Tag Archives: Television

Glee – “Britney/Brittany”

“Britney/Brittany”

September 28th, 2010

A week after opening with an unquestionably meta opening, Ryan Murphy did not stray far from that example with “Britney/Brittany”: in the opening scenes, Will expresses how he wants New Directions to know when to show restraint, while Kurt and many other students express their desire to branch out into something more exciting, youthful. It picks up directly where last week’s opening left off, questioning the song choices the series makes, which I’d argue is an interesting question that this season does need to respond to.

Of course, how much you enjoy “Britney/Brittany” depends on both its framework (which has some issues in terms of balancing fantasy and reality) and how Britney Spears’ presence plays out throughout the course of the episode. As someone who admittedly enjoys Spears’ music on the level of cheesy pop fare, I thought choosing Britney was not in and of itself a mistake; however, the show was let down considerably by the way in which her music and its legacy were received by those both within and outside of New Directions.

While musically satisfying, at least for me personally, “Britney/Brittany” suffered from an inelegance which is likely to cause any future themed episodes to raise even more red flags than this hour.

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Lone Star – “One in Every Family”

“One in Every Family”

September 27th, 2010

“Everything’s always a blur.”

Lying in bed, the newly married Lindsay Allen observes to her husband that her life is sort of like drowning: when he’s away (with his other wife), she feels like she’s drowning, and when he returns it’s like a sudden breath of air.

This scene does little to elevate Lone Star’s gender representations, as effectively Lindsay is arguing that she is lost without her man; however, while I will get to those questions in a moment, I want to focus on the way Lindsay’s description describes Lone Star in and of itself. The show feels sort of like a blur, really: while the show has a fairly leisurely pace, the threat of a reveal remains at every corner, creating just enough instability for an episode like “One in Every Family” to feel meaningful even when it doesn’t have any huge or groundbreaking scenes.

The show continues to paint in fairly broad strokes on some levels, but its second episode quite successfully expands on the nuance within its various worlds: the show still remains fairly centered on James Wolk’s Robert Allen, but the show around him has been effectively given additional depth which would indicate that this show is about more than its premise.

Emphasizing potential, of course, that is unlikely to see the light of the fall season.

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How I Met Your Mother – “Cleaning House”

“Cleaning House”

September 27th, 2010

Barney Stinson is a very broad character, but Neil Patrick Harris has always specialized at emphasizing his vulnerability. Mind you, this vulnerability always disappears, but the series’ emphasis on serialization has allowed for Barney’s arc to avoid feeling too reductive. Yes, he resets every once in a while, but “Cleaning House” quite clearly identifies that there remains a sense of progress in the character.

While the episode wasn’t particularly fantastic, it felt more emotionally honest than the incredulous nature of the story would indicate on the surface. As someone who appreciates this level of emotional complexity, I like what the episode does for the overall narrative and for Barney as a character, even if it doesn’t fundamentally change the character in future episodes.

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Mad Men – “Hands and Knees”

“Hands and Knees”

September 26th, 2010

“Everybody has bad dreams once in a while.”

In a Twitter discussion, Matt Zoller Seitz and Alan Sepinwall had a discussion about the role of theme in Mad Men: to boil it down for you, Seitz suggested he was on the fence about “Hands and Knees” due to it being a “theme episode,” while Alan argued that every episode is a theme episode (while acknowledging that this may be simply because he, as a critic, looks for themes to inform his review).

The distinction I offered is that there is a difference between “theme episodes” (which I would argue “Hands and Knees” is) and “episodes with themes” (which is the majority of Mad Men’s run). The series is too thematically rich to go without themes in any particular episode, but “Hands and Knees” stands apart in terms of actively tying nearly every single story into that theme: instead of one bad dream, it’s a collection of bad dreams that happen simultaneously (insert Inception joke).

What makes it, and all good “theme episodes,” work so well is that the episode itself acknowledges that the consistency of this theme is ridiculous: everything that could go wrong does go wrong in the episode, as if every worst case scenario and everything they want to keep secret rises to the surface. The episode asks us to join Roger in laughter when we realize just how screwed these people all are, while emphasizing that everyone has a good reason to go on pretending as if none of it has actually happened.

It’s a very straightforward thematic episode, though, and writing out the same thing as everyone else seems like a waste of my time – as a result, I’m going to outline my thematic read of the episode very briefly before discussing some of the more ancillary elements of the story which may not clearly connect with the central theme.

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Season Premiere: The Amazing Race, Watermelons, and the Loss(?) of Uncertainty

“They Don’t Call the The Amazing Race For Nothin’!”

September 26th, 2010

Earlier this month, CBS gave away what I would technically consider a spoiler: they released a video of two contestants completing a Roadblock which was fairly clearly taking place towards the end of the first leg. Being generally spoiler-phobic, I resisted the video for a few hours, but then everyone and their mother were talking about it.

And when I finally watched it, I discovered why.

YouTube – The Watermelon Heard Around the World

I chose this version of the video with the highest number of viewers: while CBS’ own upload has 650,000, the copy posted has over two and a half million views. People have been watching this video for weeks, and it seems to have actually created some legitimate excitement around the season. I don’t think that the video is enough of a spoiler to ruin the episode (my usual spoiler-hating self didn’t really emerge), but I do think that it creates a very different sort of viewing experience than what we’re used to.

As a result, I want to ask (and perhaps answer) some questions about the strategy at play, which ended up helping the series to one of its most memorable premieres in quite some time.

