February 17th, 2011
When he first arrived, Adam Scott appeared to have been hired to play the new straight man. Ben Wyatt seemed a replacement for Mark Brendanowitz, someone who could react to the madness around him. Just take the moment in “Time Capsule” when Ben reacts to the idea of someone handcuffing himself to a pipe in order to get Twilight into a time capsule: it’s funny, but it’s funny because it’s a sane response to an insane situation.
“Media Blitz” is the moment when Ben Wyatt becomes subsumed into Pawnee culture. It is the moment where Ben Wyatt is let loose, where he leaves the confines of City Hall and steps into the spotlight. The result is a really tremendous showcase for Adam Scott, allowed to dig deeper into the character’s past while simultaneously tying him into what appears to be the character’s future.
It’s also the most concerted effort yet to set the table for Ben’s relationship with Leslie.
September 8th, 2009
It may seem weird to a few days out be blogging about a show that’s pretty unheralded in terms of critical analysis, but there were some observations I wanted to make that wouldn’t quite fit into a Twitter comment and so here we are discussing “Breakdown,” what’s really the last “minor” episode of Warehouse 13 before the Michael Hogan guest spot next week and the finale the week after.
One of the things that I’ve discussed about Warehouse 13 is a rather annoying trope wherein the people attempting to solve the mystery (so to speak) end up getting personally tied up in it. Take, for example, a while ago when the life-draining Spine of Saracen latched itself onto Pete as they attempted to solve its various properties. I liked the story itself, bringing in past agents and kind of offering a sense of the self-sacrifice which can be involved in the job, but by placing Pete at the center of the conflict it meant there was only one conclusion: we know Pete is going to be fine, so the threat of his death is a false one. If it were on someone else (say, the female former Warehouse agent), there’s some semblance of uncertainty, and a chance for the show to head into some darker territory.
But the last couple of weeks have demonstrated that there is value to this kind of structure so long as it is handled in the proper fashion. Last week’s “Homicidal Prison” was an example of the show dealing with a couple of lingering story beats (Myka’s boyfriend dying in Dallas and Pete ignoring his second sight (of sorts) and not warning his father against going to that fire) in the midst of a fairly interesting story. It wasn’t that we ever thought Pete or Myka were going to kill themselves, but rather that we needed to see them face off with those struggles. In that context, placing them in the center of everything worked, and the episode felt stronger because of it.
In “Breakdown,” meanwhile, Pete and Myka are once again at the mercy of various artifacts, but in a way that didn’t feel like a forced ramping up of tension, and that captured the fun and enjoyable side of the show without necessarily foregoing the more suspenseful moments. It wasn’t the deepest episode of the show yet, but it showed the kind of potential behind having the show’s leads front and center in the battle between free will and artifacts, and that the producers know what they’re doing heading into the finale.
February 10th, 2009
If there was ever any question about which J.J. Abrams show Fringe was trying to be, “Ability” sealed the deal.
For those who didn’t have the pleasure of seeing Abrams’ second major foray into television, Alias, this episode played out much like that series. At a certain point, Sydney Bristow walked into a residence during a mission (serving as a spy) and saw a puzzle lying scattered on a table. Within a few seconds, she was suddenly (and subconsciously) completing the puzzle before her, instinctively creating the tower that the pieces created. While I won’t spoil the actual reason why Sydney was able to complete the task, let’s just say that it was some sort of test project, and that there was a reason why she became a spy.
Ultimately, “Ability” is trying to do the same for Olivia Dunham, giving her a reason to be so intricately linked to this mysterious scientific conspiracy that is currently unfolding. Catapulting the mysterious and creepy Mr. Jones back into our main narrative, we learn some very important things in this episode, things that will go a very long way to allowing the series (upon its return in April) to expand into ideas that have laid dormant since the pilot or have yet to even be uncovered. The result is, if not the cleanest episode since the show first entered into this type of territory with “The Arrival,” then certainly the one that has felt the most expansive.