“The Old Wagon”
September 22nd, 2010
“Time marches on, huh?”
The central storyline in “The Old Wagon” is about nostalgia: the Dunphy family keeps their station wagon around not because it’s functional, but because it holds treasured memories of their past that they are unwilling to let go.
My growing issue with Modern Family is that it doesn’t feel like a beat up station wagon with character; instead, it feels like one of those models which takes people’s nostalgia for classic cars and then crams it into a shiny new package. There are elements here that I enjoy as a viewer, and elements that are unquestionably well-executed, and yet the ultimate package feels as if it has been manufactured to create that response instead of earning it.
In an episode which emphasized the importance of reflecting on how fast things change in our lives, Modern Family demonstrated that absolutely nothing has changed since the show sprang to life a year ago. “The Old Wagon” is not even close to being a bad episode of television, but it fits so comfortably into the show’s patterns that it honestly frustrates me more than a legitimately bad episode would.
At least then there might have been a single moment of growth.
June 26th, 2009
After watching the two-hour event that is the Virtuality pilot, I think I can understand why FOX was resistent to picking the show up to series.
It isn’t that FOX is allergic to science fiction: it goes into next season with the genre’s two biggest television properties, Fringe and Dollhouse, in its lineup. Rather, there’s a particular way that it likes its science fiction, a preference that both Dollhouse and Fringe fit into comfortable. Both shows, although expanding heavily on their serialized elements and genre transmorgifications later in their freshman seasons, started out as genrified takes on the procedural mystery model, combining a high concept with what is arguably a more accesible and thus lower form of weekly episodic television. For FOX executives worried about selling the show to advertisers and viewers alike, it was the ace up their sleeve, the caveat that allowed them to both give the appearance of openness to genre programming and satisfy their desire to eat away at CBS’ dominance in the field.
The reason Virtuality wasn’t ordered to series is because it is one giant, enormous middle finger to such ludicrous practices of watering down science fiction upon its arrival so as to pretend as if the people who don’t like science fiction are going to stick around once things get weird. What makes good science fiction is the balls out willingness to question reality, and to break away from any and all conventions, all qualities that both Fringe and Dollhouse are capable of and yet never got to reach until FOX was satisfied that the show was really just CSI with insane science or The Unit with personality implants. Virtuality, however, wastes no time in crafting a world where nothing where we question everything, and is thus a world that any science fiction fan in their right mind wants to explore further.
All but dead in the water despite the strange lead-up to this airing, Virtuality is a fascinating pilot, a god awful standalone television movie considering how it ends, and, should it truly find itself on the wrong end of FOX’s idiocy, another sign that high science fiction may be a thing of the past on network television.
But, for now, excuse me if I spend a bit of time talking about how awesome it was.