Tag Archives: Season 7

Cultural Interview: Shameless executive producer Nancy M. Pimental


Shameless (Season 7) – Photo: SHOWTIME

When Showtime’s Shameless returned last week (which I continue to cover for The A.V. Club), it was months earlier than normal, the second season to air this calendar year. It meant a lot of Shameless in a short period, which reinforced that Shameless has quickly become one of Showtime’s longest-running hour-long series, now entering its seventh season

I had the chance to speak with Shameless executive producer Nancy M. Pimental, who’s been with the show since its first season, earlier this summer, and was mostly interested in how the show is looking to age into its final seasons, however many they may be. The conversation starts with a moment from last season that, for me, could have easily been a part of a theoretical series finale, and moves from there to cover topics related to upcoming character arcs, keeping storylines fresh after seven seasons, and how much they’ve thought about where they want each character to end up when the parties involved decide there’s been enough shamelessness for one lifetime.

Cultural Learnings: In the middle of last season, Fiona walked into the empty Gallagher house after it was auctioned out from under them, and my first thought was that this could have been the very last scene of the series.

Nancy M. Pimental: Really?

Yeah, the house has seemed so crucial to the show, and so the idea of it being a symbol of the end made a lot of sense to me—of course, then they ended up getting the house back, and the storytelling reverted to the status quo, but did you ever think of it as carrying the weight of finality at all?

Wow, no, but that’s interesting. I like seeing things through other people’s eyes, how it landed on them. We did not think it was final—what we wanted to show was just the kind of reality of living where they live, and how everything is a juggling act. So, you’re getting one ball in the air and paying one bill, and then something else ends up creeping up on you. Living in that socioeconomic environment you’re not planning for the future or anything—if anything we were just trying to show reality, as opposed to closure.

Was there any point where you considered abandoning the house, or is the standing set element of it too substantial?

Yeah, I think it’s too substantial. As writers we explore every option—“Oh, would it be interesting if everybody moves into the Milkovich house,” or “What if everybody splits up and goes to live with their respective partners?” I think we definitely explore every idea.

The season did end up playing with that latter idea, dividing up the characters while the house was in jeopardy. It actually made me wonder if you might go through with it, but eventually you did bring everyone back to the house.

You know, the truth is it’s such a fine line, as just practically and realistically as people get older they move away from their houses. I have friends who have kids that are that 16 and 17, and they’re never around anymore, and I think it’s natural and normal. And so we want to tell the truth, but sometimes it’s not great for storytelling, because you do want to see a family unit conquering or overcoming some obstacle.

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Series Finale: Mad Men – “Person to Person”


“Person to Person”

May 17, 2015

“A lot has happened.”

I spent part of Sunday afternoon watching the Mad Men marathon on AMC. I haven’t written about any of the seventh season thus far, which means it’s been nearly two years since I’ve . And the marathon made me glad for this, in its way: I realized that I hadn’t really properly oriented myself to the first half of the season before diving into the first, struggling at times to connect what we were seeing to the big picture.

That was definitely the biggest issues with these final episodes, which often spurned traditional seriality. The show has always been a balance of episodic and procedural engines, but the jumps in time and the revolving door of characters has made these final seven episodes scattered. However, it has also made them distinctive, such that revisiting them reminded me how much each had connected in some way or another. Although the purchase of SCDP by McCann-Erickson has ostensibly been the season’s arc, we never saw its initial implementation, and when the characters tried to turn it into an arc on the level of SCDP’s founding McCann-Erickson stepped in to tell them it wasn’t going to happen. This wasn’t going to be that season. Don, Peggy, Joan, Roger, and everyone else are not going to ride off into the sunset on stallions—they are more likely to fade into the distance like normal people, living normal lives.

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Series Finale: Parks and Recreation – “One Last Ride”

parksrecreationtitle“One Last Ride”

February 24, 2015

“Leslie always has her heart in the right place, but just needs some help along the way.”

I wrote this six years ago. At that point, Parks and Recreation was a show still in search of its identity, existing in The Office’s shadow and week-by-week discovering more about its characters as we were. It says a lot about the show that now, six years and seven seasons later, “One Last Ride” puts a button on this initial judgment made three episodes into the series’ run. Leslie’s heart was always in the right place, but she truly found herself when she found her team to help along the way.

There’s always a lot of discussion about the change that Parks went through after the short first season, but returning to that review—and my collection of reviews from the first three seasons—in light of tonight’s finale made me realize that it didn’t really change at all. From the very beginning, this was a show that asked the audience to follow an optimistic, hard-working civil servant as she struggled to navigate a world that did not want her to succeed, slowly breaking down the barriers that were placed in front of her. We wanted her to succeed not just because we liked her, but also because she was operating with a moral imperative, one so powerful that it could overcome even Ron Swanson’s fundamental disbelief in the value of government. She was a hero, in truth, in ways that would make sustaining her drive the show’s biggest challenge.

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Dexter – “Buck the System” (And Season 7 So Far)

“Buck the System”

October 14th, 2012

*Blows the Dust Off the Dexter Header Image* Well, it’s been a while.

I watched the fifth season premiere of Dexter waiting for a plane, and found it to be your typical episode of Dexter. But as the time crunch of the semester took over, the idea of watching any more floated away, and I hadn’t seen even a few minutes of the show since that point. The show remained “on the radar” as any show does, and certainly the events from the end of the sixth season were more visible than others, but the fact remained that I was content with Dexter being out of sight, out of mind.

