Mad Men the Morning After: Critics get “The Good News”
August 9th, 2010
Things are a bit busier today, and in fact for the foreseeable future, so today’s Mad Men the Morning After will be a little different: there’s one review I want to dialogue with, but I might have to settle with links and quotes for the rest of them, as much as it pains me to not go into further detail, especially since “The Good News” was an episode with a lot of subtext and, as it turns out, some disagreement.
This is actually the format I’m likely to be going with from now on: writing about each review is great in theory, but I just won’t have the time to keep it up: however, I like the idea of the critical dialogue involved, so I think I’ll be finding an hour of my Mondays to collect the reviews in the future.
“The Good News”
August 8th, 2010
I spent a good half hour stumbling over how to start confronting this episode before eventually deciding to sleep on it, and upon waking up this morning I discovered why. “The Good News” is a tremendous episode of television, but it’s an episode of television which confounds how I normally confront these reviews. It’s difficult to write about, for me, because its continuities are largely unrelated to the season thus far: while parts of Don’s story theoretically connect with his behaviour thus far this season, it connects even more with his past as Dick Whitman, and since Joan Holloway and Lane Pryce are getting their first showcase of the season we’re required to dig back into the third season as if this were their premiere.
There are connections between the two sides of this story, but the episode is so clearly divided by Don’s time in Los Angeles (or Dick’s time in Los Angeles, more accurately) and Don’s return to New York that it’s not unlike two entirely different episodes – that it still feels cohesive is a definite accomplishment, but it’s something that makes tackling every minute detail of the episode as I tend to do more challenging.
However, it also makes it entirely possible to address it more briefly while leaving some material for a “Mad Men the Morning After” later today or tomorrow, so let’s get to “The Good News.”
July 6th, 2009
As a medical drama airing on a network where 12-13 episode seasons are the norm, Nurse Jackie is in a very weird little position. On the one hand, like all medical dramas, there is a sense that its ongoing storyline isn’t necessarily going to change or evolve in each episode, and its procedural setting will result in storylines that only appear for a single week. On the other hand, as a show with a shortened season, there is an expectation that things will move with a bit more purpose, and that “filler” won’t be as necessary.
To an extent, I would argue that “Daffodil” is the most basic episode yet, one that features a couple of new pairings for the show and offers an interesting parallel but doesn’t seem to do anything with it. This is the first time we’ve seen a night shift episode, and yet it didn’t feel like a particularly novel setup, and the show’s balance of comedy and drama is more than a bit out of whack right now.
It was an entertaining half hour, driven by Jackie’s personal dilemma and some well-drafted characters, but it seemed just a bit too random and, ultimately, basic for me to suggest that it did enough to advance things forward or show us something new.
May 26th, 2009
My Boys has, perhaps, the oddest season structure on television. Its sporadically placed nine episode seasons always feel as if they barely start before they’re done, and they often seem designed so as to make no sense by the time they actually air (with this finale taking place during Spring Training despite finding the Baseball season in full swing – yeah, I said it – or the recent episode about the depths of winter taking place, well, not during the depths of winter).
But, more importantly, the show has this really weird pattern of ending and opening seasons with these highly dramatic scenarios of romantic cliffhangers and major events, but then abandoning them for the entire season in favour of standalone stories that are just about these character hanging out. This wouldn’t be a problem if these two forms were all that compatible, but to be honest they’re not: the end of last season was a bit of a mess, and when the show transitioned into a less serialized format this season it was kind of fantastic. I haven’t been blogging about the show due to time restraints, but there was some really great individual episodes in there, more than enough to convince me that the show is still in great shape.
As a result, it was with some caution that I entered into “Spring Training,” already pretty well knowing what we were heading into: Kenny and Stephanie’s hookup way back in last season’s finale was swept under the rug except for a few moments this season, so it was inevitable that we would be confronting that particular storyline. However, to my surprise, that’s the only attempt at drama the show made in the half hour, providing a finale that draws a simpler cliffhanger, and a trip out to that cliff which let the guys be guys, let P.J. go without any stated relationship trouble, and allowed a pretty great little season go out on a pretty good note.
“Jack and Bobby”
July 31st, 2008
When you look up the TV Dictionary definition of “Jack and Bobby,” chances are you’ll find the short-lived WB Drama starring Christine Lahti (I watched the show for the first few episodes, but eventually got bored). However, there’s now a second definition: “See: Setup Episode of My Boys.”
Yes, this is a dreaded setup episode: one that provides little bits of comedy which stands on its own merits but, for the most part, chooses to simply lay the groundwork for the momentous summer finale that we’re getting in a week’s time (At 9:00pm EST, as TBS shuffles their schedule). And while I don’t want to come across as one of those impatient people who can’t stand setup episodes, this one just wasn’t any good: the major storylines seem to be heading in predictable and ho-hum directions, and some smaller things are being ignored in favour of the broad scheme of things.
And thus we have an episode where even a long-gestating development finally springing to life just doesn’t have the punch the writers think it does.