Tag Archives: Television

Season Premiere: Entourage – “Drive”

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“Drive”

July 12th, 2009

This review is going to be hugely hypocritical for anyone who’s followed my…less than friendly relationship with Entourage.

See, I’ve always been of the mind that the show is at its best when it engages with its dramatic elements, and taps into something beyond “four bros hanging out.” It’s not a particularly popular opinion, as nearly everyone seems to disagree with me and lists their main reason for watching the show as “four bros hanging out,” but it’s the way the show works for me. And last season, I just kept getting more and more frustrated: the show had numerous opportunities to really engage with some real disruptions to Vince and E’s relationship, and to shake things up a little bit, and yet they refused to take them, leaving the dynamic intact as Vince’s career skyrockets.

So, on that criteria, I should have been really happy with “Drive,” which returns to the narrative with Vince riding a wave of Gatsby-related success but drifting apart from E, who is becoming successful in his own right and beginning to see the benefit of being more independent. The result is actually a really subtle statement about maturity, coupled with a couple of periphery storylines and a distinct lack of highly manufactured drama. Really, the episode should have been everything I should like in a half hour of Entourage: a little sex, a little drama, and more pathos than 99% of the show’s normal viewers like to see.

But, for a variety of reasons, I found this episode to be shockingly pedestrian in a way that baffles me. There was no zing to the one-liners, no bite to Ari Gold, and a distinct lack of any sort of dynamic between the signature foursome. While I’m actually kind of intrigued to see where they go from here, this half hour is the exact opposite of any of my past experiences: while before I found the plot lacking but enjoyed the show’s broad comedy for what it was, here I found absolutely nothing funny or clever to the point where even a storyline I should have liked did nothing for me.

Call me a hypocrite all you want, but this “Drive” never got out of first gear.

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The 2009 Emmy Awards: The Problem with Predicting the Popular

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The Problem with Predicting the Popular

July 12th, 2009

There are a lot of reasons why my Emmy coverage has been less extensive than previous years leading up to this year’s nominations on Thursday. I’ve been a bit busier with academic work, there’s been a bit more Summer TV to cover, and various other time restraints, first and foremost. But more importantly, the Emmy Nominations process has changed this year to a process that is considerably more difficult to analyze.

This isn’t to say that I won’t be making predictions over the next three days, or that I haven’t been thinking out various scenarios without putting them into blog post form. Rather, because the nominations being based on entirely the popular vote, the predictions being made are without much objective analysis. Before, when panels viewed submitted material in order to make their decisions, we could judge the episodes chosen compared to one another, and decided which one was objectively better, or objectively more suited to Emmy voters. This time around, however, there are no submissions: whatever six shows, or six actors, get the most votes are the ones who will be nominated for Emmys.

The result is that we prognosticators of Emmy have become fortune tellers, attempts to read tea leaves in an effort to decide what the Emmy voters think is popular or deserving of attention. Will last year’s nominees be safe? Will a larger number of veteran performers make it in? Will network series benefit from their wider viewing audience, or will cable series benefit from more targeted advertising campaigns? These are all questions that we can’t really answer in an objective fashion, which leaves us to attempt to think like Emmy voters.

And, well, that’s not easy.

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Royal Pains – “No Man is an Island”

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“No Man is an Island”

July 9th, 2009

Due to some thesis commitments, I’ve actually found myself doing something really strange: not only have I had no time to blog about television, but I’ve even found myself falling behind on watching it. Sure, I’ve gone through three seasons of Top Chef is about nine days, but watching new television just hasn’t been part of the game plan, which meant I just watched 10 Things I Hate About You, haven’t gotten to Warehouse 13, and was a day late getting to this week’s episodes of Burn Notice and Royal Pains.

And trust me, I’m as shocked as you are that the one show that shakes me out of my hiatus is Royal Pains, a show that two weeks earlier (before the show took a break for the holiday) had convinced me it was willing to settle for light and charming as opposed to something more substantial. However, “No Man is an Island” shocked me by emerging as a really compelling piece of television which did a lot of small things to bring to the surface intriguing characters dynamics, medical scenarios which start as one thing and evolve as medicine often can, plus a very Burn Notice/MacGyver piece of medicine from Dr. Hank.

