Tag Archives: Season 9

Series Finale: How I Met Your Mother – “Last Forever”

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“Last Forever”

March 31st, 2014

I want to say upfront that I think the How I Met Your Mother finale was not an abomination. It featured a number of resonant moments, images, and character beats that tapped into what made the series resonate early in its run. When it finally reached the moment the series had been building up to, the chemistry between Josh Radnor and Cristin Miloti was quiet and sweet, and it stands as one of the series’ finer moments. This was a series that set out to tell a non-linear story about love, and delivered a—somewhat—non-linear finale about love, such that no one can claim How I Met Your Mother was a dramatically different show at the end than it was in the beginning.

However, I also want to say that I hated the How I Met Your Mother finale. A lot.

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Off-Site Learnings: More Reading on Idol, Summer TV

Off-Site Learnings: Idol, Summer TV

June 5th, 2010

As you may know, I’ve been writing some columns for Australia’s Jive TV as of late, which you’re now able to find in the convenient sidebar of the blog’s many pages should you be interested in reading the latest column. However, since I haven’t been linking to them directly, here’s my most recent columns.

As promised, I wrote up some of my thoughts ahout Simon Cowell’s departure from American Idol and its likely effect on the series, in particular whether the series can remain the phenomenon it is in light of both Simon’s absence and this season’s tepid offerings:

Across the Pond: Does Idol Need to Change Its Tune? [Jive TV]

I don’t want to suggest that Simon’s final moments weren’t honest, as he was quite emotional and heartfelt as he said goodbye to the show which he helped turn into a phenomenon, but I feel like Simon is (surprisingly, considering his supposed narcissism) underselling his importance to this series. As a Canadian who cannot actually vote for American Idol, I lack the sense of ownership which he emphasizes here: his argument, implicit in his statements, is that people will keep watching because they want to be able to say that the winner is “their” American Idol, and it’s hard to do that if you’re not tuning in.

This week, meanwhile, I took a look at the ways in which we perceive summer television, a bit of an elegant restatement of my “I have no bloody clue what happened on Royal Pains last summer” argument from my review of that show, but also some thoughts on whether good summer programming (like Burn Notice) is unfairly lumped in with summer burn-offs or reality shows (which didn’t make it into the column due to space concerns) that often define the season as inferior to the fall or midseason periods of the schedule:

Across the Pond: Lazing into TV’s Summer Season [Jive TV]

What I will say is that summer television is often different than fall television in terms of how we perceive it. When shows come back in the fall, we’re going to be waiting anxiously to see how cliffhangers are resolved, or how new storylines will unfold, but with shows like Burn Notice and Royal Pains I don’t quite see them in the same light. While Burn Notice [has serialized elements]…it took me a good five minutes of thinking about it before I remembered what happened at the end of the show’s third season (which just finished in March). Royal Pains…relies less on serialized storytelling and ended its first season last summer, so I could spend a good two hours and likely be unable to come up with where the show ended off.

Watch the sidebar for future columns, and I’ll likely post again in a couple of weeks with the next few articles (as I’m going to be away next weekend when the next one is posted).

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Trials and Transformations: Reflections on Watching The Biggest Loser

Trials and Transformations: Reflections on Watching The Biggest Loser

June 1st, 2010

I don’t entirely know why I started watching The Biggest Loser this season.

It’s not like I was particularly interested in one of the show’s gimmicks, or that I heard some positive things about the series; in fact, my one clear memory of my first experiences with the show is that I wanted to be able to offer my own perspective on the series to see if it matched with James Poniewozik’s distaste for it. I wasn’t watching because I was interested in the show itself, but rather I was interested in how it was structured, and how it was balancing its various generic elements within its two-hour running time.

However, at a certain point in the process this sort of forensic viewing pattern would have revealed all that I really needed to know: every episode of The Biggest Loser is structured the same way, so if I was only in it to discover how this reality series compared with others I could have stopped watching after a couple of weeks. That I was compelled to keep watching indicates the ways in which the series, perhaps more than any other, pushes you to keep watching until the end in order to witness the transformations, to be able to say that you saw these indiviiduals’ weight loss journeys from beginning to end.

And yet, as much as this may be what kept me watching (beyond the fact that it was recording on the DVR and made for a lazy way to start my Wednesday), it’s also a quality which is largely buried in the mess which is the rest of the show. The decision to extend the series to two hours full-time is smart in that people keep watching and NBC keeps making money, but the decision to draw out each of its moments points out the contradictions inherent to the show’s premise and forces viewers simply interested in the contestants’ progress to sit through a lot of material they have no interest in.

Accordingly, I do know why I won’t be watching The Biggest Loser next season, and why tonight’s premiere of spinoff Losing it with Jillian (10pm on NBC) will be summarily ignored based on its relationship with its big brother.

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American Idol Season 9 Finale: In Defence of Kris Allen

Season 9 Finale: In Defence of Kris Allen

May 26th, 2010

I’ve got a lot to say about this season of American Idol and the future of the franchise without Simon Cowell, but I’m going to be saving those for a Jive TV column in the coming days. However, since that piece will be more wide-reaching than tonight’s results, I want to comment briefly on two things.

