May 18th, 2011
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.
There’s a bit of whiplash in covering “Bargaining” and “Heartthrob” back-to-back. Whereas Buffy seems to be heading into a period of intense transition, dealing with a whole lot of plot development that necessitates an eventful and complicated premiere, Angel is in a far more stable place without any of the same broad upheaval.
This may be considered a viable reason to watch the two series entirely separately, but for me it offers a nice juxtaposition that does much to highlight the strengths of both series, and the strengths of Angel in particular. While “Heartthrob” ends up being pretty simple, and more than a bit on the nose in regards to its central theme, I think there’s an economy to the storytelling that is equally matched with a certain swagger (which was understandably absent in “Bargaining”). While Greenwalt has to deal with questions of grief after the conclusion of Buffy’s fifth season, he’s far enough removed to be able to have a bit of fun at the same time.
Although “Heartthrob” may not have the same emotional resonance of “Bargaining,” it also feels more finely tuned in its shorter running time and in its thematically (rather than narratively) convenient standalone storyline which also proves a stealth transition into the budding mythology introduced at episode’s end. “Heartthrob” is in no position to become an all-time great episode of the series, at least based on what I’ve seen of the series thus far, but it quite comfortably lives in this particular moment while laying the groundwork for the season that comes.
“The Impossible Astronaut”
April 23rd, 2011
“Human beings – I thought I’d never get done saving you.”
As Doctor Who enters its sixth “series” (which I refer to as season above to avoid confusion with similarly titled posts on the blog), I find myself an an interesting crossroads.
As a viewer, “The Eleventh Hour” was my first experience with the start of a series (if not my first experience, as I watched the relevant Moffat-oeuvre episodes beforehand), and that episode served a very clear introductory function for Matt Smith’s tenure as the Doctor. It was also a contained episode, extending beyond the traditional running time to complete a single story alongside the introductions of both a new Doctor and a new companion.
By comparison, “The Impossible Astronaut” finds Matt Smith’s Doctor well-established, and despite the “official” addition of a second companion there is not much groundwork to be laid with either Amy or Rory given their importance to the previous series. It is also the first part of a two-part premiere, meaning that its full meaning has not yet been fully understood, and its role in shaping the remainder of the series remains fairly abstract.
When I suggest I find myself at a crossroads, it is because “The Impossible Astronaut” is a test of sorts for those of us who are new to the Who, so to speak. With the introductions out of the way, Steven Moffat has wholly embraced the series’ atemporality and put together a premiere which finds poetry in tragedy and tragedy in just about everything, breaking rules that we didn’t know existed and inventing rules that we can’t be sure exist. It renders viewers like me, those of us who only recently jumped on the bandwagon, not unlike the Doctor’s companions, forced to place our trust in Moffat’s vision while the questions pile up and the speculation overflows.
It says a great deal about the success of the fifth series that I barely blinked at “The Impossible Astronaut,” slipping easily into the giddy theorizing that this show can inspire and fully embracing my deep appreciation for something that I only started watching a year ago.
March 28th, 2011
When United States of Tara entered its second season, the Gregson family thought that everything had changed: Tara had defeated her alters through the use of medication, and the entire family was ready to move forward with something approaching a normal life. Of course, normalcy proved unattainable: the old alters returned, new alters emerged, and turmoil between family members left Max, Kate and Marshall confronting their own identities in light of their mother’s struggle.
What is immediately clear in the show’s third season premiere is that there is no such false normalcy. For better or for worse, the Gregson family has embraced (or will be forced to embrace) that they are in no way, shape, or form normal, and it shows in “…youwillnotwin…” It is a confident premiere on a number of levels, but primarily because it embraces the stabilizing influence of instability. By embracing the cyclical nature of life, and by placing the characters in positions to be impacted – but not defined by – those cycles, United States of Tara is in a position to continue to evolve without having to introduce dramatic new elements into the equation.
All it takes, it appears, is a bit of a push in the right direction and a willingness to ride the wave.
“The Moonshine War”
February 9th, 2011
“You never go outside…you know that.”
There are two reasons I decided to forgo a pre-air review of Justified second season, despite having access to the first three episodes in advance. The first reason is that I legitimately did not have time to watch all three episodes, making writing a comprehensive review of the likes of Sepinwall or Ryan somewhat pointless. The other reason is that I sort of feel as though my coverage of the first season established my opinion about the series, addressing the lingering concerns about the procedural structure and embracing the series’ complex conclusion. Considering that my opinion on those efforts is entirely unchanged based on “The Moonshine War,” to repeat it would be redundant.
