Tag Archives: Spy

Chuck – “Chuck vs. the Final Exam”

“Chuck vs. the Final Exam”

March 22nd, 2010

At its best, Chuck is a show where the stakes of a traditional spy show feel extraordinarily real: the whole point of the premise is that the things that happen in the show’s universe are dangerous and larger than life, but our protagonist is a regular guy who has a computer in his head that makes him a far more important asset than he was born to be. The show’s second season, where it reached the peak of its creative success, captured Chuck Bartowski coming to terms with the idea that being a spy might be what he was meant to be, and that there was the potential for the world of espionage to become “real” in a way he had never imagined.

But something went wrong at the start of the third season, to the point where I would argue that the show has diverged from the “real” not only in terms of believability (which isn’t new, considering the suspension of disbelief necessary in many of the spy stories) but also in terms of character. And while some would point to the Intersect 2.0 as a dehumanizing factor or the forced separation of Chuck and Sarah against the wishes of die-hard fans as reasons that the show is becoming less grounded, I would argue that it is something more substantial than that.

“Chuck vs. the Final Exam” is supposed to feel as if the stakes are higher than ever, even arguing that if Chuck fails this series of tests he will return to his normal life. However, it doesn’t feel like the stakes are higher than ever – things felt much more real, much more life-changing, when Chuck was reconciling family and country, when he was fighting for something beyond getting to be a “real spy.” The problem with this episode, and much of the third season, is that the struggle between who Chuck is and who Chuck is on the path to becoming has been said instead of shown, implied rather than demonstrated. And so rather than the show confidently or subtly introducing this tension, the show has thrown out the “real” Chuck and moved quickly and efficiently towards something that, while interesting, just isn’t as engaging.

It’s a move that would be necessary to cram this story into thirteen episodes, which may well be the root of my frustration with the show’s current trajectory.

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Chuck – “Chuck vs. the Angel of Death”

“Chuck vs. the Angel of Death”

January 11th, 2010

The unique two-night, three episode premiere has been a ratings success: the two hours last night scored the show’s best non-3D ratings since Season One, and while tonight will see a drop against intense competition from House, The Bachelor and How I Met Your Mother the show is still off to a good start.

However, creatively, the schedule is both blessing and curse: it allows the show to present a diverse set of circumstances rather than trying to start the show on a single episode which fails to capture the show’s wide-ranging quality, but it also means that certain thematic elements feel as if they’re being beaten into our skulls. “Chuck vs. the Angel of Death” is a spotlight episode for Ryan McPartlin and Sarah Lancaster, but it also reminds us that Sarah and Chuck’s “Will they, won’t they” relationship isn’t going away.

In the short term, the latter point may seem problematic, but the constant onstant reminders of Chuck and Sarah’s relationship would be more annoying spread out over several weeks, and right now the show isn’t being overrun by them: instead, the show is using it as a subtle complication of their working relationship, which takes a fun and adventurous story finally living up to Captain Awesome’s partial knowledge of Chuck’s vocation and having some fun with Casey (and Adam Baldwin’s history of revolution-inspired nicknames) in the process.

And so long as “fun” outweighs Chuck and Sarah’s relationship at the end of the day, the show is in great shape going forward.

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