Tag Archives: TV

Lost – “The Package”

“The Package”

March 30th, 2010

There are plenty of reasons to be apprehensive about “The Package.” It’s coming off of an epic mythology episode of romance and intrigue, it features a vague title that seems to refer to some sort of MacGuffin, and it has the unfortunate task of “filling in the gaps” in its flash sideways as opposed to telling its own story. Because we saw a small glimpse into Jin’s fate in “Sundown,” we can be fairly certain that the show will be colouring in the lines this week, and after a week when the show was willing to go off the page entirely it means that the show is facing an uphill battle.

Like the season’s weaker episodes, “The Package” struggles with a flash-sideways that proves completely inconclusive and an island scenario which feels like pieces moving on a chess board, but it ultimately works because it doesn’t feel like those pieces are being moved. When things stall in the episode, it feels like they’re stalling for a reason, and everyone involved knows why they’re making the choices they are. While things may not be moving as quickly as some fans want them to be, they seem to be moving faster than the characters were prepared for, and there’s a nice tension there which bodes well for the remainder of the season.

And, let’s face it: the reveal of just what “The Package” is was way too good for me to be too cranky.

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Season Finale: Greek – “All Children Grow Up”

“All Children Grow Up”

March 29, 2010

Despite having been in college when the show began, I have never really “related” to ABC Family’s Greek in the way that you might expect. While I certainly have met people like the characters in the show, I went to a school without a greek system, and so I was sort of like a pledge myself when the show began. One of the show’s best qualities is how they’ve managed to turn the fraternities and sororities into an integral part of not only the show’s universe, but also each individual character: while no character is solely define by their position in a fraternity or sorority, it remains an integral part of their identity that the show has given depth over the course of three seasons.

While the show has its love triangles and its relationship drama, and its fraternity drama can sometimes boil down to simple concepts of revenge or rivalry, at the core of the series is a sense of belonging, a community that is powerful enough to want Cappie to never leave college, for Casey to abandon the opportunity to go to law school, and for Dale to want to be a part of it even with his moral reservations. And while I may not have been part of a fraternity, I fully understand the characters’ anxiety about leaving all of that behind, abandoning all of that for the great unknown. While the machinations of a show working to set things up to potentially continue in the future despite lead characters graduating are apparent in “All Children Grow Up,” the drama is driven by a nuanced and subtle portrayal of the struggles which come with leaving everything you know behind for something new; that we so wholly believe their concerns demonstrates the effectiveness of the show’s world-building over the past three seasons.

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Life Unexpected – “Storm Weathered”

“Storm Weathered”

March 29th, 2010

Mark it on your calendars, ladies and gentlemen: today is the day when Life Unexpected finally stopped showing its basic premise in its “Previously on Life Unexpected” clip package.

It’s a momentous occasion, really, a sign that the show might be ready to grow beyond that premise to become something which goes beyond its initial dramatic potential. This is not to say that that initial potential has resulted in a weak television series, as I’ve found the show to be a fun and effective piece of drama thus far in its first season. The problem, though, is that we knew that from the beginning: the show has showed signs of wanting to evolve, but it’s always sort of reverted back to the same drama over and over again to its detriment.

“Storm Weathered” does not signal an entirely new show, and the show somewhat returns to the status quo of showcestual tensions which threaten to explode at any moment, but it does signal that we are at least at the point where the drama is no longer contingent on the pilot, and that the show has the opportunity (if still not the willingness) to move on.

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Chuck – “Chuck vs. the American Hero”

“Chuck vs. the American Hero”

March 29th, 2010

Sometimes, when critics receive episodes in advance and when previews run rampant online, those of us without those episodes and who choose not to watch those previews nonetheless hear the basic content of an episode. And when it comes to this week’s episode of Chuck, it was absolutely impossible to ignore the subject matter of this week’s episode.

What’s interesting is that these responses were both positive and negative: news that this episode would directly speak to Chuck and Sarah’s relationship tends to divide the Chuck viewership between those who are excited about it because it’s the reason they watch the show and those who are excited about it because it means they might finally get around to resolving this issue. While some live or die based on this story, most viewers tend to view it as a part of the show that’s fine in small doses, and fine in theory, but occasionally overpowers the rest of the show’s narrative.

