In Huge’s pilot, Becca explains to Will that everyone at Camp Victory is on an level playing field, which was very quickly proven to be a lie as cliques emerged and conflicts arose. However, over time, I think the show has successfully shown how there is a certain equality amongst the campers, as Trent and Ian bond over music or as Will and Amber successfully travel in different circles without forming some sort of Mean Girls-esque feud. While the playing field may not be level, it is also constantly changing, shifting with each week’s event: Becca can be elevated by her role in the LARPing, or where Ian shines on talent night. With everyone facing similar circumstances in one part of their life, their differences become just like any other summer camp, which the series has treated with a very careful hand which is commendable.
However, “Movie Night” addresses head on the fact that there nonetheless exists certain imbalances, both within the series’ narrative (with George and Amber’s “dangerous” romance) and within the series’ structure (in Dorothy’s story arc intersecting with her campers). While one can chalk up the success or failure of some romances to teenage insecurities and misunderstandings, others have barriers which are more substantial, both in terms of how the show avoids falling into cliches and how the writers strike a balance between keeping Dorothy central without turning her life into its own bit of teenage romance.
And if you’re thinking that the perfect way to strike this balance is to introduce a Twilight parody, then you’re embracing how far Huge is willing to push the limits of its own success, here to its benefit.
When Joss Whedon first introduced the concept of Dollhouse, the show had potential largely based on its philosophical ideas, examining who these actives were, who they are now, and who they could potentially be in the future. In the show’s ostensible pilot of sorts, “Ghost,” we only really dealt with these questions on a surface level: we saw an example of the kind of job that Echo could be given, and a small glimpse into who she once was. But that middle question was left more or less unanswered: while we got some sense of complications with the actives and potential hazards, the philosophical questions (morality, ethics, all of that jazz) were never really investigated.
This is the reason why I’m not sure why “The Target” wasn’t the show’s pilot, because with a little bit more introduction to the key values this is a far more interesting hour of television. Not only was Echo’s “case of the week” far more interesting to watch, but the stakes were higher, and more importantly the people whose lives were at stake were people that we were supposed to care about. This episode, using Boyd’s first days at Dollhouse as a framework, show us a side of Dollhouse that is morally questionable, that raises some important questions both about the security of this process and the transparency of Dollhouse’s leadership, and does a lot more to make me excited about this show and its characters than last week’s comparatively pedestrian offering.
Of the shows that aired this past summer, there were a number which could have made their way into the time capsule: the second season of Burn Notice was entertaining, In Plain Sight kept my attention most of the time, and I thought that Secret Diary of a Call Girl had one really fascinating story that I just wish they hadn’t rinsed and repeated again and again.
But they all felt like old ideas, well executed but ultimately feeling like a pitch where two other shows are combined with a “meets” in the middle. But you can’t do that with The Middleman, a show which defies all attempts at genre definition or, more importantly, shoe-horning. While its rapid fire dialogue in its pilot brought Gilmore Girls comparisons to the surface, and its almost nostalgic treatment of super villains and threats to humanity hearkens back to older examples, the show set its own course for a show that didn’t fit into any box.
Unfortunately, it didn’t fit into any demographics either: the show never took off with ABC Family’s targeted young female audience, leaving its future seriously in doubt. But I believe that it needs to be remembered, and as a result place an episode into the Time Capsule to help spread the word.
Picking “The Flying Fish Zombification” isn’t just because of its great name (all of the episodes have those), but rather because I feel like the show’s wit and creativity emerges in both the A and B stories. Wendy (Natalie Morales) being trapped between her normal life and her work as a Middleman is one of the show’s central ideas, but never before was it more entertaining than when Dubby was caught between fighting with The Middleman (Matt Keeslar) to stop zombie-creating fish being used to create an exclamatory soft drink and the genius that is Art Crawl. The former was just plain fun to watch, while the latter gave the show’s fans their battle cry and introduced us to the wonderment that is Noser’s version of “Stump the Band.”
This is a smart and intelligent show that deserves a better fate than a quick and dirty DVD release to recoup costs: even if they have no plans to bring the show back, the creative vision of Javier Grillo-Marxuach deserves a proper sendoff and a DVD that reflects the show’s unique place in 2008’s television landscape.
For now, a spot in the Time Capsule will have to do.
For a show that is extremely close to cancellation, The Middleman sure didn’t use its first season finale as some type of course correction designed to sell the network on how it can change itself to appeal more to ABC Family’s core audience.
Instead, the season’s 12th episode offered more of what we expect from the series: an intelligent and well-executed episode which played with popular culture conventions and demonstrated just why this series needs to stick around for more time. Playing with a mirror universe on this type of scale should have felt like too much to handle in a single episode, but the episode played to the strength of our emotional relationship with the characters and broader questions of good and evil that the show should be allowed to resolve with time.
And while the episode was a satisfying end to the show’s first season, there is no question that abandoning these characters at this point in time is the type of decision that could earn ABC Family a black mark from critics – a renewal, meanwhile, could prove that ABC Family would be an evil mastermind in the parallel world and a shining beacon of television hope in our own.
While I’m genuinely addicted to Twitter most of the time, being away over the weekend and thus mostly away from my Twitter account was a good thing. Many of the people I follow, most of which I’ve met through some great times at the /Filmcast, were lucky enough to be out in San Diego, California for the biggest event in geekdom: Comic Con. My jealousy knows no bounds, as it sounds like an extremely exciting event that covers the gamut of entertainment.
Once mostly a haven for comic book adaptations and the like, the convention has taken on new life as pretty much “Any show that has fans on the internet or any kind of fantastical elements” when it comes to television presence. So this includes a show like The Big Bang Theory, which embraces its geek sensibilities on a regular basis, and a show like Prison Break that is really just there treating it as a fan convention in general terms. I won’t attempt to make an argument for the exclusion of such shows, though, because for the most part the convention has taken on a life of its own…and that life has brought a lot of new TV news to our attention.
NBC’s highest rated drama series came to Comic Con with a devoted fan base to satisfy and a lot to prove to critical people like me who thought the second season was almost completely garbage. Perhaps realizing this task, they decided to placate both crowds and actually show the entire Season Three premiere. Now, some have commented that a show like Lost didn’t do anything similar (I’ll get to them in a minute), but Heroes has the added bonus of having started filming Season Three extremely early after NBC cut the second season short, so they’re in a unique position.
While I’m not reading the detailed recaps like Adam Quigley’s over at /Film or Dave3’s over at GeeksofDoom to avoid spoilers, there’s been positive word of mouth that this is, at least, better than last season’s entry (And perhaps better than the show’s pilot, which was kind of weak). I remain skeptical of Kring as a showrunner, though, and what I read of Adam’s review tends to indicate that the annoying dialogue and the tendency to delve into pointless subplots have not disappeared even as the quality elsewhere ramps up. Still, it’s a smart move to please both fans and critics alike, and once the pilot hits in September I’ll judge for myself whether they’ve got the quality to back it up.
While the lack of real Season Five footage (It doesn’t premiere for another 7 months, realistically) is certainly a bit of a downer, what Lost brings to the table is its usual blend of intrigue and mystery. While they weren’t there with new footage, they did have a new Orientation style video that seems a bit different. Although the YouTube link below is off a screen, it still seems to be higher quality than what we’ve used to. After the jump, I’ll go into some discussion on why this video has a LOT of ramifications (And is infinitely more interesting than an episode of Heroes).