The first is that, in case you didn’t notice it, Idol got a rare insurrection from quality music when Sufjan Stevens’ “Chicago” was used to soundtrack the package of Lee and Crystal’s auditions in Chicago and their Idol journey. I would highly suggest you look up Sufjan if you have not been privy to his music in the past, as “Illinois” (the album on which the song is featured) was truly a revelation for me.

The second is that I think people are falling prey to an easy but ultimately false analogy when it comes to tonight’s results. Kris Allen was, in fact, the eighth American Idol, and there are plenty of arguments to be made that Adam Lambert deserved to win that season, but I think we need to make a distinction between “relatively” undeserving winners and undeserving winners.

[That’s more or less a spoiler, but I figure that if you read this blog and have been watching enough to understand that it’s a spoiler, you probably found out already, so come back after the break and I can defend Kris Allen some more.]

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Series Finale: Scrubs – “My Thanks”

“My Thanks”

March 17th, 2010

This is the third time that I have written a review wherein I believe myself to be writing about the final episode of Scrubs, which is sort of bizarre when you really sit down and think about it. However, this whole season of Scrubs has been bizarre: just months after the show went out with an emotional final episode (the great “My Finale”), it came back in a form that was sort of like Zombie scrubs: it looked familiar in some ways, as certain characters stuck around to provide continuity and the stories were ripped out of the first few seasons when things were still fairly fresh, but other characters were different, and the shift of first-person focus was enough to throw the show off its axis. Zombie Scrubs, or “Scrubs Med School” if we’re being a little less facetious, was met with fairly tepid responses from fans and viewers in general, being written off as a failure even before it went on a lengthy hiatus leading up to last week’s sudden return.

But while I will agree that there were some execution problems early on that rendered Scrubs Med School a bit of a failure, I think that we need to separate expectation from reality. If you expected this show to continue the Scrubs legacy from Season Eight (which I personally found a substantial improvement on the last few NBC seasons), then you would be disappointed; however, if you expected what Bill Lawrence was interested in creating, a new show featuring familiar characters that dealt with med students and the struggles they face, I would actually suggest that “My Thanks” caps off a pretty successful “first season.”

I don’t think that it’s possible to forget what the show was before, and I don’t think that Lawrence made the right decisions along the way, but I want to see more of the show that “My Thanks” represents, regardless of the Scrubs name and the endless finales that the show has endured over the years. That’s not enough to save the show, perhaps, but I need to at least tip my hat to Lawrence for managing to make this Zombified show work at the end of the day.

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Let’s Drop the 1: American Idol Season Nine’s Case of the Top 2

Let’s Drop the 1: American Idol Season 9’s Case of the Top 2

March 16th, 2010

I, like many others, don’t tend to pay too much attention to American Idol until we get to the Top 12. However, I did watch enough of the preliminary rounds to get a sense of this year’s stable of talent, which means that I was prepared for the predictable and unsatisfying evening of music that unfolded tonight.

However, I wonder what someone who had watched none of those rounds would think of these performances: since the performers weren’t quite the tone deaf cacophony that they could have been, would they have deemed this a fairly competent group of finalists despite the fact that there is absolutely no depth within their ranks? In the end, I don’t think that the disappointment in this year’s Top 12 is based only on the talent that got away (Lilly Scott, Alex Lambert), and I think that even someone who came in blind would wonder if this was really the best that America had to offer.

In other words, even a layperson would be able to realize that there were only two competitors who really stepped up to the plate tonight, and every long-term viewer of this show knows that there’s a fairly good chance that neither of them will become the American Idol.

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Idol and Ellen Go Hollywood: Season 9 Finally (Sort Of) Starts

Idol and Ellen Go Hollywood: Season 9

February 9th, 2010

Like many, I don’t tend to join American Idol until after the audition rounds. Sometimes this means joining at the start of the Hollywood rounds, so that we can see the talent go through the “gruelling” process that narrows down the competition to the Top 24. However, other times I wait until the Semi-Finals, because there are some times (like last season, when Kris Allen had absolutely no coverage prior to the semi-finals and won the entire competition) when these rounds don’t actually matter in the end (not that I’m suggesting the show as a whole matters in any grand scheme of things, but rather in terms of the narratives the show wants to be able to create).

This year, of course, there is reason to tune in for Hollywood, as we see what sort of role that Ellen DeGeneres, she of the sharp wit and daytime talk show, will play as the new judge. What I realized in watching tonight’s episode, though, was that the Hollywood Round is awkwardly positioned as a launching pad and a crash zone, a place where narratives from the auditions come to die and where new narratives leading into the semi-finals are formed. And, in this internet age, I almost feel as if the rounds are becoming more and more irrelevant, in that any new narratives can be followed online while avoiding the resolution to the manipulative clip package narratives the show created in the audition rounds.

Some more thoughts on this balance, and what I thought about Ellen’s judging gig, after the jump.

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