Tag Archives: Season 3

Sons of Anarchy – “Oiled”

“Oiled”

September 14th, 2010

“I’m afraid the 21st Century has come to Charming”

Nothing has really changed within SAMCRO as Sons of Anarchy enters its third season: there’s little discord amongst the group, and even though Gemma’s on the run and Abel’s a hostage of sorts in Ireland there is still the sense that the club itself is as solid as it’s ever been in the wake of last season’s tragedies.

However, the problem is that the world around them is no longer bowing down to their power: as Hale’s elder brother Jacob, trying to leverage his brother’s death into a successul mayoral run, notes in “Oiled,” the sort of old-school notion of law which the Sons held over Charming is no longer effective. We saw the wheels starting to come off the train last season, but there was a sense that it was SAMCRO’s lack of cohesion that led to their struggles. And yet, even when Gemma’s rape united Jax and Clay, and Opie got over his wife’s passing, things still unraveled in the finale, and things continued to unravel last week when mysterious gunmen killed Hale and threatened the safety of Charming.

“Oiled” is certainly a more methodical hour of television compared to last week’s premiere, as the sense of urgency which we expected to take hold during last week’s hour is replaced by a more functional effort to properly interpret the situation at hand. And yet, as the club tries to piece things together, their enemies are either committed to a more dangerous course of action or are already at work obfuscating reality in an effort to throw SAMCRO off the trail.

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Season Premiere: Sons of Anarchy – “So”

“So”

September 7th, 2010

In a post about the third season premiere of Sons of Anarchy, Kurt Sutter wrote the following:

“It would be very easy for me to repeat what worked in season two — create some internal beef that provided intensity and tension within the club, bring in another big nemesis, throw those two conflicts at each other and watch the blood flow. Yes, I’m sure it would be okay and people would like it. But ultimately, I would be cheating my own creative process and your dedication as well. I’ve learned that devoted fans are very sophisticated viewers. They know when they are being fed leftovers. Yeah, they may eat them for awhile, but eventually, they’ll get bored and leave to feed on something more tasty.”

This explains a great deal about “So,” an episode which lulls you into a false sense of security only to up the ante that much more after last season’s dark and twisted finale. Sons of Anarchy became one of television’s top dramas last year because Sutter is fearless, willing to go to particularly dark places and also willing to allow the story to escalate without concern over running out of story ideas in the future. There was actually enough story in the wake of that finale to sustain the season through the first few episodes: it wouldn’t even be leftovers so much as the rest of dinner, magically still warm despite having been sitting on the plate since last December.

What “So” establishes most clearly is that Sons’ action-packed narrative does not indicate a lack of nuance in its storytelling: as crafty as he is outspoken, Sutter creates the illusion of “moving on” while delivering a knockout blow which moves in an entirely different, yet perfectly complimentary, direction.

And, not surprisingly, I feel neither cheated nor bored: instead, I’m downright exhilarated.

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Reminder: Sons of Anarchy Season 3 Premiere Tonight on FX

Reminder: Sons of Anarchy Season Three Premiere Tonight on FX

September 7th, 2010

[The premiere has aired, so you can now read my full review here.]

Tonight at 10/9c on FX, Sons of Anarchy returns for its third season, and in case you were in any doubt after the show’s extremely strong second season, I can tell you that the season is off to a really fantastic start. Yes, I have access to screener copies of the first four episodes, and after watching the first two hours over the weekend I’m able to tell you that the show hasn’t missed a beat.

However, since I’ve written extensively in the past about my general disinterest in pre-air reviews of shows I think people should watch anyways, I will simply suggest that fans of the show tune in. Also, in case you were wondering, my reviews of each episode were written directly after watching the episode in question, so there will be no passive spoilers from future episodes without my review of the premiere (which goes online at 11:13 Eastern, when the episode comes to its conclusion).

In the meantime, though, feel free to revisit my review of last season’s finale, and check out Alan Sepinwall’s review of the third season if you want more of a preview of what’s to come.

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Season (Series?) Finale: Party Down – “Constance Carmell Wedding”

“Constance Carmell Wedding”

June 25th, 2010

In some ways, there could never be a perfect finale for Starz’ Party Down. The show is about people confronting the fact that they might be living their finale, that working for a catering company may be the highest rung they will climb in southern California, and so “endings” are inherently unnatural. Instead, the characters are in a constant state of waiting to become, working hard or hardly working towards the end goal of achieving great success in their chosen field. And so while this may well end up the series finale (due to Starz reinventing itself as a genre network under new management and the middling ratings for the series) of Party Down, it is an episode about failed beginnings more than endings.

While very funny and quite poignant in a number of areas, “Constance Carmell Wedding” suffers a bit under the weight of those final moments, unsure of who would be returning for the following season or if there would even be a following season. Constance’s return is most welcome, and the focus on career goals is well met, but there’s a point where a half-hour comedy just can’t carry the weight of beginnings, endings, reunions, unions and everything else in between.

