Tag Archives: Zack Gilford

Friday Night Lights – “Injury List”

“Injury List”

January 27th, 2010

Friday Night Lights is a show about convergence.

Really, all ensemble dramas end up driving towards climaxes which tend to bring various story elements together, so this may not seem overly remarkable. However, as the show heads towards the conclusion of its fourth season, the show is doing a lot to bring together stories, simplifying in some instances and complicating in others.

And while some of the tension created by this convergence is engaging, what I tend to enjoy more is the sort of indirect effects: this is the first time in a while where the show actively demonstrated the show’s central dilemma of ignoring the football in order to service the characters on a personal, non-football level, and that tension (when used, as opposed to simply created and elided) is part of the show’s tragedy.

“Injury List” is about capturing the tragedy of stories converging at the worst possible time, although the show manages to keep (most of) that convergence from seeming too convenient in the show’s late season push.

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Friday Night Lights – “Stay”


December 9th, 2009

“What else do you want?”

Last season, when Friday Night Lights said goodbye to Jason Street and Smash Williams, they were leaving to be able to follow their dreams. Jason left Dillon so that he could be with his baby mama, while Smash left so that he could fulfill his dream of playing college football despite his recent injury. In both cases, what kept them in Dillon was out of their control: Street’s injury kept him from taking the path he had always imagined for himself, while Smash’s injury delayed what was supposed to be his triumphant moment. They did not so much stay in Dillon as they were forced to remain in Dillon, and as such we were able to view their eventual departures as an overcoming of unique circumstances.

However, if we root for Tim Riggins or Matt Saracen to leave Dillon, Texas, we are effectively arguing against staying rather than arguing for their departure. Dillon is holding these two characters back more than it is helping them move onto the next stage of their journey, and while both Jason and Smash found support and opportunity in Dillon that could give them the boost they needed it has become inherently clear that living in a trailer and delivering pizzas is not going to be a stepping stone to a prosperous future for either 7 or 33.

Accordingly, “Stay” is about those characters (and quite a few others) dealing with the separation anxiety that people have with the town of Dillon, the people who live in it, and the connections they made that cannot be overwritten so easily by things like common sense or opportunity. You may want to stay, but if you ask yourself what else you might want out of life you might find that staying isn’t going to achieve those goals. While not quite the emotional powerhouse of last week, it’s an almost too consistently themed hour that connects well with the last we’ll see of Matt Saracen for at least a little while.

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Friday Night Lights – “The Son”

“The Son”

December 2nd, 2009

The last time someone died on Friday Night Lights, the show took what is unanimously considered its largest misstep. This time around, the show has delivered perhaps one of its most effective episodes yet.

This is, of course, not to suggest that anyone is surprised that the death of a potential rapist is in any way comparable to the scenario we see in “The Son,” but it demonstrates that death is still an enormously powerful thing within this show’s universe despite Landry’s murderous ways. The show has always been about the way its characters respond to the adversity of crisis or in some instances the adversity bestowed upon them by the simple reality of their lives, and here grief becomes a necessary component of that universe.

And since Sepinwall, Poniewozik and Phipps already posted detailed thoughts about the episode, and because critics have been hyping it for a few weeks now and thus everyone know it’s pretty great, what will follow will be less than comprehensive but nonetheless extensive, as I do have some quasi-complaints (scandal) about shortcuts this particular story takes.

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Season Premiere: Friday Night Lights – “East of Dillon”


“East of Dillon”

October 28th, 2009

“Clear Eyes, Full Hearts…”

In the very first episode of Friday Night Lights, a “can’t lose” football team became a longshot. When Jason Street went down on the field, ending up paralyzed, the Panther football program went from being a contender for State to being a rudderless ship with a rookie quarterback at the helm. The arc of the show’s first season was watching Matt Saracen become a leader in his own right, someone who would eventually deliver a State championship to the people of Dillon, Texas even when nobody really gave him a chance.

What allowed that team to come together as it did was that surrounding Matt Saracen was not only a collection of great players (Riggins, Smash, for all of their faults) but also a football culture that bred success. Panther Football was not only just the players involved, or even the inspired coaching from Eric Taylor, but a community that rallied behind its team because there was nothing else they wanted to do on a Friday night. That culture, that once seemed so far away for Saracen while throwing footballs through a tire in his driveway, has given the football program substantial financial support, and bureaucratic power in the form of lobbyists like Buddy Garrity. While some of the elements of Panther football were political and thus avoided by Eric Taylor (and, as a result of our appreciation for his character, maligned by the audience), they were parts of the team that provided a solid foundation. “Clear Eyes, Full Hearts, Can’t Lose” is as much a construct of years of success as it is about the players or the words themselves, a fact which becomes increasingly clear in “East of Dillon.”

What becomes clear in this fourth season premiere is that the first season wasn’t an underdog story at all, but rather a story of a team recapturing glory that never really left them but for those brief moments when all seemed lost. The story of the East Dillon Lions, handicapped by a biased redistricting that we were once on the other side of, is a true underdog story because this team has nothing. Not only are they handicapped by the inexperienced nature of its players, but they are also crippled by their lack of that community surrounding them – they don’t have lobbyists, they don’t have an experienced coaching staff, and they only have a few storefront signs to bring them together.

