September 22nd, 2009
There is something potentially idiosyncratic about “MacPherson,” the finale to one of the summer’s most enjoyable new series Warehouse 13. The show has oft times been notable not for its epic, mythology laden finales but rather its clever short form action pieces, delivering procedural episodes which connect with the audience and highlight the show’s enjoyable cast of characters. “Macpherson,” by comparison, is all about twists and turns and for the most part puts aside its indulgences in favour of appealing to other senses.
It’s a bold decision for a show that has been built around a fairly simple formula and now is going to have a heck of a time getting back to that status quo, and it’s one that I like in theory. While I had expected this episode to put to rest the MacPherson story for good, a first season arc that provided necessary back story for Artie and the warehouse itself, instead it felt like a whole new launching off point which compromised the integrity of our cast of characters beyond recognition.
It leaves a lot of open questions in regards to just what this show is going to look like in the years ahead, something that I didn’t expect from a show which felt so gosh darn comfortable in its own skin just a few episodes ago. I’m not entirely convinced that it’s the right decision, and in some ways I think the finale needed to do something more to make it all work, but consider me most certainly intrigued.
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.
August 11th, 2009
“This place is like “The Spine” – it’ll use you up.”
I don’t pretend that Warehouse 13 is a more complicated show than it purports to be: it’s a simple summer procedural, and to expect too much from that is to place expectations on the show that it’s never going to live up to. Thus far, it has done a strong job of developing the universe of the Warehouse slowly but surely, and that’s resulted in some entertaining television if not quite as much serialization as I might want in my procedurals.
However, the above quote is an effort to paint a far darker picture of the events taking place, and in many ways the show balances the more campy/supernatural side of its plot with attempts to emphasize the dangerous, potentially life-ending work being undertaken by the Warehouse employees. In “Burnout,” we got a crash course in both how this should be done and how it shouldn’t, as two different but connected devices create legitimate questions and suspense-free scenarios varying in effectiveness.
August 4th, 2009
Warehouse 13 is a show about some really complex supernatural events, there’s no question about that. However, really, the show wants nothing to actually do with any of them. When a pop song is used to rob banks, the story quickly shifts to the quite humanitarian and kindly reason for the thefts, and the show wants us to empathize with them and let them get off scot free. When the mystery of an evil chair is solved, it’s not due to some evil mastermind plot but rather a crazy scientific explanation and some unfortunate circumstances. Everything needs to right itself in the end, which makes the show’s complexity somewhat quickly resolved by episode’s end.
Last week’s “Claudia,” a compelling tale of Artie’s past encounters with a young scientist and his sister coming back into his life, was another example of this: in the episode, Claudia and Artie manage to bring her brother back from some sort of between world existence, the same age as he was 12 years previous and ready to re-enter the world. The show never stops to question the implications of this, and this week they even shipped him off to Switzerland to work as if the 12 years was just a bunch of facts he needs to learn and Springsteen records to catch up on. The show doesn’t feel the need to stop and consider any of this, and that’s something that really stands out for me.
I’m not suggesting that the storylines should be less complex or more realistic, thus justifying this approach a bit more, but rather that they need to be careful about what kind of shortcuts they pull to achieve their goals. “Elements” is an episode where the mythical meets the realistic, Native American creation mashing up with an epic battle between high-powered businessmen, but in attempting to resolve the storyline there’s a few missing pieces, links that rob the storyline of any real impact in an effort to cleanly move onto the next week without asking the difficult questions.
“Pilot” and “Resonance”
July 7th & July 14th, 2009
I fell asleep watching the Warehouse 13 pilot.
It’s a true story. I was there, trying to get through it, but I was exhausted from being up early and the pilot wasn’t really engaging me on any level. It wasn’t that it was bad, or that it actually put me to sleep (I consciously paused it before conking out moments later), but the fact remains that there was something about Warehouse 13 that wasn’t really connecting with me.
However, upon finishing the Pilot last night, and digging into “Resonance” this afternoon, I can say quite emphatically that the show is more than capable of keeping me awake. No, it’s not a replacement for Battlestar Galactica by any means, but it doesn’t try to be. What it represents is Reaper with less comedy, Fringe without the mythology, and every crime procedural you’ve ever seen with a sense of whimsy that’s often sorely lacking on those shows. It has no grandiose ideas about its position in the television world: what it delivers is what it sets out to achieve, a light-hearted but nonetheless resonant piece of dramedic television.
And in the middle of summer, when television often feels like a wasteland, a weekly trip into the depths of Warehouse 13 is something I’m already looking forward to, if not particularly obsessing over.