However, let’s not pretend this means I won’t miss the show should it truly be done, or that I didn’t find the second season to be particularly strong: while it may not have all come together perfectly, it was a confident second season which built on the first season’s success without abandoning its winning formula, and I sincerely hope that the show gets a reprieve if only to see what a third season would look like for these character I’ve come to admire.

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Season Finale: Breaking Bad – “Full Measure”

“Full Measure”

June 13th, 2010

“We had a good run…but it’s over.”

When I sat down at about 3:00 am last night to watch the Breaking Bad finale after arriving home from my trip to Madison, I discovered that AMC was showing “Shut the Door. Have a Seat,” Mad Men’s third season finale. It took me a good ten minutes before I managed to turn on my recording of “Full Measure.” There is something exhilarating about that finale, something immensely pleasurable as lingering storylines that were sort of floating their way through the season (Lane’s dissatisfaction, Joan’s marginalization, etc.) become wrapped up in an unforgettable heist narrative which launches the show in a fascinating new direction.

And as I sit down the next day to consider “Full Measure,” I can’t help but make some comparisons, although less in terms of quality (both are great, we don’t need to qualify which is “better”) and more in terms of structure. “Full Measure” is similar to “Shut the Door…” in that it shows our protagonists struggling to respond to a new set of circumstances which threaten them in some capacity, but the world of Mad Men values creativity first and foremost, something which Breaking Bad tends to oppress (as we see with Jesse as the paralyzed artist figure, his youthful drawings or woodcraft projects signs of wasted potential). So while Don and Co. got out of their situation with some creative thinking, and the series found its finale in contrasting the creation of a new direction while simultaneously dissolving another, Walt and Jesse solve their circumstances with a cold dose of reality, and the series finds its finale in doing as it has always done: following through on the social, psychological, and monumental consequences of going down this dangerous path.

The result is a fairly simple tragedy with less than simple ramifications, as “Full Measure” uses the show’s trademark tension to cap off a stunning season of television which went on a run that is most certainly not over as the series heads towards its fourth season with an obnoxious amount of momentum.

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Cultural Catchup Project: “Graduation Day” (Buffy the Vampire Slayer)

“Graduation Day”

June 7th, 2010

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

“The Future is Ours”

In many ways, “Graduation Day” is a story simply told.

Filled to the brim with shared anxieties and common goals, the two-part season finale is almost claustrophobic in its focus on how our central characters respond to the circumstances which are threatening to change their lives forever. Conveniently conflating graduation and ascension, the series uses the end of the world as a way to exaggerate (within reason) the fear of the future, the uncertainty which defines high school students as they prepare to enter the real world.

As two hours of television, it’s a densely plotted rollercoaster which operates in carefully designed half measures which create conflict and chaos without losing sight of the psychological ramifications within the episode’s action; as the conclusion of Buffy’s finest season to date, it’s a reminder of the ways in which the series has forever blurred the line between human and demon to the point where empathy is no longer a one-way street, uniting the series in a way that it may never be able to achieve again.

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Breaking Bad – “Half Measures”

“Half Measures”

June 6th, 2010

“You are not a murderer – you’re not, and I’m not. It’s as simple as that.”

If I had been drinking something when Walt said the above line, I’m pretty sure I would have done a spit take.

This reaction comes for two different reasons. The first is the idea that Walt is not a murderer, which seems patently false when you consider the numerous people he’s killed (whether it’s not saving Jane or the two men who he killed as a result of the meth lab explosion in the pilot). However, that’s part of Walt’s character, his ability to convince himself that it doesn’t make you a murderer if you kill them for the right reasons, just as it doesn’t make you a criminal if you’re doing it for your family. And so I can understand that this is part of Walt’s self-delusion, and so my spit take is perhaps unwarranted.

However, even if we accept that Walt believes that his past actions do not define him as a murderer, his argument that it is “as simple as that” is laughable to the point of a solid guffaw. Breaking Bad is many things, but simple is not one of them, and while Walt has his delusions he should know by now that things are never quite that simple. It’s one thing to try to justify your behaviour through rationalization, and it is quite another to try to convince yourself that your world of meth cooking, money laundering, revenge seeking and turf wars is in any way simple, or that anyone is capable of maintaining a simple life when you’re caught up in that world.

And yet, in some ways I think “Half Measures” proved my guffaws to be misguided: while Walt’s first claim may remain laughable, his latter claim may not be so farfetched, his desire for simplicity ultimately futile and yet the only way he can think to respond to the complexity of his current situation. The result is a blunt, even simple, action with enormously complex consequences for Walt, Jesse, and the series’ narrative, the exact kind of bold move which has elevated the show to the upper echelon of television drama.