Instead, I want to focus my limited time on “The Moonshine War” itself, a compelling premiere which is surprisingly subtle given the explosive finale that was “Bulletville.” While the title implies a war, this is very much an introductory survey, a short but stellar glimpse into another corner of Harlan, Kentucky, and the battle brewing within. It’s a strong foundation for the season’s serialized arc, but despite the somewhat manufactured circumstances it never feels like a blatant new beginning.
It feels like a return to Kentucky, and a return to a world which is as rife for drama as it was at the conclusion of last season. And, frankly, I’m pretty darn excited about it.
Review: Archer Season Two
January 27th, 2011
In December, as the semester wound down, I took the opportunity to catch up on a show that I honestly hadn’t given much thought to when it premiered.
As I am now aware, I really had no excuse to avoid FX’s Archer – which returns for its second season tonight at 10/9c – the first time around. Its cast features numerous people who I enjoy (like Chris Parnell, Judy Greer and Jessica Walter), the spy genre seems like something with plenty of comic potential, and people I usually trust on Twitter, and in the world of television criticism in general, approved of the show.
However, I didn’t watch because it plays into two categories which I am less likely to actively seek out. The first seems particularly strange considering that I was raised on The Simpsons, but animation has not been a part of my more critical relationship with television. I stopped watching The Simpsons at around the same time I started watching everything else under the sun, and since I didn’t have access to Adult Swim or the Cartoon Network it wasn’t as though I was in a position to test emerging shows out at random. I just sort of stepped away from the form, not out of a lack of appreciation so much as a lack of habit. The other reason, meanwhile, is that I don’t tend to lean towards the particularly vulgar – It’s Always Sunny in Philadelphia is low on my catchup list because its brash nature just doesn’t fit my general comic sensibilities, and so Archer’s reputation for being particularly “rude” meant that I did not necessarily rush out to see how it was working.
Perhaps it was that I was in the midst of finishing papers and in need of an outlet for expletives and insensitivity, or maybe I’m just being saltier as I get older, but mainlining the first season of Archer along with the first seven episodes of the second season was a whole lot of fun. While the show may be aiming for offensive in quite a few circumstances, it always seems primarily concerned with being smart – in its second season, in particular, the show manages to maintain a sense of excess despite having become a tighter, more well-oiled machine between seasons.
The result is a show that makes me laugh a great deal, and one which always leaves me wanting more (which is both a blessing and a curse, as always).
A Plea for Pawnee: The Return of Parks and Recreation
January 20th, 2011
Parks and Recreation was my favorite show on television last year.
If you are a regular reader of this blog, you probably already know this. Despite the series’ absence from NBC’s fall schedule, the series has loomed large in both year-end lists and in week-to-week discussion of every other comedy on television. History will remember Outsourced as the show which bumped Parks and Recreation from the 2010 Fall schedule, if it remembers it at all. Even as Community has put together a string of winning episode and Cougar Town has gained a certain cult following, Parks and Recreation was hanging around like the ghost of DJ Roomba, replacing the endless loop of the Black Eyed Peas with instantaneous access to the sterling second season on Netflix.
However, let’s get real for a moment. You might not be a regular reader of this blog, and you might not have any idea what a “DJ Roomba” even is. You might be one of those people who watched some of the series’ inconsistent episodes early in its short first season and decided that it wasn’t worth your time. It’s also possible that you just never found the show, limiting your NBC Thursday viewing to The Office and whatever happens to air after The Office. And, who knows, you might have no idea what any of this means, and just got here by randomly searching “Black Eyes Peas instantaneous access.”
Whatever category you fall into, however, you really need to watch Parks and Recreation. It is returning to television as part of an extended NBC comedy block, allowing for a certain degree of promotional attention, and it is finally nestled comfortably behind The Office where it should have been all along. And, as if that weren’t enough, the first six episodes of the third season are enormously confident, delivering big laughs while seamlessly transitioning into a new ongoing story arc. There has never been a better time to watch this show, and that’s saying something considering that there is never a bad time to watch this show.
September 28th, 2010
I will admit to loving a good ironic title, and I’d argue that “Taking Control” somewhat misrepresents the state of The Good Wife heading into its second season.
I’ve seen a lot of divergent thoughts on the premiere: some seems to think the show is still in fine form, while others felt that it was “off” in some way. I’ll admit to being slightly in the second camp, albeit with a better sense of how, and more importantly why, the show feels this way. While I do think there are a few creative missteps here, I think the general function of the premiere was a good way to enter into the season (if not necessarily conducive to a particularly strong premiere).