March 21st, 2011
“Is that why I’m here? To tell stories?”
In reviewing last week’s penultimate episode of MTV’s Skins, “Tara,” at The A.V. Club, I sort of offered my general take on the show thus far: while it has not lived up to the British original, it has made enough variations to define itself as largely independent from that series’ successes and failures. While it remained uneven throughout its run, things started to gel towards the end: actors improved, plots became more interesting, and the branching out into Tara’s perspective was a welcome departure from the British model.
Of course, just because the show is now being considered largely based on its own standards does not mean it won’t fail to live up to those standards in “Eura/Everyone.” In some ways, the finale is the ultimate test: as stories reach what more or less resemble conclusions, the strength of the series’ storytelling is challenged. Skins is a show that tells stories by limiting its perspective, as individual episodes are framed by one narrative while intersecting with others. As a result, an episode like “Eura/Everyone” where the frame character is notable in her absence asks the series’ collective cast to fill in the gaps, never quite allowing any one of them to fully take over (as evidenced by the “Everyone” side of the title).
Ideally, the characters will have taken on such a complexity that the ensemble feel should feel like a culmination of a season’s worth of development. More realistically, however, “Eura/Everyone” will reinforce the hierarchy between characters, their “resolutions” revealing which of them became three-dimensional teenagers and which were left to feel like characters in a story.
That hierarchy is strikingly evident in this finale, although I’d argue that “Eura/Everyone” is more successful than not when it counts the most.
January 31st, 2010
Last week, I stressed the need for there to be something approaching textual analysis of the U.S. Skins, given that the hype has threatened to overwhelm the show itself. However, that made a lot of sense for “Tea” – that episode, caught up in questions of how the show was being adapted for American audiences, highlighted intriguing intertextuality between the two series. When it comes to “Chris,” though, I can’t help but struggle to find anything substantial to say: it’s a nearly shot-for-shot remake of the original episode, to the point where analyzing it at length feels redundant considering my familiarity with the UK series.
What I will say is that while “Chris” is far from perfect, suffering in much the same way as the rest of the series when direct comparisons to the UK series are made, it still works. It still serves that function of taking a character who had little nuance and giving them nuance, still convinces us that this is a show driven by character despite the sense that it has been defined by controversy. The show is starting with a handicap, but it can honestly only get better from here.
Although, there were a few changes along the way which gave me pause.
January 24th, 2011
In the midst of the growing controversy surrounding Skins’ sexual content and allegations of child pornography, which Matt Zoller Seitz does a tremendous job of breaking down over at Salon, the show itself is being lost. Or, rather, the show itself is becoming irrelevant. It’s not just the controversy that’s obfuscating the text itself, though, as the series’ almost shot-for-shot adherence to the UK original means that those of us who’ve seen that series are being given very little reason to engage with the show. Just as it is easy for the PTC and advertisers to generalize the series’ content based solely on overblown claims, it’s easy for critics with knowledge of the original series to just sort of step back and let the show happen.
And yet it seems prudent to consider “Tea” more carefully – considering the switch from Maxxie to Tea, this is almost entirely new material, although it technically intersects with some of the developments which developed between Maxxie and Tony in the UK series. On that level, “Tea” comfortably fits into concerns over the series having been made less transgressive in its trip across the pond, but I’m not sure that I’m so concerned after seeing the episode. While I lament the loss of the scenes in question, I thought the replacement scenes were more different than they were worse, and the episode as a whole built strongly on the pilot (and in ways which won’t be undone when the show goes back to a note-for-note adaptation next week).