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Breaking Bad – “Abiquiu”

“Abiquiu”

May 30th, 2010

“She saw something new every time she painted it.”

It’s been three weeks since I last checked in with Breaking Bad, which is unfortunate but not that surprising: I was busy graduating two Sundays ago, and then last week anyone without screeners was out of luck if they were simultaneously a fan of both Breaking Bad and Lost. It’s particularly unfortunate since both “Kafkasque” and “Fly” were pretty fantastic. To briefly offer my perspective on each, I loved the parallel between Jesse and Walt each watching their confidantes spinning a web of lies in “Kafkaesque,” in particular Walt’s reaction to Skyler’s ability to pull off the gambling alibi with such precision. And as for “Fly,” I thought Rian Johnson did a fantastic job of taking a purposefully contained – for budgetary reasons – episode and and allow it to be defined by its sense of atmosphere. The show tiptoed dangerously close to Walt revealing the truth about Jane’s death, and by embracing that tension without exaggerating it the series created an episode which remained definitely “Breaking Bad” without the shoot-outs and chaos the show has used so effectively this season.

“Abiquiu” remains a fairly low-key affair, as characters plot out their next moves more than necessarily finding themselves in the middle of a firefight, but I say this in the best possible way. While the thrills of “One Minute” are part of the series’ identity, it is often better in those quiet moments where character are forced to live with their actions or where taking the next step means crossing a threshold they might not be able to cross. In many ways, we’ve seen these characters at this point before, but each time Breaking Bad brings us to a crossroads we see something new in these characters, whether it be confirmation of what we’ve always believed or a new facet of their personality emerging – and frankly, at this point, the show can paint that door as many times as it wants as far as I’m concerned.

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Cultural Catchup Project: “Doppelgangland” (Buffy the Vampire Slayer)

“Doppelgangland”

May 29th, 2010

“Different circumstances, that could be me.”

You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.

When I remarked a while ago that I intended on focusing on fewer individual episodes during Buffy the Vampire Slayer’s third season, there was a resounding chorus which indicated that “Doppelgangland” absolutely had to be one of them. Not one to fight against a group capable of such raucous consensus, I made a note of it and so here we are.

However, let’s rewind for a second to that initial moment where the episode was suggested so heavily. At the time, since the commenters were so kind as to avoid spoilers, I had no idea why they were suggesting “Doppelgangland;” while when we eventually get to an episode like “Hush” I know enough about the plot to have some sense of what to anticipate, here I have no expectations beyond the comment hype. Is everyone so interested in it because it features a huge step forward for the mythology (like “Surprise”/”Innocence?”), or is it that the episode offers something different that has captured fans’ collective attention?

Part of what makes Buffy so great is that there isn’t just one kind of “good” episode, which meant that all of the hype in the world couldn’t have kept “Doppelgangland” from being at least a bit mysterious when I sat down to watch it. I can’t entirely speak for those who requested the episode, but I can say for me personally that this one’s worth writing about because it’s a barrel full of fun which doesn’t feel like it sacrifices the show’s complexity to achieve such enjoyment. The episode is a rumination on Willow’s unique place as both the most “innocent” (through her general attitude in life) and the most “corrupted” (through the dark arts) of the Scoobies, and the dualities therein give Alyson Hannigan some fantastic material and simultaneously become a thematic consideration that is meaningful to the series’s larger narrative.

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Season Finale: Chuck – “Chuck vs. the Subway/Chuck vs. The Ring: Part II”

“Chuck vs. the Subway/Chuck vs. the Ring: Part II”

May 24th, 2010

I don’t know if I have that much to say about the Chuck finale, primarily because it isn’t a finale to anything in particular. It’s intelligent for Schwartz and Fedak to draw from the series’ overall premise and mythology to drive this two-part finale, as “Chuck vs. the Subway” and “Chuck vs. the Ring: Part II” are both emotionally satisfying, intelligent hours of television, but it means that it doesn’t necessarily feel like it’s bringing anything to a close so much as it’s finally addressing long-standing issues.

The plot of the two episodes draws from elements earlier this season, like our discovery that John Casey has a daughter, the return of Brandon Routh’s Daniel Shaw, or the potential damage done by the Intersect for the human psyche, but it also makes the argument that fairly substantial chunks of the season (and, arguably, earlier seasons) were not what we thought they were. The conclusion to the episode, more than ever last year’s cliffhanger, introduces the idea that Chuck was destined to be this way, and that the circumstantial elements of the series have all been part of a broader function and purpose.

This makes this much more of a premiere than a finale, using what little momentum the pacing-challenged third season could muster in order to launch the series on a much more interesting trajectory. The result has me much more excited about a fourth season than I was when it was announced a few weeks ago, although no more appreciative of the third season’s narrative stumbling blocks – so long as next season lives up to the hype, though, I’m willing to forgive them for the year’s struggles.

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