Tag Archives: Television

Caprica – “Know Thy Enemy”

“Know Thy Enemy”

March 5th, 2010

I don’t intend to miss Caprica every week, really, but I’ve been busy the last few Friday nights and it’s always taken me a few days to get to the latest episode. This isn’t a show that I find myself anticipating each week, perhaps, but it is a show that really captures my attention while I’m watching it, which is ultimately more important so long as I’m not spoiled before I get the chance to watch the latest episode.

“Know Thy Enemy” isn’t quite as tonally rich as last week’s episode, but it does a few things that I think are working really well for the series, a sign of its quiet confidence rather than its confident ambition.

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Chuck – “Chuck vs. the Beard”

“Chuck vs. the Beard”

March 8th, 2010

Tonight, apparently, was a night where television appealed to the Myles demographic. After watching an episode of How I Met Your Mother that dealt with my lingering frustration over events earlier in the season, Chuck delivers an episode which confirms everything that I’ve said since the beginning of the season in terms of how the Intersect 2.0 operates, how Chuck is evolving as a character, and how that affects the world around him.

And yet, sort of like with HIMYM, I’m left somewhat underwhelmed by “Chuck vs. the Beard” even though it went down a checklist of many of the things that I like so much about this show. The problem, I think, was that it tried to do so many of them simultaneously without any really grounding the episode in any particular threat. There were too many coincidences, too many contrivances, and too many scenarios where the fun of “Viva Buy-Moria” took over from (rather than added complexity to) the fairly serious consequences of The Ring’s latest plan to take down our intrepid heroes.

The episode takes the show to places it should have gone sooner, and places that give the show a lot of great material heading into the rest of the season, and does so within the guise of what seems like an all-time classic episode of the series. And while there’s a compelling case to be made that Chuck, as a character, requires the support structure that the ensemble cast and its different spheres offers, I’m not sure that the episode itself was strengthened by that diversity.

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How I Met Your Mother – “Of Course”

“Of Course”

March 8th, 2010

When How I Met Your Mother threw in the towel on Robin and Barney’s relationship earlier this season, I was angry.

The reasons I was so frustrated were, just to be clear, not simple. I was not just a “shipper” of the couple or someone who thought they should stay together forever, someone who responds negatively because the show doesn’t go in the direction I want it to. Rather, I was also annoyed that it felt like the show was abandoning a story which had untapped potential in order to return to its status quo, shallow Barney stories where he turns into a complete womanizer. I prefer Barney when he shows some sense of humanity, some shred of awareness of his own actions, and his relationship with Robin felt like it had the potential to bring that out more often.

For their relationship to end – according to interviews with the creators at the time – just so that the show could return to a more one-dimensional version of Barney’s character felt like it ignored the show’s emotional complexities, and it has in some ways tarnished the entire season for me. While Barney’s womanizing is still funny, it has seemed spiteful and at times even hurtful as the season has continued without giving the breakup time to settle in. Instead of laughing at Barney’s antics, I found myself focusing on Robin, and how she must be feeling to know that Barney is moving on so quickly. In some ways, it bothered me that the show was moving on so quickly, that it was so willing to turn its back on comic and dramatic potential for the sake of returning to something familiar that, let’s be honest, won’t remain fresh forever even with Neil Patrick Harris at his Emmy-nominated, should be Emmy-winning, best.

“Of Course” is effectively the show’s apology, where they admit that there were unseen consequences to Barney’s quick return to his normal self, and where they admit that there was unresolved tensions surrounding their breakup. So, as one of the most vocal critics of the way in which the pair were broken up and certainly the critic most unable to look past it as the season wore on, the question becomes whether this retconning was enough to convince me that the show made the right decision.

The answer to that question is “No,” even though “Of Course” is a damn fine episode of television.