It was the kind of episode that legitimately makes me think that these characters could eventually become their own less interesting but nonetheless entertaining versions of Michael, Sam and Fiona, a scenario I wouldn’t have predicted when the show started and that makes me more intrigued to see where the show goes from here.

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Theories on The Big Bang Theory: Why I Hated the Pilot

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Why I Hated the Pilot

June 30th, 2009

[While I’ve blogged about some episodes of the show, and even covered the PaleyFest panel about the show in April, I haven’t actually watched The Big Bang Theory with any consistency. I’m watching the show as my thesis breaks over the next few weeks, and while I have no intentions of any indepth thoughts (not that kind of show), I do have a few things to say about the show, and will stop by with them on occasion.]

For a good year, the only thing on this blog on the subject of The Big Bang Theory was an article lumping it in with Cavemen, a problematic judgment that I knew needed to be addressed but didn’t really see any rush in fixing. The show just really turned me off with its pilot, and after watching it there was absolutely nothing that could convince me to keep watching…or so I told myself.

In my head, I had sworn off the show after the pilot, never to watch again after it had offended me so – watching the first season, however, I appear to have watched at least a few of the episodes that followed, whether randomly or purposefully but without much intention. Clearly, my experience with them didn’t override my disdain for the pilot, so going back to that first episode I was still very curious to see if I could pinpoint just what it was that resulted in such vitriol.

I think I’ve found the answer: the thing that made me hate this pilot is, rather than the existence of a laugh track, the execution of said sitcom device.

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Nurse Jackie – “School Nurse”

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“School Nurse”

June 29th, 2009

When a show introduces a protagonist who has small children, and appears interested in investigating their family dynamic, there are really only two choices. One is to dehumanize them entirely, turning them into an amalgamated responsibility that influences them in some way, while the other involves taking them and turning them into an additional commentary on the protagonist’s behaviour. Medium, for example, had Allison’s kids begin as a sign of a normal life she wasn’t able to lead thanks to her ability, but eventually morphed into a scenario where all of her daughter’s inherited her psychic abilities. It’s really the only way a show can run for any period of time while still acknowledging the way the children age and act differently on a regular basis.

What we see in “School Nurse” is the use of Grace as less a mirror and more a potential burden on Jackie, a test of her ability to turn her back on her family. Grace’s anxiety over the world raises a lot of the usual questions facing a mother who is drifting away from her home life to some degree, but it also touches on the idea of knowing, and of being able to somehow sense that unrest that Jackie has tried to keep hidden.

It’s a worthwhile point of interest for the show, and a sign that there are no intentions of using the children as just an object; as long as they keep things subtle and nuanced, I’d say that the show is in fine form.

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Series Premiere: Hung – “Pilot”

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“Pilot”

June 28th, 2009

“Everything’s falling apart.”

Hung is not a show about an abnormally large specimen of the male anatomy.

Well, okay, technically it is, but that’s really not what the show is trying to tell us. While the new HBO “comedy” follows the exploits of high school basketball coach-turned male escort Ray Drecker (Thomas Jane), who happens to be particularly well endowed, its real focus lies less in what he’s doing than why he’s doing it, a common thread in shows that followed down on their luck characters taking drastic career moves (Breaking Bad, Weeds, etc.). What they choose to do may be a source of comedy for the series, but the legitimately intriguing elements come more from the scenario that drives him to that point.

And while this one may seem crude at first glance, it’s actually quite apt considering the show’s message. Set against the devolving urban landscape of Detroit, the show situates itself as a commentary on the death of the American dream (a note that Alan Sepinwall makes in his review of the show), and how one man chooses to sell a particular sexual fantasy as a replacement of sorts for the fantasy life he lost through a series of bad luck scenarios that mirrors the crises facing many modern Americans. For those who haven’t yet watched the show, this probably seems like a highly verbose justification for enjoying a show about a man with a big dick, but let me assure you: while the title may seem to refer to that part of the show at first, it is the way that Ray has been hung out to dry by life that it’s actually interested in.