And so episodes like “Chuck vs. the American Hero” are either the highlight of the season or a necessary evil in order for the show to keep on track heading into the rest of the year; in this case, after a bit of a rough start, the episode manages to prove engaging enough and twisty enough that any of my concerns with their relationship were (mostly) pushed aside for the time being.

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The Pacific – “Part Three”

“Part Three”

March 28th, 2010

The Pacific spent its second episode demonstrating the horrors of the Pacific front, the death and destruction that soldiers endured and doled out in the midst of the conflict on Guadalcanal. The Marines who emerged from that island were bruised and broken, and so their long layover in Melbourne, Australia as the American naval forces were being reinforced in order to support another attack could be seen as a break from that conflict, an opportunity to relax and unwind.

But “Part Three” of the miniseries indicates that such breaks, such opportunities to avoid conflict, are in fact misleading, and while Melbourne may not have the chaos of Guadalcanal and America may be protected from the conflict, those locations are still overcome by the ramifications of these conflicts, signs of loss and complication which will do nothing to allow these soldiers to live their lives independent of the terror they’ve experienced. At times ethereal and at other times stark, this hour reminds us that there was no space untouched by the war, and even those spaces which seem like they offer some form of sanctuary are inevitably shattered by the harsh reality surrounding them.

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Breaking Bad – “Caballo Sin Nombre”

“Caballo Sin Nombre”

March 28th, 2010

“It’s not about taking sides.”

When parents separate, the divisions which emerge are complicated and often resistant to black and white definitions. While one partner may believe that the separation is in fact definitive, the other likely believes it is temporary or just a bump in the road. Children may want to take sides in order to try to bring the conflict to a close, but then they are told that it isn’t about taking sides but rather about being supportive and basically riding it out.

But in the world of Breaking Bad, it’s all about taking sides: the people who succeed in this world, the people who are holding the keys to their future, are those who accept that things can be black and white, and that they are the ones who choose one side or the other. It is those who attempt to sit in between, to act one way but try to live as if they are the other, who end up choking to death, or end up so throwing a pizza onto a roof. By trying to keep one foot in each world, by trying to prove that grey areas are the way to go, these people only hurt the people they love while failing to impress the people that could kill them.

“Caballo Sin Nombre” is a mediation of sorts on this idea, and it continues to establish that the certainty of human agency is integral to the future of Walter White and his black or white life.

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The Amazing Race Season 16 – “Episode Seven (Seychelles)”

“Anonymous?”

March 28th, 2010

Most weeks, The Amazing Race is a show which tends to expand rather than create our knowledge of the various locations it visits. The value of the show as a representation f different cultures is always a little bit limited, translated as it is into gimmicky challenges and pit stop stereotypes, but it’s usually just an expansion – rather than the a creation – of knowledge. And so the show is rarely expected to be providing any substantial cultural education, and while I think that we might visit countries vicariously through the race, we don’t necessarily except to learn about them.

However, this week The Amazing Race went to a place that most of the contestants, and many viewers, may have never heard of: the Seychelles, a series of 115 islands in the Indian Ocean, was a place that I had no previous knowledge of, and if I were to take the Race’s word for it the islands are defined by a sedentary lifestyle represented by tortoises and stubborn oxen. While the Race richly captures – sadly in standard definition – the beauty of the islands, and drops a mention of a large number of shipwrecks, the hectic nature of the race means that you spend more time with the people who are struggling with their new surroundings than you are with the surroundings themselves.

And while it is possible for this to make some sort of statement, for the players’ struggles to adapt to local customs to tell us something about the challenges facing their populations, this week’s episode was so filled with bone-headed mistakes that I wouldn’t be surprised if the people of La Digue island weren’t considered coconut Nazis by the time the hour is over. Finally living up to the potential indicated in the first episode of the season, this season’s group of racers has officially won the title of “Dumbest Season Ever,” and the poor Seychelles were just the setting for their clown-like farce.

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You Say Apology, I Say Shifting Blame: Big Love’s Chloe Sevigny vs. Context

You Say Apology, I Say Shifting Blame

March 26th, 2010

On Big Love, Bill Henrickson and his family live a secretive life, outwardly projecting an image of normality while in truth living a complicated life as Polygamists. This requires a lot of what is effectively damage control: someone steps out of line, or reveals something they shouldn’t, or allows someone into the truth about their lives, and then the whole family mobilizes to shut things down and return to the status quo. It’s a process that has happened numerous times over the course of four seasons of the show, and it’s a process that apparently some PR flack believes will actually work in the real world.

