Tag Archives: Showtime

Nurse Jackie – “Chicken Soup”

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“Chicken Soup”

June 22nd, 2009

Nurse Jackie is really turning into an interesting cross-section of television narratives at the moment, in a way that it wasn’t early on. There was a point in last week’s episode, when Anna Deavere Smith was high on percocet and turned into a one-note gag, where I legitimately questioned the show’s ability to inject humour into this series, but “Chicken Soup” brings that back into focus by presenting one legitimately comic storyline and a couple of human-interest patient storylines that offered some more light-hearted fare. When focused on interpersonal interactions, the show is finding plenty of humour, and capturing the desireable elements from a show like Grey’s Anatomy from a slightly darker, and therefore slightly better, perspective.

At the same time, though, there are points where the darkness of this world become a bit too overwhelming, and one can’t particularly blame young Grace for deciding that the Bubonic plague is ready to strike again. While some may argue that the very presence of this darkness is problem enough, I’d tend to argue that the concern is less in the existence of a dark side to both Jackie and the show as a whole and more in the execution. Presented in the form of one general cliche followed by a procedural medical faux pas of the worst order, Jackie’s darkness is emerging less and less through organic channels, and more through clearly identifiable insertions into every day life designed to remind us that she is addicted to drugs, or remind us that she’s an adulterer.

It’s a reminder that I don’t think we particularly need, nor one that feels particularly effective in this episode at least: sometimes a simple episode about humanity does more to speak of Jackie’s occasional lack of humanity than does outright character homicide, and on a show where humanity is sent through the wringer and complicated in so many ways a more subtle approach would certainly be in the show’s best interest moving forward.

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Nurse Jackie – “Sweet ‘n All”

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“Sweet ‘n All”

June 15th, 2009

If we look at Weeds, The United States of Tara and Nurse Jackie as similar shows (which, being half-hour, female-led, Showtime-airing dramedies, they really are), one of their most defining characteristics is that each of their pilots found them “in medias res,” as whatever story there is in the series has already been in progress for quite some time. We weren’t seeing an origin story, or a whole new situation that forms the setup for a series; rather, in each instance, we find women struggling from various ailments (supporting a family through selling drugs after her husband’s sudden death, coming off of medication for multiple personality disorder, and an addiction to painkillers and adultery, respectively), and we’re missing that point where their suffering (going broke, becoming numb, etc.) went so far as to bring them to their current position.

I think that sets Nurse Jackie apart from these two shows is that there is nothing funny or light-hearted about her current position: Jackie’s adultery appears to only be hurting her husband and children, and her drug dependency is certainly not something to be considered humorous. While not seeing that moment when Nancy turned to drugs, or when the numbness proved too much for Tara to handle, wasn’t a big deal, it’s kind of a huge deal that we don’t understand why Tara would betray her happy little family; the drugs we can understand as part of a broader physical addiction, but without linking the two together it becomes a problematic element of the series’ “in medias res” setup.

“Sweet ‘n All” does not really come close to resolving these concerns, but shows a subtle and nuanced approach to doing so in the long run. Through the power of the fabulous Edie Falco and the complexity of the Hadron Collider, Nurse Jackie has moved one step towards filling in its own gaps, even if the rest of the show didn’t really evolve much beyond the pilot.

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Season Premiere: Weeds – “Wonderful Wonderful”

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“Wonderful Wonderful”

June 8th, 2009

There are not many cool things in Nancy Botwin’s life.

This isn’t something sudden: as each subsequent season has gone forward, things have become more and more tense. The show’s fourth season was yet another shift in a direction where things are decidedly uncool for Nancy Botwin, a suburban mother who has been removed from suburbia and in many ways was no longer a mother as one son grew up and the other drifted into his own awkwardness. It resulted in a different sort of show, one where we are asked to laugh at situations removed from our own experience and, in all honesty, that are actually quite dangerous. The threat of the Mexican mafia was almost entirely without the humour of Marvin (during the U-Turn arc of Season Three), or the injection of Conrad and Heylia to keep the business from seeming quite that dangerous.

