Tag Archives: TV

Better Off Ted – “Mess of a Salesman”

“Mess of a Salesman”

January 26th, 2010

Normally, we tend to view Better Off Ted as a sanctum of comedy genius, a show we measure in terms of how often we laugh more than anything else. Yes, the show has enjoyable characters, but it isn’t a show that we often consider at that level, at least not in terms of the lead in a review of this kind.

And yet “Mess of a Salesman” first brings to mind the word “sweet,” and not in terms of the use of the word as a synonym for “awesome” or “rad.” No, I thought that this episode was perhaps most defined by its sweetness, a winning quality that made what was potentially one enormous sitcom cliché (the no-good brother showing up and making the protagonist’s life hell) into something that never headed down that melodramatic path. While it meant that the episode was less ridiculous than usual, and perhaps less funny than the recent stretch of episodes, it was grounded in a way that shows the versatility to be found in this show’s universe.

By combining its usual corporate satire with some rather positive depictions of humanity and mentorship, the show may have stayed on the rails more than one might like, but I thought it was an enjoyable turn (if not quite the note the show should go out on, should this truly end up its final airing on ABC as is currently scheduled).

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Human Target – “Embassy Row”

“Embassy Row”

January 25th, 2010

I don’t have a whole lot to say about this week’s new episode of Human Target, which aired in its normal Monday timeslot on CTV and which airs Tuesday at 9pm (due to the State of the Union on Wednesday) on FOX: it’s another fun episode that continues to care very little about believability, but because each hour is its own self-contained 40-minute action film it isn’t really that big of a deal. I don’t have any sort of fancy or complex thematic introduction to my thoughts on the show, so I’ll just suggest that people enjoying the show so far should tune in.

However, I do want to say a few things about where the show sits at the moment, and whether the episodes we’re seeing out of order are adding up to a distinct impression of Christopher Chance and his universe of sorts, so I shall nonetheless analyze the episode after the jump.

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Chuck – “Chuck vs. First Class”

“Chuck vs. First Class”

January 25th, 2009

One of the things that Chuck has always been good at is effectively telling the same stories without actually, you know, telling the same stories.

The show has always been about a hapless spy who oscillates between, to quote Daniel Shaw, “Bond and a Jerry Lewis Movie,” and whether or not Chuck is capable of handling himself has always been a point of tension. And yet after slightly more than two seasons, I still enjoy that dynamic, and feel as if the show has maintained the charm of Chuck’s incompetence without feeling as if he has made no progress. While Chuck has grown progressively more competent with time, including with his recent developments made possibly via the Intersect 2.0, his response has more or less been the same, and it’s allowed the character to grow without fundamentally changing.

So when “Chuck vs. First Class” starts with Shaw announcing that Chuck would be going on his first solo mission, I had to wonder whether the show was interested in upending the balance of these efforts, and whether Chuck’s success (since we knew he’d be successful) would lead to a newfound self-confidence or even cockiness.

However, the episode manages to offer a series of events that are absolutely familiar and yet which surround emotions and responses that reflect a growing emotional complexity in Chuck that shows maturity without taking away what makes the show work so well.

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Big Love – “Strange Bedfellows”

“Strange Bedfellows”

January 24th, 2010

When a show gets into its fourth season, and when that show has in some ways come to the end of its initial storyline, they begin to branch off into new directions that producers will sell as exciting or intriguing and which are…often not.

The problem I think Big Love is running into is that they have chosen to expand its world as opposed to (for the most part) exploring nuances within that world. While the third season was perhaps the most successful yet in terms of turning its attention onto the family and their interactions with one another, this season has that family more scattered than ever before; while it’s opening up new story opportunities that have their moments, it feels as if the show is splintering in a way which doesn’t feel like a metaphor for the family falling apart or anything similar.

Instead, it feels like a show that doesn’t quite know what to do with itself, and that is just going with the flow when it should be stopping and considering an alternate route in a few instances. However, with only nine episodes in the season (yes, we’re a third of the way there), they seem reluctant to reconsider, and “Strange Bedfellows” reflects that tension.

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Spartacus: Blood and Shrug

After reader David Sigurani asked what I thought about Starz’ Spartacus: Blood and Sand, I realized that I hadn’t really even considered watching it. This week, both Spartacus and The Deep End were eviscerated by critics to the point where watching them seemed kind of unnecessary. However, since David asked, and since critical impressions indicated that Spartacus was so obnoxiously bad that it would prove interesting if not fulfilling, I decided to sit down with the pilot.

What surprised me is not that the pilot is terrible, but rather that the pilot’s terribleness does not necessarily feel like some sort of tragedy. The show has absolutely no sense of subtlety, no character nuances, and a twisted depiction of both how human resolve conflict and express their love for one another, and yet there is so little actual content beyond those factors that I don’t feel as if there is some television travesty on display. Sure, I’d like to see the enjoyable Lucy Lawless on a better show, and I do wish Rome would have gotten a longer run, but I can honestly say that I check out of Spartacus: Blood and Sand with a shrug, and well wishes for those who stick with the show to see how it builds towards a second season that’s already been ordered, and that’s already stocking up on departing Dollhouse staffers.

More on why I’m checking out despite thinking the show could actually grow into something better, after the jump.

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Burn Notice – “A Dark Road”

“A Dark Road”

January 21st, 2010

Did you remember what happened last year on Burn Notice? Because I didn’t. Luckily, the show offered a nice bit of catchup to remind us about the end of the Strickler arc, and even more importantly the show jumps onto its next story point with vigor so that what happened before is a nice bit of shading as opposed to something we have to remember.

