Tag Archives: Season One

Fringe – “The Same Old Story”

“The Same Old Story”

September 16th, 2008

“Would you just talk like a person?”

Peter Bishop asks his father this question at the halfway point of Fringe’s second episode, and I couldn’t agree more: except that I’d apply this to Peter, and Olivia and just about every other character on the show. Because at this point, it seems like nothing that happens in Fringe is something that would happen to people, and that nothing they say seems to make any sense to anyone but the crazy person who created it all, in theory, seventeen years previous.

In the show’s pilot, this felt like an introduction into a new world, a world where things would be different and where mysteries would take on new contexts. However, what “The Same Old Story” offers is…the same old serial killer story, just with some fairly gimmicky applications of the fringe science the show is hinging its success on. Now, you could say that this is nothing new: The X-Files was essentially the same process, and Alias was your normal spy-type show but with Rambaldi’s artifacts as the reason behind the missions.

But Fringe buys into its own hype: too often the music bombasts to the point of self-indulgence, the characters talk about their own intelligence in a way that feels entirely unnatural, and the episode’s attempt at creating an emotional connection between Olivia and this week’s case is ultimately undermined by our lack of time spent with these characters in such a context.

More importantly, though, there was absolutely nothing fun about Fringe – the charm of the characters were either forced or so overpowered by the impending dread that the show never had a chance to breathe. The result is an episode that felt overlong, overtired, and an example of a show that still has me wondering just how this will turn into a series…or, even if the parts are present, wondering whether Orci and Kurtzman have the smarts to put it all together.

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Mad Men – “5G”

“5G”

Season One, Episode Five

To say that “5G” is uneventful or unrevelatory isn’t really doing it justice, but the point could probably be made. Of the episode’s major story points, none of them are all that surprising: yes, they fill in some blanks in Don Draper’s past and present, but elsewhere the episode plays much into the same things we already know. Pete is unwilling to share the spitlight, Draper has a lot of secrets, and Peggy is still just a little in the dark when it comes to how to handle her new position.

What “5G” does, though, is make these elements more starkly real: it displays the pettiness of Pete and the desperation of Draper. Pete’s attempt at being famous is a bit of a simple little plot point until you consider the implications on her marital relationship, but Draper’s actions take his character to a new level. The relationship between his old life and his current one is what paralyzes him, and here we see that seeing those two worlds collide creates a volatile situation.

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Mad Men – “New Amsterdam”

“New Amsterdam”

Season One, Episode Four

[I’m a week late on this one, but forgive me: I’ll have a piece on tonight’s episode done sometime tonight, probably]

By the time Mad Men got to its fourth episode, it had filled in a lot of its gaps: we are thoroughly compelled by Don Draper, interested in seeing more of this world from Betty’s perspective, intrigued at the inner workings of Sterling Cooper, and curious as to how all of these people intersect in the historical mediation the show presents.

All except Pete Campbell, that is. To be honest, Pete Campbell was pretty much a snake before this point: a spineless, ungrateful punk at his worst, and certainly not the kind of character that any of us relate with. His insistence on rising the corporate ladder could be passed off as mere capitalist determinism, a selfish attempt to take for himself and to leave others in his wake.

What “New Amsterdam” provides is a new perspective, a glimpse into the fact that Pete Campbell’s life is just as complicated as everyone else’s in terms of the series’ primary characters. Over time, the show reveals the truth behind other characters as well (Joan and Roger Sterling are next up), but the familial and spousal pressures facing this character are some of the most eye-opening. No, it isn’t exactly surprising that he has some serious family issues, but it does explain at least some of his past behaviour while leaving plenty of qualities on the table that we as viewers will take issue with.

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Review: My Boys Season One (+ 2 Episodes of Season Two)

For anyone who has been following my Twitter feed (Located both on the sidebar and at the link), you’ll have noticed that I’ve been watching more TV than I’ve been blogging recently. With the television season over, and with the summer shows trickling more than pouring in, I’ve devoted more time watching rather than writing about my favourite pasttime. As of this week, I’m into the fifth season of Six Feet Under, five episodes into The Wire’s first season, and while I enjoying them to varying degrees, there was a serious problem: I was getting a tad bit depressed.

You see, there’s a lot of death and harsh reality in these shows; Six Feet Under is literally a weekly funeral for hope and love, and The Wire is a cold picture of a structurally corrupt organization and the drug trade on the streets of Baltimore. And so, when searching for my next show to catch up on, I decided to go with a killer combination: light-hearted comedy, a recent DVD release, and currently airing weekly episodes.

And thus, along came TBS’ comedy series My Boys. And while I certainly wouldn’t place it in upper echelon of current television comedies, the show is everything I needed: familiar, comfortable, clever and funny enough to overcome some of its less inspired moments.

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Mad Men – “Ladies Room”

“Ladies Room”

Season One, Episode Two

One of the complications of using a pilot as a piece of misdirection, in this instance not revealing Don Draper’s wife Betty until the very end of the episode, is that the need for exposition (a necessary evil in a series’ first episode) lingers on.

In that sense, this is Betty’s pilot, a chance to get a view into the life of a housewife in an era of uncertainty and confusion perpetuated by new-age psychiatry and the elusiveness of her own husband. Betty is a woman who just lost her mother and who feels as if she’s missing a side of her husband (or five) that he never shows to her, without knowing that a few of them remain hidden even to his co-workers and his mistress.

With her introduction, the narrative of Mad Men’s female characters comes fully into view, as Peggy’s struggles on the job reflect upon the challenges women faced during the era in a frank and honest perspective. When jumping into this series, you really need to get through the second episode before you can understand where Matthew Weiner is taking us, with a whole new side to the story and continued subtle hints at the stories to come.

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Season Finale: Greek – “Spring Broke”

“Spring Broke”

June 9th, 2008

Most series set in college would end their first season with the end of the school year, but Greek is operating under a really weird schedule – it took only ten episodes to complete the first half of the year, but only got to Spring Break (Woo!) in its last twelve.

The argument you could make, though, is that a show that has nothing to do with academics should probably climax in the throes of the party period as opposed to the exam one. I don’t say that to degrade the series, a solid entry into its television category, but rather to point out the obvious: if you came in expecting no drama or theatrics surrounding love quadrangles or hijinx, you went to the wrong Spring Break.

For the most part, the show follows its traditional patterns: Ashley is shallow and immature, Casey is self-righteous, Cappie is humorous but unfairly treaded on, Evan is pathetic, and Rusty has every possible bad thing that could happen to him, well, happen to him. But they’re comfortable patterns, and just like an ideal Spring Break in a television season swimming with less and less options.

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