Tag Archives: Steve Buscemi

Series Premiere: Boardwalk Empire – “Pilot”

“Pilot”

September 19th, 2010

I could very, very easily write a couple of thousand words about the pilot for Boardwalk Empire, HBO’s latest prestige drama series which debuted last night. I stayed up until the wee hours of the morning (well, relative to when I should have gone to bed) to watch the pilot, and I enjoyed it a great deal: Steve Buscemi’s performance is spectacular, Martin Scorsese was his usual talented self in the director’s chair, and Terence Winter has crafted a world which promises great return on investment for viewers.

The problem, however, is twofold. First of all, my Sundays are pretty much devoted to Mad Men at this point – Rubicon, for example, has been piling up on the DVR not because I’m not interested, but because there just isn’t enough time to give the series its due on Sundays and the rest of the week is just too busy to catch up. This means that it’s difficult to fit in yet another complex serialized drama, at least until Mad Men concludes its season in a month’s time.

The more important factor, meanwhile, is that the critics have the first five episodes, and many of them are devoting themselves to full-fledge weekly analysis of the kind which I would be creating. Normally, I wouldn’t use this as an excuse not to write: if I didn’t write reviews because other people were writing them instead, Alan Sepinwall and The A.V. Club would have scared me off a long time ago. However, starting a new degree program as I am, there comes a point where I need to make a decision: do I want to watch Boardwalk Empire and enjoy it, or watch Boardwalk Empire and feel the stress of trying to write about it?

As a result, this may be my last word on Boardwalk Empire for a while – as usual, I’ll probably be tempted into writing something when the show gets particularly spectacular in the weeks ahead, but it will remain something short instead of something fully detailed. If you’re looking for that sort of analysis, it’s like I say: between Todd VanderWerff at The L.A. Times, Noel Murray at The A.V. Club, Alan Sepinwall at HitFix, and (eventually, he promises) James Poniewozik at Time, I think the critical community has this one covered.

However, I do want to offer a few more detailed thoughts about the pilot, while I’ve got the time.

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Season Premiere: 30 Rock – “Season 4”

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“Season 4”

October 15th, 2009

There has been a lot of talk about a backlash against 30 Rock as of late, with numerous critics taking time out of their schedules to less review the new season and more place it on an axis of television comedy. The question is not so much about whether 30 Rock is funny, but whether it is consistently funny, and whether it is funny in ways that imply long-term development or ways which rely too heavily on quick cutaways and an almost sketch-comedy aesthetic. Whether VanDerWerff or Holmes, Sepinwall or Weinman, everyone seems to agree that 30 Rock is a flawed show capable of occasional genius, and there are certain things that it could do to improve.

In my relatively short time as a TV critic, I’ve spent more of my comedy analyzing time with The Office, a show which features far more nuance than 30 Rock in terms of its characters. On that show, the actions of Michael Scott need to be finely tuned to (in my view) connect with the right level of comedy, or else risk throwing the entire show out of whack. However, with 30 Rock, the show is inherently out of whack which is kind of the point of the whole thing. I don’t shy away from criticizing 30 Rock, nor do I feel that it deserved to steamroll The Office at the Emmys as it did (as the latter show had the better season, in my eyes), but at the same time I don’t feel that criticizing the show is the same as condemning it. 30 Rock, like all shows, isn’t critic-proof (that’s not a thing), but it is a show that manages to make me happy even when it isn’t quite living up to its full potential.

As such, I thought the cheekily titled “Season 4” was largely satisfied with cheeky as opposed to substantive, and that its commitment to that value resulted in an engaging half-hour of television that didn’t reach high enough but nonetheless had me eating out of the palm of its rough-skinned hand. Helped by airing after a less than fully-realized episode of The Office, the start of the fourth season gives almost no indication of what’s to come, but embodied enough of what makes the show work for me to be pretty excited about it anyways. I missed this show, and I’m glad to have it back, flaws and all.

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30 Rock – “Mamma Mia”

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“Mamma Mia”

May 7th, 2009

What a difference a half hour makes: after an episode of the Office that started out without an idea at all and ended up coming together quite well, we have an episode of 30 Rock with a central storyline that was both quite funny and charming, but one that the show surrounded with two storylines that were anything but. And, although this is going to sound weird at first, the problem with this is Tina Fey.

No, not her as an actress: she was hilarious in this week’s episode overall. The problem was that I don’t know which Liz Lemon story to really focus on. Her role in Jack’s storyline, the central take-off of Mamma Mia, was absolutely hysterical, her excitement over realizing her good fortune of having the movie play out in real life maybe my biggest laugh all night. But then the show had her as both lead investigator in the quest to discover whether Tracy’s illegitimate son was a fraud and in a storyline where Jenna’s catchphrase led to fame and success and she was envious of the attention since she was given so little credit for writing it.

The concern here is not a lack of material, but a lack of editing: the episode wasn’t actually about Liz having to balance these three different roles, and her centrality to every story just didn’t end up making any sense. She was vain and petty in her quest to fight with Jenna, unnecessary in Tracy’s storyline when Pete was right there, and could have been used more often in Jack’s storyline to be quite honest.

While some have argued that 30 Rock suffers from a lack of strong supporting players, I don’t think the show is so hard off that Liz needs to be everywhere: a little bit of spreading the love to Kenneth, or Frank, or even Twofer would have really helped “Mamma Mia” get off the ground.

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30 Rock – “The Natural Order”

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“The Natural Order”

April 30th, 2009

Having already written my posts on Parks and Recreation and The Office tonight, I’ll admit to be at a bit of a loss at what to say about tonight’s episode of 30 Rock. It isn’t that the episode was bad, but 30 Rock just seems to be in a total holding pattern right now, while Parks and Recreation has the novelty of newness and The Office is transitioning out of a really engaging disription. So when “The Natural Order” finished, I was left with some rambling notes about how the episode featured a few jokes that hit, a few jokes that didn’t, and plots that threatened to come together but never quite did.

One of the problems that can kind of tie the episode together, and give me something to talk about, is how in many ways the show has to deal with what I’ll call leftovers. When there’s a small gibbon introduced into the story, it’s a funny throwaway gag that the writers decide not to throw away, and it results in an unfunny and uninteresting C-story. Similarly, while I love Elaine Stritch and storylines that showcase Jack’s more empathetic side are always welcome, at a certain point Colleen Donaghy feels like a character that was so great in that Season One finale that the writers keep reheating with diminishing returns.

It’s not enough to send the show into the territory of downright unfunny comedies, but it usually results in episodes that feel like the cast-offs in need of rewrites, quite likely because they were cast-offs that needed lots of rewrites.

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