“Chuck vs. the Anniversary”
September 20th, 2010
I didn’t realize it until I sat down to write this review, but I think this might be the last weekly Chuck review for quite some time here at Cultural Learnings.
This is not so much a reflection of the relative quality of “Chuck vs. the Anniversary” as it is a reflection of what kind of show Chuck has become over the past season. When I posted my review of NBC’s Chase earlier today, someone commented that Chuck similarly lacks character and consequence: they were joking, of course, but the latter point (consequence) stuck with me heading into tonight’s premiere.
This is still a show I enjoy, and a show I plan on continuing to watch, but I think Chuck has reached the stage where it no longer interests me critically. The season seems like it is onto a solid start, but it is a start which takes absolutely no risks, taking some potentially interesting new ideas and quickly absorbing them into the show’s existing structures.
And as pleasant as that is, I think it might be the point at which weekly reviews no longer feel like a good use of my time.
November 25th, 2009
Last week, I had an extensive Twitter conversation with Jace Lacob about Glee, and the argument boiled down to the question of whether or not the show’s characters were one-dimensional. And what was interesting is that Jace and I don’t disagree: the show’s characters are, on occasion, blindly one-dimensional. However, I argued that the show is still in its infancy, and that considering its identity crisis it’s actually doing a decent job of slowly sketching out its characters.
However, I do think that one of the show’s problems is its decision to have characters waver between substantial character development and broad archetypes week by week. While a show like Friday Night Lights, with a similar ensemble cast of characters that often move in and out of the show’s narrative, is dealing with fairly grounded and realistic characters, Glee is slowly humanizing caricatures. And as a result, you have a character like Artie fluctuating from a handicapped student struggling to relate to his classmates to a random background character in a wheelchair, which feels false. Rather than the character development compounding over time, changing the way the show’s dynamics operate, the exact opposite is happening: while individual episodes give Kurt or Quinn or Puck storylines that expand on their identity, outside of the main serialized storyline (Finn and Quinn’s baby) they revert back to their original modes.
It creates a sense that, for a show which is at its best when characters are being developed and explored in a concentrated fashion, the plots of the show itself don’t actually seem to be changing in kind, and the show reverts back to a farcical comedy more often than not. At the heart of “Hairography” is the fairly simple premise that beneath the distractions we create for ourselves is a sense of our true identity, as various characters test out potential distractions only to find that their heart takes them in a different direction.
However, Glee is a show that is all about distractions, and while this individual episode may have peeled everything back to show the supposed true colours of the various characters the show is never going to stop delivering show-stopping musical numbers or interjecting random musical sequences into largely unrelated scenes. The result is an episode that, rather than representing a legitimate step forward for the series, only draws attention to some of its long-term, cumulative limitations: it can tug at the heartstrings and build character when it wants to, but this is never going to start being a show about twelve kids singing on stools.
Especially not with a fake pregnancy storyline hanging over it.