For this reason, there’s more than enough substance to Hung for me to stick around – it’s not particularly funny for a comedy, sure, but what it lacks in laughs it makes up for with scale.

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Cultural News Flash: Podcast, Virtuality Ratings, Tonight’s TV

Off to a family gathering today, so I figured I’d drop a few notes on a number of exciting (or depressing, so as to counterpoint the exciting I guess) notes for the day ahead.

(Myles on) TV on the Internet

Todd VanDerWerff is pretty well known around these parts as a fellow TV critic and friend of the blog (a term I steal mercilessly from Alan Sepinwall, it’s just plain fun to use), but I haven’t given nearly enough attention to the really engaging, wondefully consistent, and now special guest enhanced TV on the Internet Podcast that he does with the lovely Libby Hill. I spent part of last evening defending some of my own unpopular opinions (warning: I’m not nearly objectionable enough, so they’re pretty boring) and more excitingly analyzing some particularly insane (and hilarious) opinions from Todd and Libby. We’re also joined by Carrie Raisler, who I know from my days back writing a bit for Todd’s South Dakota Dark, and who does TV recaps for Zap2it. It was a blast to be on the show, and hopefully the podcast can bring more great guests from Todd’s TV rolodex into the fold with time.

Link: TV On the Internet – Episode 13 – Unpopular Opinions

Virtuality Ratings

I made a note of this on Twitter (a few actually, since bad news always begets bad puns), but any chance of FOX’s Virtuality (Which I discussed Friday night in excessive detail for its position as a pilot being burned off in the summer) being picked up went away yesterday when its ratings revealed a mere 1.8 million viewers and a 0.5 in the key 18-49 demographic. For those who don’t follow ratings news, this is particularly awful even for summer, drawing less viewers than ABC’s Surviving Suburbia (which is less surprising than embarassing) and just not connecting as it needed to in order to feel like it had momentum to gain in the future.

Sure, there’s still a long shot of DirecTV or Sci-Fi (I refuse to call it by its new name) stepping in to save the show, but with an expensive budget, an extensive cast, and considering these ratings, the show really doesn’t have a chance of surviving, which is really a pity as the show came together really well. Alas, it’s another disappointment in a string of Sci-Fi television getting a bump rap, so Fringe and Dollhouse in all their inconsistency (if particularly strong on their highs) will have to do.

Tonight’s TV

Tonight is the beginning for HBO’s Hung, a show about a high school gym teacher who embodies the show’s title and decides when down on his luck to take advantage of it – critics are somewhat divided on the show (some, like Mo Ryan, find it a disappointment, while Alan Sepinwall is a fan of the show and is adding it to his blogging rotation), but I’m giving it a shot tonight regardless and will be back with my review later tonight.

I’ve also taken a look at the first episode of Merlin that NBC will air tonight, “The Mark of Nimueh,” and the show remains what it was before: low budget, simple, and in some ways charming. Tonight’s episodes feature Michelle Ryan (“Bionic Woman”) as an evil sorceress, and the second episode, “The Poisoned Chalice,” has a storyline that focuses more heavily on Arthur, for those looking for more branching off in that direction.

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Premiere: Virtuality – “Pilot”

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“Pilot”

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.

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Cultural Alert: Ronald D. Moore’s Virtuality airs tonight at 8/7c on FOX

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“It is not a f***ing movie.” – Michael Taylor, co-creator of Virtuality

This quote, coming from an interview with former Battlestar Galactica writer Michael Taylor by Dan Fienberg over at HitFix, is probably confusing considering that FOX is promoting Virtuality, from the mind of Ronald D. Moore and with a pilot directed by Peter Berg (Friday Night Lights), as a one-time event. Or, at least they’re scheduling it as one. Or, at least they were scheduling it as one.