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David vs. Goliath vs. Laziness: Potential-filled 2010 Oscars Lack Suspense, Muddle Triumph

David vs. Goliath vs. Laziness

March 8th, 2010

If you were going to watch a television show where two characters reach for the ultimate goal in their chosen field, one as the popular frontrunner and one as the almost-forgotten underdog, I think there’s a lot of dramatic potential there. There is something about the battle between David and Goliath that should automatically draw us in, and while Avatar and The Hurt Locker are not multi-dimensional characters (cue 3-D joke) they are fairly compelling award show narratives.

And while normal people, according to lore, only watch award shows to see things they like be liked by stuffshirts, people like me watch them because of the politics, because of the predictions, and because of the sense of surprise and anticipation. We watch them because we see a narrative in their story, able to chart momentum as the show goes on, moving towards the big award of the night with the pulse of a great year in film…ideally.

The 2010 Oscars will go down in the books as a rather colossal failure, the polar opposite of the simple and understated Oscars that followed the year before. In some ways, the show took risks not that dissimilar from last year’s show, but a few major missteps combined with some absolutely disappointing material from hosts Steve Martin and Alec Baldwin resulted in an infinitely cynical response that, unfortunately, became the pulse of this show.

What was supposed to be thrilling and exciting, the story of two films in an epic fight for victory, became the story of how the show’s producers chose interpretive dance over cinematic integrity, and the predictable winners in most categories did little to keep this Oscars from being tepid, uninteresting and, perhaps worst of all, uneventful. A show like this should be an event, and this…this was just sad.

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Parks and Recreation – “Woman of the Year”

“Woman of the Year”

March 4th, 2010

In “Woman of the Year,” we learn that Leslie Knope was a member of the Indiana Order of Women at the age of nine.

This is, just to be clear, not a surprising fact: we’ve always known that Leslie was a strong believer in organizations like the IOW, so the idea that she had been this way since an early age (especially considering her mother’s commitment to civil service). What this establishes, however, is that this is something which means something to Leslie, something which she values at a level which someone like Ron Swanson is not completely able to understand.

However, what has Parks and Recreation in such a good place right now is that it is unwilling to sacrifice things important to these characters just for the sake of comedy: stories like those in “Woman of the Year” are driven by people who care rather than people who don’t understand, and while there is quite a lot of humour in the episode it all comes from a place of good-natured ribbing more than spite or something similarly unpleasant.

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The Office – “The Delivery”

“The Delivery”

March 4th, 2010

I don’t have a whole lot to say about “The Delivery” on its own, to be honest with you: as I am not one of those who have turned on Jim and Pam, or someone who feels that their relationship has anything to do with the show’s creative downturn this season (after all: they were all but married last season and the Michael Scott Paper Company arc was pure gold), I was charmed by the birth of young Cecilia Marie Halpert, which was heartwarming and emotional and all of those things.

I’m with Alan Sepinwall in that the episode sort of lost all of its momentum in the latter half, and rather than repeat his thoughts (all of which I agree with) I thought I’d consider the scheduling ramifications here. As I was discussing with Jaime Weinman on Twitter, I think the interesting thing here is the “Part 2” is unquestionably the weaker episode, but in what position is it the least weak? The Office is a show with a fairly impatient fanbase, and I think that “Part 2” likely played better as a weak second-half here than it would have next week, a slight blight on an otherwise well-executed storyline rather than another weak episode in an average season.

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Community – “Physical Education”

“Physical Education”

March 4th, 2010

This is going to sound like an insult, but every now and then my reviews of Community might as well be like a focus group response from small children. Every sentence would start with “I like the part where…” or  end up devolving down to “It was funny when the _____ did that thing with the _____,” and that’s probably not all that fun to read.

However, it really does reflect my love for this show: while I might be able to analyze individual plots, I’m rarely that concerned about particular plots, as in I don’t learn what an episode is about ahead of time and fear that things might go off the rails. I have an inordinate amount of confidence in the show’s ability to turn just about anything into comedy, a confidence justified this week as Dan Harmon turned his own personal shame and billiards dress code into top-notch comedy.