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Season Premiere: Fringe – “Olivia”

“Olivia”

September 23rd, 2010

Earlier this year, I wrote about what I called “procedural pacing,” wherein FX’s Justified gradually became more serialized throughout its first season: by starting with a more procedural format, and then having that format be interrupted and taken over by a serialized story line as the season wore on, the show established and then shattered its status quo. As a result, when the story eventually turned over in its entirety to Raylon Givens’ battle against the Crowder family, it felt “earned”: instead of seeming like an attempt to create false stakes, we had seen every step in this process, allowing the storyline to feel wholly organic and, more importantly, wholly satisfying.

I don’t think I entirely realized this before, but Fringe very much follows the same principle. It could have, at any point in its first two seasons, indulged in its science fiction premise to the degree we see in “Olivia”: we’ve known about the alternate universe since the first season finale, after all, so what was stopping them from introducing Fauxlivia at that point in the story? Fringe has had the potential for a serialized science fiction series since its pilot, and many have often criticized the series for not doing episodes like “Olivia,” a rollicking yet thought-provoking premiere, more often.

And yet, “Olivia” works as well as it does precisely because it is disrupting a status quo the series has established quite well over the past few seasons; much as Justified’s serialized elements had greater meaning due to the nuanced buildup, the slow development of the alternate universe and its role within this larger story has allowed the various dualities and conflicts the series is creating to have meaning which would have been lost had it been introduced at an earlier date.

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Save this Premise?: The Premature Campaign to Save Lone Star

Save this Premise?: The Premature Campaign to Save Lone Star

September 25th, 2010

When I realized that there was an online campaign to save Lone Star, I had two thoughts.

First of all, I was bolstered: rallying around Kyle Killen’s inspired support of the series, journalists and fans began to voice their support with Twitter hashtags and Facebook campaigns, and as someone who saw promise in the series I was pleased to see the show getting attention.

However, I was also struck by the fact that people are not really campaigning to save Lone Star. The majority are campaigning to save the idea of Lone Star, the notion that complex drama series not about policemen or lawyers have a place within the context of network television.

While I think this is a battle worth fighting, and I certainly am in support of the series continuing (despite my concerns over its longevity), I have some serious concerns about how this campaign relates to the text itself. When we have seen only a single episode, and when there were legitimate concerns of where the series goes from here, is this metric level of internet-related hype surrounding the series not simply creating expectations that the episode will need to live up to? Does this level of support not seem premature for a show that hasn’t even become a show yet?

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Season Premiere: Community – “Anthropology 101”

“Anthropology 101”

September 23rd, 2010

In the interest of complete disclosure, I do not know if I was exactly “excited” for Community to begin its second season.

Mind you, I do think that if I had gotten a screener, I probably would have immediately popped it into my DVD player and consumed it. However, I feel as if I would have done so because I was expected to, not necessarily because I wanted to. This does not show a dislike or even a disinterest with the series, but rather the fact that Community’s first season was something I enjoyed, not something that I truly loved. The show is unquestionably funny, and there are individual episodes, moments, and characters that really stuck with me (and continue to make me laugh), but there was also something about the show which kept me at a distance.

When I would sit down to review the show, I would find myself in a self-aware state where I was writing to service the fan culture surrounding the series instead of actually writing what I was observing – this was no clearer than in “Contemporary American Poultry,” which I think is a brilliant piece of writing but which I did not “get” to the degree that others have thanks to my lack of experience with the source material. I am not one of those who is turned off by the level of pop cultural humour in the series, but I do think that its presence is part of why approaching the series critically has been somewhat of a challenge.

This is a long opening spiel to lead up to the fact that “Anthropology 101” was a cleverly organized premiere which successfully paid off the more traditional dramatic conflict created by last season’s (honestly unsatisfying) finale while indulging (or, perhaps more accurately, engaging) with the series’ signature referentiality, successfully kick-starting a season which will be an important test for the series.

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The Office @ The A.V. Club – “Nepotism”

“Nepotism”

September 23rd, 2010

As discussed earlier this week, I’ll be covering The Office at The A.V. Club this season, and my thoughts on the season premiere, “Nepotism,” are now up.

The Office – “Nepotism” [The A.V. Club]

…I went into “Nepotism” more curious than expectant: this season is going to be fascinating whether it falls apart or whether it rises to the occasion, and as a critic either option works for me. It would certainly be convenient if the premiere were to answer this question definitively, but the show is clearly not interested in offering a clear path to Carell’s exit. Instead, the episode is like a restaurant sign reassuring customers that they are still open for business during construction: change may be coming, but the series’ commitment to outlandish comedy and charming characters remains.

And, for at least tonight’s premiere, it’s even in pretty solid form.

If you want to find my previous Office reviews here at Cultural Learnings, click here.

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Season Premiere: The Big Bang Theory – “The Robotic Manipulation”

“The Robotic Manipulation”

September 23rd, 2010

My relationship with The Big Bang Theory is more or less entirely critical: while I do have an affection for Sheldon as a character, and was very pleased to see Jim Parsons pick up an Emmy for his performance, the fact remains that this show bothers me. It is a solid show, often quite entertaining, but it always feels as if the show is undermining itself – I want it to be better than it is, and I want it to take risks that it has up to this point seemed uninterested in making.

There are elements to “The Robotic Implication,” primarily within the epoynmous subplot, which indicates that I will not become an outright fan of this show in the near future, but the central storyline (and what seems to be the series’ primary interest moving forward) is much more enjoyable. While I will always have issues with cheap storylines that feel ripped out of American Pie, so long as the heart of the show remains as prominent as it did here I will be given a reason to keep tuning in.

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