All they have is Eric Taylor, a true underdog whose only weapons are his coaching ability and the words (and the emotions behind them) that inspired the Panthers to victory for three years. With them, he needs to build not only a football team but a community around it, the equivalent to Noah’s Ark more than a texas high school football team. “East of Dillon” establishes this challenge, and tells us two things: Eric Taylor is going to make this work, and the people who are going to help him are slowly lining up to be a part of it.

And I’m already in the stands to enjoy the result.

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Friday Night Lights – “A Hard Rain’s Gonna Fall”


“A Hard Rain’s Gonna Fall”

December 17th, 2008

It’s kind of inexplicably saddening to know that my two favourite Wednesday shows, Friday Night Lights and Pushing Daisies, are both in similar positions. They are both shows with a shortened life expectancy, airing episodes that are forced to start slowly wrapping up one side of storylines to please fans should they not get a renewal, and at the same time laying the groundwork for a next season that will likely never happen. For Pushing Daisies, we know its fate; for Friday Night Lights, everything remains (perhaps unrealistically) up in the air.

In the case of the football drama, in particular, this status is proving problematic, as Jason Katims and company are being forced to keep one foot planted firmly on each side (either wrapping up our existing stable of characters or preparing for a pipedream season four) of the fence, posturing like a sumo wrestler, putting their weight on one foot at a time at various points in each episode. The problem is that this never feels organic: when Jamarkus was introduced a number of episodes ago, alarm bells of “random, never before seen character = setup for season four” went off, and this week’s redistricting is by design something that won’t have an impact on the current plot but rather some long term ramifications.

But the largest example of all of this is the story of the McCoy family, which has gotten the short end of the stick since it began. Joe McCoy as a character has always been a bit of a threat to Eric, and to the team’s dynamic, thanks to his ironclad control of his son. In this episode, he transforms into something much more than that, and it feels like we needed considerably more time to get there. But this is a storyline that doesn’t have the same life as everything else: it isn’t wrapping up any storylines, it can’t really boil its way into season four, and as a result it was never given enough time to be as meaningful as possible.

The result is a sort of rushed shorthand, drawing from the depths of television villainy and the show’s own playbook to give the illusion of a truly meaningful and emotional storyline. What’s more frustrating, though, is that it actually ends up coming together as a pretty good episode in the end, because the two sides of the fence were achieving something just about right for this point in the season.

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Friday Night Lights – “New York, New York”


“New York, New York”

November 19th, 2008

[NOTE: I go into what might be considered spoiler territory before the fold (it just worked out that way), so if you’re waiting until Spring and don’t want to know anything scroll away now! Hope this warning works – MM]

When Smash Williams received his swan song on Friday Night Lights, we ended that episode on an image of Smash’s face, smiling of pride (and his justifiably reinflated ego). It was a moment where you couldn’t help but feel like there was pride in his success, hope for his future, and that small tinge of disappointment that he was exiting our narrative and entering into another part of his life that doesn’t involve Dillon, Texas.

But for what will be Scott Porter’s last episode portraying Jason Street, we do not end on a shot of an admittedly fantastic Porter after pouring his heart out to Erin. Rather, we end on a shot of Tim Riggins, one that (for me) was far more emotionally affective. What is so amazing about Porter’s performance, and the character of Street as a whole, is that what could have been a hokey period after that pilot developed into someone who can serve as emotional and inspirational anchors for this series. While watching Smash succeed was satisfying, watching Jason grow into a man and a provider (even when the means were highly suspect) feels like the kind of story this show was born to tell: a story about a kid who was supposed to be on the path to greatness proving that, even when the terms changed, he never left that path.

And when we cut to Tim Riggins, of all people, overcome by emotion at the sight of Jason Street’s final moment, we realize that within both the show’s universe and our own, it doesn’t get much better than this.

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Assessing the Contenders: Drama Series Catchup (Dexter, FNL, Grey’s, House)

So, last week I was all set to really dig into all of the various submissions that the panels saw in both Comedy and Drama a few weeks ago now, but then life got in the way and I’ve been distracted. It also didn’t help that I had actually seen most of the episode, so I had already formulated opinions and therefore didn’t feel an urgency to write about them (Something I do have when I’m seeing something for the first time). So, I figure I’ll provide some short-form reviews of at least some of the remaining episodes over the next few days, and then offer a more comprehensive overview next week leading up to the nominations themselves. First, a view into the drama contenders.

Drama Series

Dexter – “The Dark Defender”

Synopsis: Dexter, with the help of his similarly crazy friend Lila, confronts his mother’s murderer in an emotional attempt to achieve closure.

My Thoughts: I hate Lila with a fiery passion, and found the character ultimately disruptive, but her role as Dexter’s kindred spirit of sorts was strong. Michael C. Hall is great in the episode, and it displays the show’s usual great use of violence and gore to serve story purposes.

Panel Potential: Unfortunately, its use of blood and gore has been what has held it back, as pretty well all awards potential goes out the window when older voters can’t stomach the show’s bloody reality. So, all signs point to a rough panel performance.

Friday Night Lights – “Leave No Man Behind”

Synopsis: Tension between coach and quarterback reaches its climax, and love triangles and parental strife round out the episode.

My Thoughts: The best episode of the show’s second season, it is most importantly a view into where football and life intersect as opposed to simply the lives of these characters. For the scene where Eric Taylor throws Matt Saracen into a cold shower to wake him up from his depressive state alone, this one’s a winner.

Panel Potential: There’s a lot of strong elements here, from performance to relativity to the standard lives of panelists, so it should have a decent performance (but likely not enough to make up for its poor Popular vote showing).

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