Christmas and ruin it for two young children, and Tracy and Jenna are used as the entertaining sideshows we appreciate them as. Working in a nice number of secondary characters and some fun lines scattered throughout, a slow-starting episode finds its groove in a heartwarming ending to certainly end up as NBC’s most festive (and satisfying) comedy in the hour.

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Friday Night Lights – “Game of the Week”

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“Game of the Week”

December 3rd, 2008

“It would be good to get the ball rollin’, you know?”

It’s “Beer-Thirty” in the afternoon in Dillon, Texas, and Buddy Garrity sits in his recliner with a beer and a football game. A knock at the door sends him a reminder: it can’t be his ex-wife, who hates him, or one of his friends, because he doesn’t have any of them. For Buddy Garrity, his life is football.

But while the show has always used football as a point of dramatic tension in the lives of these players, and this episode featured some of the most football-oriented plotting since the show’s first season, this episode was about the show’s continued reminder that their lives go beyond the gridiron. While our two “goodbyes” pre-planned before the season may be over, this doesn’t mean that the theme won’t continue: they have a lot of characters to send off into some form of television sunset, and we’re starting to see the plot, well, get the ball rolling.

While the stories don’t quite have the same resonance as did the emotional exits for Smash and Street yet, what they do have is football. If this week’s game is any indication, the stakes are higher than ever and we’re back to having the big games as the backdrop for our action. What resulted here was a reminder that, as the stakes for the Panthers grow higher by the week, so too do the characters’ drive to go to college, to solve their interpersonal crises, and to (in some cases) get over significant hurdles to their future.

And if things are this captivating now, I’m fairly certain the State Championship will be happening in my living room, live in person.

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