Earlier this week, an interview with Chloë Sevigny, who plays Nicki on the HBO drama series, was posted at The A.V. Club. It was posted in the form of a lengthy Q&A that spanned her entire career, and after a brief discussion about differences between drama and comedy Sean O’Neal and Sevigny share the following exchange:

AVC: This past season of Big Love has taken a lot of flak for being so over-the-top.

CS: It was awful this season, as far as I’m concerned. I’m not allowed to say that! [Gasps.] It was very telenovela. I feel like it kind of got away from itself. The whole political campaign seemed to me very farfetched. I mean, I love the show, I love my character, I love the writing, but I felt like they were really pushing it this last season. And with nine episodes, I think they were just squishing too much in. HBO only gave us nine Sundays, because they have so much other original programming—especially with The Pacific—and they only have a certain amount of Sundays per year, so we only got nine Sundays. I think that they had more story than episodes. I think that’s what happened.

They go on to discuss the season in further detail, including some specific plot points that were particularly “over the top,” and then they move on. When I read the piece, I was ecstatic: here was an actress offering a legitimate and well-substantiated opinion on the show based on its narrative development rather than any sort of complaint about not getting enough material, or being mistreated, or anything of the sort. She explains her concern, makes note of her love for the people involved with the show, and then even offers a reason (HBO rushed them) the season went off the rails. She was measured and fair, and I applauded her for being so honest with her opinion.

But, like when someone mistakenly gets insight into the Henricksons’ life, someone is trying to make this story go away as quickly as possible: Sevigny has been interviewed by Michael Ausiello, the go-to television apology expert after his recent EW piece with Katherine Heigl, where she completely rewrites the details of interview, something I would expect Nicki to do if we’re sticking with this “life imitates art” thing. Says Sevigny:

I feel like what I said was taken out of context, and the [reporter] I was speaking to was provoking me. I was in Austin [at the SXSW festival] and really exhausted and doing a press junket and I think I just… I wasn’t thinking about what I was saying. You know, after a day of junkets sometimes things slip out that you don’t mean, and I obviously didn’t mean what I said in any way, shape, or form. I love being on the show. I have nothing but respect and admiration for our writers and everybody involved with the show.

Now, first off, Sean O’Neal has made his official response to these comments, including the audio of that section of the interview. But, since I’m still enormously frustrated with this response from Sevigny, let’s talk about the three things are happening here, and how none of them do anything to “help” this situation.

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30 Rock – “Floyd”

“Floyd”

March 25th, 2010

While 30 Rock is a show that rarely has a great deal of forward momentum, I always like it better when it seems like it’s taking me someplace in particular; Jenna’s best story was when she was dealing with her weight, Tracy’s best recent story was when he confronting the uncanny valley, and Liz and Jack are almost always at their best when it feels like they’re confronting something that could last a few episodes or have some sort of ramification for their future.

This does not mean that I don’t find episodes like “Floyd” funny just because 2/3 of the episode is pointless, but it does mean that I prefer the parts of the episode which feel like they have history and a future. I know it’s not typical for the show, and I know it’s not really going to last, but there’s something about Liz Lemon doing something which seems mildly important that just makes me like the show more.

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The Office – “Happy Hour”

“Happy Hour”

March 25th, 2010

One of the advantages of the workplace comedy is that there are enough logical reasons for co-workers to get together after hours that episodes like “Happy Hour” don’t feel inherently forced. Sure, it’s still a bit television-like that an entire office would go out for Happy Hour together, but the show doesn’t really need to justify itself too much if it wants to tell some “Things that happen in bars” stories about the cast of characters.

I think where “Happy Hour” goes off the rails is where things become schticky; while the show sort of steps back from the worst of the exaggerations by episode’s end, these sorts of episodes are better when it doesn’t feel like the characters are invading the outside world. While it is inherently in character for Michael Scott to become someone different in a social scenario, the introduction of “Date Mike” was a fun sight gag that ended up pretty lame in execution.

Luckily, the storyline brought together something that could be more interesting moving forward, but it made what could have been a nice sort of “hang” with the cast into an uneven experience.

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