Now, I legitimately don’t know what to think. Conceived as a pilot for this past development season, the project fell on deaf ears with FOX executives who asked for extensive editing and didn’t order the show to series. However, as an expensive sci-fi pilot, the network wants to recoup its money, so a two-hour television event was scheduled…for Saturday, July 4th. Even we Canadians know that people don’t watch television on a national holiday in the middle of summer, so it seemed like the project was being tossed onto the pile.

And then, something strange happened: FOX moved the airdate to tonight, June 26th. And then they scheduled numerous conference calls so that press could talk to the show’s producers. And they even organized a premiere for the project, going against nearly every logical process one would expect from a summer burn-off.

There are two basic possibilities here. The first is that FOX knows the cultural cache of Ronald D. Moore in the world of science fiction, and figured that it could better recoup sales through potential advertising and DVD revenue if it worked the hype machine ahead of time, knowing that fans of Battlestar and science fiction in general would do much of the work for them. This seems the more likely option, considering that FOX already has a low-rated prestige science fiction show on its 2009-2010 lineup (Joss Whedon’s Dollhouse).

However, the way they’re promoting the broadcast theoretically leaves the door open for them to take the show to series down the road, a possibility that FOX has left open for reasons that I can’t quite understand. Perhaps it is just so that people will tune in even though it may seem like a dead end, or a waste of their time, buoyed by the faint hope FOX is providing. Or, perhaps FOX is actually willing to give the show a shot if the ratings surprise them.

Regardless, I have unfortunately not been able to screen Virtuality ahead of time, and have been trying to stay spoiler free in order to approach it with a fresh perspective. However, here’s the “official” synopsis so you have some sense of what the show’s about:

As the crew of the Phaeton approaches the go/no-go point of their epic 10-year journey through outer space, the fate of Earth rests in their hands. The pressure is intense, and the best bet for helping the crew members maintain their sanity is the cutting-edge virtual reality technology installed on the ship. It’s the perfect stress-reliever until a glitch in the system unleashes a virus onto the ship. Tensions mount as the crew decides how to contain the virus and complete their mission. Meanwhile, every step of the journey and every minute of the crew members’ lives are being taped for a reality show back on Earth.

I’ll be back either late tonight or tomorrow afternoon with my own thoughts, but in the meantime you can check out Alan Sepinwall, Dan Fienberg and Maureen Ryan’s thoughts on the film…I mean, pilot. Or whatever it bloody well is.

Virtuality, as mentioned, airs at 8/7c on FOX.

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Burn Notice – “Fearless Leader”

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“Fearless Leader”

June 25th, 2009

While a strong second season and great episodes like “End Run” last week have created raised expectations for Burn Notice, the show remains a formulaic procedural at some level. The show is not formulaic in a negative way, necessarily, but it has its patterns and uses them to varying degrees of effectiveness. As it happens, the past season or so has been particularly strong, but the show is by no means blowing our collective mind week in and week out. So, when I say that “Fearless Leader” was a pretty typical episode of Burn Notice, this is to say both that it was enjoyable but also that it did nothing to really make me stand up and take notice.

The problem, however, is that to some degree it should have been one of those episodes, at least the way it was situated within the season-opening storyline with Moon Bloodgood’s Detective Paxson. Presented as a new obstacle for Michael now that law enforcement is no longer being kept off his back by the people who burned him, the police interest in him has seemed a legitimate threat even if there have been times where Bloodgood popping up at the beginning and end of each episode has felt shallow. It left me waiting for the episode where Michael’s mission would intersect directly with our newly arrived detective, thinking that would justify her presence as more than just a symbolic sign of Michael’s newly precarious position.

It’s ultimately this expectation, not some notion of every episode being like “End Run,” that makes me disappointed in this one, as Paxson remained a pretty uninteresting character and, more importantly, the story that ends up closing this chapter in the show’s run was not particularly connected to her or elevated in any way by her presence. The result is that it makes the show seem lazier and simpler than it really is, and it makes an otherwise solid episode into a bit of a letdown: as Michael says, you always need to have a plan, and it seems like the show’s plan was a little shortsighted.

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