I don’t think this is inherently a bad thing: I thought the fourth season was a strong one for Nancy’s character, even if it took her away from the show’s original intention or purpose, and we can’t begrudge a show evolution moving into its fourth season. The problem is that the show is as schizophrenic as ever, with Nancy’s storyline proving so dire and dramatic that the absurdist comedy feels dichotomous, splitting the show into two separate parts. I like both of those parts, depending on who’s involved, but the show goes out of its way in “Wonderful Wonderful” to emphasize that, at least at first, there’s no room for the two to interact, a problem that will need to be rectified sooner rather than later if the season is to get off to a strong start.

For now, it remains poignant and capable of some strong humour, which makes it an ideal dark comedy on paper if not quite in practice – now it just needs to build on that.

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Series Premiere: Nurse Jackie – “Pilot”

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“Pilot”

June 8th, 2009

There’s a pretty common element in nearly every review of Showtime’s new “comedy” (I’ll get to that distinction in a second), and it’s something that I can’t really speak to. Sepinwall and Fienberg both have thoughts on how Edie Falco, who earned numerous accolades for her role as Carmela Soprano on HBO’s hit drama series The Sopranos, adapts to a very different role, but I don’t really know how different it is. As I’ve blogged about before, The Sopranos remains my biggest and perhaps most detrimental blind spot in terms of the television in the last decade: not willing to shell out for the expensive DVDs, I’ve been left not quite understanding what David Chase’s show really meant outside of being able to know that his training did Matthew Weiner well (Mad Men). And now, with Falco moving on to star in Nurse Jackie, it’s quite a similar situation: I don’t precisely understand what Falco did before, but certainly that experience hasn’t lessened her ability as an actress.

This isn’t a comedy by traditional standards, but for Showtime it’s pretty well par for the course: debuting after Weeds (a show that has become more and more dramatic as time’s gone by) and in the wake of United States of Tara (which always veered closer to drama than comedy), the show is nonetheless a viable comic vehicle while maintaining a more dramatic core. The reason is that either in comedy or in drama, both of which we see in the premiere, the show remains starkly human. Jackie is ultimately driven by saving people, and perhaps her greatest fault is that her efforts to save herself take the form of far more destructive behaviour than and other her unethical practices done within the context of her job.

It’s the right recipe for the series, placing a conflicted and complicated protagonist in a situation where both her cynicism and her optimism are continually tested, although I don’t think anyone could argue it is a particularly unique one. That said, the pilot demonstrates a keen sense of this character, brought to life with strength by Falco, and the universe she inhabits, which is what any pilot is supposed to do.

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Going Through the Motions (with Style): John Lithgow cast for Dexter Season 4

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Going Through the Motions (With Style):

John Lithgow and Dexter Season Four

I am, without question, a Dexter contrarian. I like the show, don’t get me wrong, but when everyone was jumping up and down at the end of its second season I was frustrated with a lack of finish. When the third season was ramping up and getting everyone excited, I was observing a few too many similarities in the way that Jimmy Smits’ character, Miguel Prado, mirrored Season 2’s primary focus of Dexter’s attention, FBI Agent Frank Lundy. By the time they got to the Season 3 finale, I had more or less given up on ever liking the show as much as ever, and penned what I consider to be the definitive statement of my frustration in my review of the episode.

In that review, I conclude the following:

“But what “Do You Take Dexter Morgan?” reminds me, against my will, is that this is a show with limitations, one which in the introduction of Jimmy Smits shed more light on its weakly developed supporting cast, and in its slow start made us stop and think “what other directions could this show be taking that would be more dramaturgically interesting” for a few episodes too long. In those moments, I know exactly why I jumped on that drunk, hungry, and entirely innocent TV viewer: Dexter could be a better show than it is, and the third season was filled with warnings that the show seems unaware of its recurring problems.”

So with news that John Lithgow (3rd Rock from the Sun, Harry and the Hendersons) has been cast in a key role in the upcoming season which begins on September 27th, and that a particular familiar face will be returning (I’ll leave that beneath the jump as it’s a bit more of a spoiler), I can’t help but feel that Dexter is just going through the motions, repeating patterns that give us a single strong character dynamic while robbing the show as a whole of a chance to actually develop into a show on the level that the series aspires to.

