February 3rd, 2011
When pre-air reviews of Parks and Recreation’s third season emerged, Matt Zoller Seitz’s column at Salon stood out for me. This is due not only to its quality, which is top notch as per usual, but also because it focused very specifically on tonight’s episode, “Time Capsule.” At first, I was sort of thrown: having seen them all myself, the first episodes to come to mind were those featuring more character-driven humor and which dealt with ongoing plot developments, and to some degree “Time Machine” felt comparatively…small.
However, Matt’s comments were in my mind when I went back to rewatch the episode, and I think that he’s right on the money. While “The Flu” was perhaps the funniest of the first six episodes of the season, and the premiere had the most going on in terms of ongoing storylines, “Time Capsule” is very much the encapsulation of the series’ general charm. Its conclusion is just incredibly satisfying, a simple statement of what it means to be from Pawnee which resonates more strongly than any single joke. This is still a funny episode, in what continues to be a very funny season, but that it ends on something meaningful instead shows the side of the show that Matt responded to, and which certainly deserves recognition.
July 26th, 2010
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.
“Love is a Battlefield”
April 17th, 2010
You can follow along with the Cultural Catchup Project by following me on Twitter (@Memles), by subscribing to the category’s feed, or by bookmarking the Cultural Catchup Project page where I’ll be posting a link to each installment.
“When I said you could slay vampires and have a social life, I didn’t mean at the same time.”
Early in a first season, the goal of any television series is to get viewers interested in the stories unfolding. This sounds really simple at first, but there’s a lot of different ways this goal is achieved: some shows simply keep retelling the same basic story in an effort to draw in new viewers as the season moves forward, while other shows try to tell as many different types of stories as possible in order to convince viewers that unpredictable and expansive are two very important adjectives in judging a new series.
However, what I’m finding really interesting about Buffy is that it seems to be both patient and impatient, willing to spend time on what one would consider “throwaway” episodes in “Witch” and “Teacher’s Pet” but then shifting gears entirely by diving head first into the complexities of the Angel mythos with two of the following episodes (“Never Kill a Boy on the First Date” and “Angel”). Rather than these two episodes each feeling like an individual component of the series’ premise being revealed, “Never Kill a Boy…” and “Angel” are really like a two-parter (divided by “The Pack,” which was pretty nondescript and “standalone”): the first establishes the challenges of living a double life, while the second extends that particular theme to a more interesting and thematically complex place.
It’s a place that I know is the starting point for a fairly major component in the rest of the series, but I admit to being a little bit distracted by how its meaning has been altered by new points of reference that have emerged in the thirteen years since the episodes aired.
“Secret Santa” x 2
December 10th, 2009
It’s not often that two episodes airing back to back have the same title, so it’s a convenient excuse to blog 30 Rock and The Office together tonight.
Christmas is a holiday that has always been a highlight for The Office (“Christmas Party” is one of its finest hour-long episodes), but to be honest I’ve found that 30 Rock is kind of really bad at it. I don’t know what it is, but Christmas seems to be a holiday that just doesn’t work for the show, primarily because its wackiness doesn’t have that sense of heart that The Office taps into during this, the most magical time of the year.
So, accordingly, the best parts of both episodes entitled “Secret Santa” are those which feel like they’re bringing everyone together in celebration of the season’s message of hope and togetherness, and the worst parts of both episodes are those where that spirit is either ignored or crushed beneath a smothering of unpleasantness.
“Jabberwocky” and “Secrets and Lives”
August 11th, 2009
In its first season, Better Off Ted was not so much a revelation as it was a pleasant surprise. Kept for midseason with nary a bit of hype, the show caught on with critics, and despite never connecting with mass viewers developed a cult following that earned it an against the odds second season. Of course, ABC then chose to air the remaining episodes from its first season as part of its summer lineup, a lineup which was dreadfully received and has seen numerous cancellations. In short, Better Off Ted might as well have been better off dead as opposed to airing during the summer, raising some questions about how the show could perform when it returns in November.
But what really captures me when watching Better Off Ted is that I don’t really care about all of these behind the scenes shenanigans – at the end of the day, this a very sharp comedy series with a host of likeable characters and clever storylines, and at no point did I find myself lamenting its strange route to this place when enjoying the two episodes that conclude the show’s first season order. I don’t think either episode was perfect, each having a few issues here or there, but the show is just so much fun that I don’t really think about all of the reasons not to get too attached, or to raise concerns about the show’s trajectory.
Instead, it’s six episodes of comedy I thought I wouldn’t see until DVD, conveniently placed in the summer months when nothing else is on.