And so some part of me truly would be entirely content to respond, in my best impression of a five-year old, that “I liked everything” and grin wildly while shifting awkwardly in my seat. However, since I was probably already long-winded and overly analytical at the age of five, let’s stick with some more detailed thoughts after the break.

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Modern Family – “Fears”

“Fears”

March 4th, 2010

I understand sitcom formulas: I know why they exist, I know why they can sometimes be very funny, and I understand why there are quite a few viewers who are in love with them. And while I’m on the record as amongst those who are not quite on the Modern Family bandwagon, I respect a lot of what the show is doing, and do not begrudge it for being formulaic to varying degrees each week.

If I’m being honest, “Fears” was one of the best episodes the show has done in its most limiting formula, the separation of the three families into distinct stories. The theme was consistent, the comedy was varied, and the show perhaps came the closest yet to earning its saccharine conclusion. None of the stories fell too far into comic farce to feel like they were shoehorned into the corny conclusion, and while every story was on the edge of tipping into that land of love and caring that makes me want to throw up, they mostly stayed within something funny and sweet without going too far.

And yes, that’s the most convoluted way of saying “this was a pretty good episode of Modern Family” you’re likely to find.

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The Olympic Myth: NBC’s Failure Overshadows Parenthood’s Potential Success

The Olympic Myth

March 3rd, 2010

I really should have written this post in advance so I could post it as soon as the headlines started to hit, but alas I held out hope that perhaps we could disconnect ourselves from that particular response to solid, but unspectacular, ratings for NBC’s Parenthood.

This myth that the Olympics are some sort of magical promotional tool is not without some merit, in that NBC used a lot of their airtime with a huge captive audience in order to promote the arrival of this new series, but the intense expectation it places on a show is honestly not worth the trouble. The Olympics promotion is not only supposed to increase a show’s chances at success, but it is also expected to create an audience which may not actually exist, whitewashing any of the other problems that the show might face (whether it be timeslot competition, the lack of a compatible lead-in, etc.).

It’s a situation where you have to wonder: would the show have been better off debuting to lower numbers without the hype, just so that the show might have been seen as a mild disappointment instead of another failure of NBC’s network strategy?

Since Josef Adalain has already posted an analysis of the various potential scenarios for Parenthood at The Wrap, I’m going to add this little wrinkle to the mix: in Canada, it “worked.” CTV’s new comedy series Hiccups and Dan for Mayor debuted to huge numbers (1.9 Million viewers) on Monday night after heavy Olympics promotion, which could be seen as proof that with the right show Olympics promotion can result in big numbers.

Except that people tend to focus on the “Olympic Promotion” rather than “Right Show” part of that equation.

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Series Premiere: Parenthood – “Pilot”

“Pilot”

March 2nd, 2010

I’m currently trying to imagine a world where someone could handle watching both ABC’s Brothers & Sisters and NBC’s much-hyped Parenthood, the centrepiece of its Olympics advertising campaign. I used to watch the former show back in the day, and it had its moments: Sally Field makes a strong matriarch, the family squabbles featured a number of strong actors (Rachel Griffiths, Justin Annable, Emily VanCamp), and once its melodrama settled down enough to reveal itself as human drama the show could even be quite poignant on occasion.

And Parenthood reminds me a lot of that show, at least generally speaking. You have an extended family who gathers together for tense family dinners, you have the various siblings sharing a unique bond that is as deconstructive as it is constructive, and you have each separate family within the larger family dealing with their own issues with every other family peering over their shoulder.

I don’t think I can really tell you why I like Parenthood more than I ever liked Brothers & Sisters, but if I had to really try I would say that it is less smug. It feels more natural and less self-aware, either because the characters are slightly less idealistically wealthy or because I simply like the talent behind this show better. Or maybe, just maybe, the shininess of a new show is outweighing the staleness of an old one, the repetition and heightening melodrama of Brothers & Sisters being traded out for the fresh, unused template of Parenthood.

Perhaps in four years, I’ll be raving about another show just like them; for now, let’s talk about this one, because I quite enjoyed it regardless of how similar it may be to something else.

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