[Note: the below post spoils who his character is, and the basic plot of Dexter’s fourth season – if you want to be surprised, stop reading.]

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The Anti-Cult of Personality: The Controlled Chaos of Showtime’s United States of Tara

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The Anti-Cult of Personality:

The Controlled Chaos of United States of Tara

When it was first announced, there was one word that could best described United States of Tara, the new Showtime comedy starring Toni Colette: quirky. Not only was it about a woman who has multiple personality disorder, and as a result becomes various different people depending on the situation, but it comes from Diablo Cody, the Oscar-winning but divisive writer whose work has been attacked for being too precious, too desperate to be bizarre that she was losing sight of what is realistic.

But in my opinion the skepticism about this was was unfounded: yes, the concept is quirky, and Cody’s dialogue is present albeit in a less obvious form than the earlier scenes in Juno, but there is a real sense of control here. The family at the show’s center is not a quirky family so much as it is a normal one who is forced to maintain that normality by controlling their reactions to the matriarchal struggles of our protagonist. The appearance of the various alters, whether it’s male vietnam war veteran Buck, teenaged T., or the 50s housewife Alice, is not a sudden shock to this family but rather something they have learned to deal with. Each of the alters have their own benefits and downsides within their family dynamic, and the point is not that this is a crazy or quirky show but rather that these people have to try to maintain normal lives in the face of those struggles.

There is a danger here that the show will become all about these wacky alters, and the craziness they represent, but the show isn’t fixated on them so much as it is on Tara, her life, and the reasons these alters emerge. It’s not a concept that would work if it was entirely let loose, or with a lead actress who isn’t able to pull off four separate characters, but through the strong setup and some great work from Toni Colette it’s hard not to be drawn into the United States of Tara.

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The 2008 Television Time Capsule: Dexter – “The Damage A Man Can Do”

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“The Damage A Man Can Do”

Season Three, Episode Eight

Airdate: November 16th, 2008

In my review of the show’s third season finale, I tore into Dexter for missed potential, for failing to take advantage of its early season ideas and instead investigating something interesting but not compelling. This isn’t to say that the show’s decision to focus its attention on the relationship between Dexter and Miguel Prado (Jimmy Smits) was a poor one but rather that it felt like the story never fit the season in a way.

What it did provide, though, was a number of solid episodes that delved into the ramifications of their friendship. “The Damage a Man Can Do” is the most simple of these moments: not wrapped up in the show’s drive towards a conclusion, or in the show’s divided attention at the season’s opening, it answers the question of what could happen if Dexter Morgan had a partner, a friend who helped him with his dark secrets. The episode boils down Dexter’s dark passenger into a shopping list, and a series of disguises and actions that feels wonderfully scientific.

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Season Finale: Dexter – “Do You Take Dexter Morgan?”

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“Do You Take Dexter Morgan?”

December 14th, 2008

I was minding my own business one night about a month ago when a (drunk) resident in my building asked if I would like to join a game of poker. I declined, planning on getting some work done that evening, but he saw that I had a fair amount of food in my room and asked if he could have a sandwich. I obliged, as it falls within my job description as a Resident Assistant to on occasion feed the inebriated folks who wander the halls.

The reason I bring this up (I swear, there’s a reason) is that we then got into a discussion about popular culture, and eventually we got into an argument about Showtime’s Dexter. He said he liked the show, which wouldn’t ellict an argument under normal circumstances, but then he proceeded to single it out as “one of the best written shows on television.” And, maybe it’s that my patience for drunk people goes out the window during food preparation, but I immediately scoffed at this remark. He demanded I name him some better examples, I listed off the usual (Wire, Mad Men, BSG, Lost – you read the blog, you know what I shower with praise), and eventually he went off to play his game of poker, no longer in danger of alcohol poisoning.

But that conversation has stuck with me, primarily because I don’t think I had ever been quite so quick to undersell Dexter as something below the level of the shows I just listed. Admittedly, I was more down on the second season than most people, but even I couldn’t argue against the palpable tension the show created. However, while I would never question the performance of Michael C. Hall who remains as fantastic as ever, something happened at the end of the second season (mainly Lila) that the third season wasn’t able to rectify in my critical mind.