“A Dark Road” is a really compelling hour of television in a lot of ways, but it’s also a lot of fun: the show is at its best when we’re just sort of hanging out in this universe, and I thought that this was a really enjoyable re-entry into that world with both a strong episodic story and some nice hints at the newest initially unseen antagonist to enter Michael Westen’s life, plus the best material that Sharon Gless has been given all season.

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Friday Night Lights – “I Can’t”

“I Can’t”

January 20th, 2010

If you’re one of the people who are holding off watching Friday Night Lights until it debuts on NBC, you received good news this week: the show returns on April 30th. And I’m going to be really interested to see how viewers respond to “I Can’t” when it airs in early July, because the episode has the show headed in some potentially controversial directions in terms of both cultural and narrative taboos.

It’s perhaps no surprise that the latter are my only real concern, as the show continues to demonstrate a deft hand when dealing with sensitive subjects. However, I don’t know if the same kind of sensitivity could possibly rescue the show from itself in its other major storyline, which is creating some compelling television now but is creating far more concerns than I would like heading towards the end of the season.

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Reminder: Caprica debuts tonight on SyFy and SPACE

“Pilot”

January 22nd, 2010

It’s been eight months since I reviewed the pilot, so I’m interested in whether anyone out there is really watching Caprica for the first time tonight as the two-hour pilot makes its television debut on SyFy and SPACE (In Canada) at 9 ET.

For those who are, or who want to get some idea of what to expect, Todd VanDerWerff and I had a spoiler-free chat over at Media Elites about the show and our thoughts on its unique position trapped between various preconceptions. It covers a lot of the ground I would have covered in a preview (such as how SyFy’s new brand identity feels almost hindered rather than aided by Caprica’s connections with Battlestar Galactica), so it’s a good reflection of my attitude towards next week’s “real” first episode.

So, feel free to click through to read more of my thoughts on the series, and I’ll see you here next week.

Review: Caprica – “Pilot” (May 2009)

Both as a singular piece of filmmaking and as a pilot, Caprica ultimately works: it has some strong performances (I was particularly impressed with the strength of work coming from the teens involved), a solid balance of callbacks to Galactica and newer material, and a central premise that captures the kind of power struggles which made BSG so captivating. That comparison is always going to hurt Caprica, as it isn’t aiming as high in terms of science fiction nor does it have the benefit of slowly revealing the complexity of this world (considering that we already know how this story ends), but by giving it a compelling human face they’ve convinced me the series should prove an intriguing extension of the BSG legacy.

thirtysomething with robots sound good? Watch Caprica (Media Elites)

As SyFy prepares to launch Caprica, a series which has always been considered a spin-off even though producers are now wary of the term, it is very quickly discovering that the show fits nearly into neither category. While the audience who enjoyed its parent show, Battlestar Galactica, may be anxious to see more content from that universe, the show doesn’t resemble Galactica as much as they might want it to, and they are also fairly small in number. However, because of the show’s connection to Galactica and its reputation, those with no experience with the franchise are convinced that they couldn’t possibly enjoy the show, despite producers’ claims that foreknowledge is not required.

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The Office’s Bait and Switch: The Irrelevant yet Attractive TV Clip Show

The Office’s Bait and Switch

January 22nd, 2010

Last night, many of you likely tuned into NBC at 9pm ET to enjoy what the network was billing as a “new” episode of The Office. And, sure enough, the episode began with a cold open that tied into ongoing continuity, as a banker (played by David Costible) stops by the branch to do some due diligence in the early stages of the company’s restructuring. We find Michael Scott up to his usual tricks trying to make the office seem more exciting, having Dwight play a sentient computer and riding a Segway for no discernible reason, and we have Pam there to help guide us through his insanity (fake accounts are okay, but Pam is not on board with Fake Stanley).

It sounds like a solid setup to an episode of The Office, but “The Banker” wasn’t actually an episode: as soon as the Banker went back to talk to Toby and asked a question about any potential liability issues, the spidey sense was tingling, and sure enough it was right. Toby began flashing back to previous events, and the episode revealed itself to be a clip show in disguise.

What I find so fascinating about the clip show as an episode structure is that it is becoming both increasingly irrelevant and increasingly attractive in this modern age. While television economics and concerns over lengthy delays between episodes results in a desire to have more “original” content to keep viewers engaged, the clip show seems less necessary when viewers can catch up with previous episodes on DVD or on Hulu, and where “clips” are a part of our everyday lives as opposed to some sort of novelty.

And yet it’s not going to go away entirely any time soon.

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Community – “Interpretive Dance”

“Interpretive Dance”

January 21st, 2010

After a particularly noteworthy return last week, where the show played with some very dangerous material with Jack Black and came out of it funnier than ever, there’s no question that “Interpretive Dance” is a step backwards. This isn’t to suggest that the episode is unfunny, and if we’re judging purely on the level of character development there’s some nice stuff going on here.

It seems like a bit of a sudden turn for the show, however, especially since a lot of the issues it is working with here haven’t popped up in a while. I like to see shows like Community engaging with more long-term character arcs and development, but the show has to avoid seeming like it is just going to stop in on occasion: there’s some subtle stuff here which indicates that this is not necessarily the show’s strategy, however at the same time they stayed away from these stories long enough that it felt like the show had to take some time to rediscover the rhythms of those interactions, leading to a weaker episode if one that could prove beneficial in the long term.

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