This changed when that no longer became possible. During the past two seasons, people weren’t talking about Dexter: sure, there were still record numbers of viewers, but the people on my Twitter feed—people who used to talk about the show—seemed quiet. And then suddenly, there was Alan Sepinwall and Mo Ryan writing about the show again after watching their screeners for the first three episodes of the season. Tonight’s episode, “Buck the System,” was the last episode they saw before writing those pieces, and their support—and the similar mentions of improvement from the rest of my Twitter feed and my students—led me to take a look at the preview disc Showtime had been kind enough to send along.

I discovered a much better show than the one I left, mostly because we’ve reached the point where Dexter is the season’s star. Moving away from the seasonal serial killers of seasons past, the seventh season is invested in exploring Dexter and his impact on those around him, excising entirely unrelated subplots in favor of a web of character beats all focused on the ramifications of his actions. “Buck the System,” on the surface, is the episode where Dexter successfully begins to show Deb the positive benefits of his actions, and the episode where Yvonne Strahovski is introduced as a woman who, as a girl, once fell in with someone like Dexter. However, it’s also the episode where the unintended consequences of Dexter’s actions are equally as clear, at least to someone who is willing or able to think about them (which Dexter, very clearly, is not).

It’s a subtle distinction, but one that won me over, and has me committed to seeing the season out.

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Why Will Ferrell on The Office Worries Me Immensely

Why Will Ferrell on The Office Worries Me Immensely

January 26th, 2011

In my reviews of The Office’s seventh season at The A.V. Club, my focus has inevitably fallen on Michael Scott’s imminent departure. Note that I did not say Steve Carell’s imminent departure: while I understand that the actor is the one leaving the show, my interest lies in the conclusion offered the character rather than in the loss of Carell’s presence. While I very much appreciate Steve Carell, and think that he should have already won an Emmy for his work on the show, I think that the real questions relating to his exit have to do with his character. That is where my investment lies, and that is where I’ve felt the entire season has channeled its focus in order to offer final moments for Michael to interact with his various co-workers and his potential love interests.

Inevitably, however, Carell’s exit moves from the realm of the narrative into the realm of the press, as news leaked that he would be exiting ahead of the season finale (thus creating a transition period towards the end of the season) during the TCA Press Tour. To some degree, I would have rather not known this information, but I’ve sort of accepted that Michael’s final episode will feature an enormous buildup, an extensive ad campaign, and probably even a “Best of Michael Scott” clip show leading into the episode in question (which will probably be an hour long itself). Steve Carell’s exit from the series is going to be a media event far removed from the narrative, and so there was always going to be some level of distraction away from Michael Scott’s character amidst that circus.

However, news that Will Ferrell will be appearing in a four-episode guest stint in order to help send off Carell is enormously disheartening, stripping away any sense that this exit actually belongs to Michael Scott. While I enjoy Anchorman well enough, and find Ferrell to be a fine actor when divorced from his most juvenile characteristics, this pairing threatens any sense of long-term characterization simply to chase after a larger audience, prioritizing the actor over the character and the hype over the show.

And, at least to me, that seems like a huge mistake.

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House – “Office Politics”

“Office Politics”

November 8th, 2010

To check in on a show you haven’t watched for a while is always a bit disarming, but being as media saturated as I am sort of softens the blow. I think the last time I watched House regularly was early in its fifth season, since then tuning in for special episodes (like “Broken” and “Wilson”) where the internet suggested it would be worth my time.  However, because I spent so much of my time surrounded by people who do keep watching the show, I get bits and pieces: I wasn’t shocked to see Thirteen missing, for example, and I was thankfully prepared for the alarming sight of Cuddy pressing her lips against House’s lips (I think they call it kissing? It was icky).

And yet, the whole point of House is that we’re supposed to be able to jump right in, especially in an instance like “Office Politics” where a new character (and subsequently a slightly new dynamic) is being introduced. Amber Tamblyn’s arrival as Masters, who effectively replaces Thirteen since Olivia Wilde is off becoming a movie star, is not the seismic shift that perhaps the show needs to enter back onto my radar full time, but the episode has just enough dynamism to feel like an event for those of us who appreciate Tamblyn and like to imagine a world where House remains a relevant television program.

Of course, at the same time, the sheer similarity of the formula means that stepping back out is just as easy as one might imagine.

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Heating Up Leftovers: Top Chef Season 7 Finale

Heating Up Leftovers: Season 7 Finale

September 15th, 2010

Technically speaking, every Top Chef finale is meant to stand alone – for the remaining chefs, it all comes down to the meal of their lives. However, for the audience sitting at home the finale is the end of a journey, and usually the end of a season of narratives; whether they be rivalries or redemptive arcs, there should be some sort of story coming to an end during each season of the show.

However, Top Chef D.C. never quite found a narrative that it knew how to work with, and the finale is a perfect example of that. Despite the fact that there were a number of potential narratives to build upon, the finale was left to stand entirely on its own without any real connection to previous outings. Sure, the surefire rivalry ended when Kenny left early, but after last season’s finale felt like the show finally getting the showdown we had all been waiting for, the showdown between Angelo, Ed and Kevin felt like leftovers, except that they were leftovers that you don’t remember having but still seem old and tired regardless.

And while the cooking itself wasn’t impacted by this particular concern, my emotional attachment to the conclusion most definitely was.

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