Since then, Dexter’s been my favourite punching bag, perhaps unfairly: I even trotted it out while recording a podcast about The Wire, which is something that really isn’t fair to any show. The third season had a lot of elements that certainly helped the show: the introduction of Jimmy Smits to the show has given it two Emmy-level acting contenders for the first time, and the season’s slow start paid off in the end by allowing them to ratchet up the momentum at the right time instead of about three episodes too early.

But what “Do You Take Dexter Morgan?” reminds me, against my will, is that this is a show with limitations, one which in the introduction of Jimmy Smits shed more light on its weakly developed supporting cast, and in its slow start made us stop and think “what other directions could this show be taking that would be more dramaturgically interesting” for a few episodes too long. In those moments, I know exactly why I jumped on that drunk, hungry, and entirely innocent TV viewer: Dexter could be a better show than it is, and the third season was filled with warnings that the show seems unaware of its recurring problems.

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Season Premiere: Dexter – “Our Father”

“Our Father”

September 28th, 2008

Michael C. Hall has crafted one of television’s most memorable characters in Dexter Morgan, a fascinating psychological enigma who lives and kills by a code handed to him by his father. But after two seasons of murder and the inner turmoil of living with having murdered all of these people, one would have to think that Dexter Morgan would have grown out of his situation, could emerge from the weekly murders to something closer to approximating a real life.

And, the show’s third season premiere finds Dexter as close as he’s ever come: he and Rita are as happy as can be, he’s pretty much a father to her children, he’s more aware than ever about the true purpose behind his murders, and generally speaking his relationship with everyone around him is at last “normal.” Of course, in the world of Dexter nothing is ever that simple: in order to attain this normalcy, he has largely given up listening to his father’s teachings, shunning his sister and turning his back on that chapter of his life in favour of crafting his own code.

The problem with “Our Father” is that it is becoming clearer by the day that there isn’t enough of a series surrounding Dexter for this to feel as natural as it needs to be. Perhaps it’s that this is my first experience watching Dexter after watching The Wire, but this show is falling into a dangerous pattern that cheapens whatever deeper character drama they plan on investigating within the title character. It’s not that the show is failing to deliver on what it promises, but rather that the second season’s urgency and driving force feels lacking, and what we’re left with is a cheap provocation that feels like a show admitting that it doesn’t have the supporting cast or the foresight to develop something bigger or less reactionary.

It’s not just that it’s repetitive, but rather that it feels like an unnecessary intervention: Dexter has largely reformed himself, and as long as the show keeps poking the bear it’s going to (despite Hall’s incredibly strong performance) feel like we’re going through the same motions for the sake of contrivance as opposed to observation.

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Season Finale: Weeds – “If You Work For a Living, Why Do You Kill Yourself Working?”

“If You Work For a Living, Why Do You Kill Yourself Working?”

September 15th, 2008

During Weeds’ first season, I would have never expected that it would fall into a pattern.

It was a show about a mother who deals drugs to support her family, with two children completely unaware of their mother’s ways to pay the bills, living in a gated community that harbours an assortment of characters so unhinged that Nancy often looked like the most normal of them all.

Since that point, though, the pattern is simple: at the end of one season, things get bad to the point where we as an audience question how much time Nancy Botwin has left before she is arrested or killed. Then, at the start of the next season, the show spends four or five episodes dealing with the fallout from that event before settling into a rising action, a new location or force in Nancy’s life that will result in yet another near-death experience.

Because of this, we go into last night’s Weeds finale with qualified expectations: yes, we expect it to be quite good, but we know that it won’t immediately solve the nagging issues from this season. It isn’t about providing closure, justifying the show’s move closer to the border, but rather creating enough tension that the road into season five is opened up when the show returns next year.

By these standards, “If You Work for a Living…” is a near triumph: an episode that manages to both clearly outline the next season’s action while actually creating a twist that might actually maintain the status quo as opposed to immediately saying goodbye to it. It’s not a perfect episode, and there’s a couple of nagging issues that still make this season a growing experience, but this feels like the type of finale that Weeds needed: not a rebirth, but…well, a birth.

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