Curb Your Enthusiasm: Season 7, Episode 10 “Seinfeld” (B+)
This is a satisfying culmination to a season that’s been all about putting together the Seinfeld reunion and Larry’s life, and the manner in which it deals with both is fitting. It’s good that snippets of the actual Seinfeld reunion special don’t take up too big a portion of the episode, yet there’s still enough to please diehard fans of the classic series. Having Larry actually step in and try to play George was a delightful treat. It’s so clear that Larry is George, and with the exception of the flagrant overacting that Larry was doing to try to give the performance his all, it was spot-on. The two social convention storylines of the episode were fun, though I’d have to tip the hat in favor of the use of a coaster rather than the requirement of tipping someone for a favor. Larry deserves what he gets, there’s no question about that, but the fact that he hit traffic and couldn’t get the nuts in time wasn’t really his fault. Larry’s suspicion of Jason and Cheryl wasn’t out of line, unlike his usual conspiracy theories, and it provided a terrific segue into the former Davids almost getting back together. Though it’s endlessly frustrating, it’s hardly unsurprising that Larry would let his insistence on almost being right get in the way of what he’s been striving for this entire season. It’s not as if he’s actually put much effort into it other than trying to get the Seinfeld reunion running, but the last big reveal that the role of George’s ex-wife went to Virginia and not to Cheryl seemed to indicate that they had really grown closer and that there might really be a chance for them. Ending the season with Larry’s unfinished phone call was a perfect way for the show to clock out. I don’t know if this show will be back for another round, and if an eighth season is destined to air, it may not be for a full year or two. This season has been enjoyable and relatively solid, and I’m glad I kept up with it.
Season grade: B+
Season MVP: Larry David
Monday, November 30, 2009
What I’m Watching: White Collar
White Collar: Season 1, Episode 5 “The Portrait” (B+)
This show is becoming increasingly formulaic in an absolutely fantastic way. Each episode, it appears, will follow the scheme of some precious piece of art being stolen, Peter taking the case, and Neal stepping in to help out in an extralegal way by posing as a wealthy buyer. It’s something that works extraordinarily well, and just seems to become more entertaining every time. Neal’s side investigation into his disappeared girlfriend is equally interesting, and the fact that he gets as far as actually seeing her this episode is terrific. That she was able to arrange an in-person phone call to wave to him while telling him that someone is watching her was pretty impressive. It’s great that Peter is completely aware of Neal following these leads, and that he turns to his wife for advice on whether he should let Neal pursue his search or encourage him to go for the flirtatious museum curator. The childish banter between Peter and Neal over the radio was hilarious, and the notion of them as argument-prone pals rather than cops and robbers is the most compelling element of this show. It’s nice to have Elizabeth as a supportive rather than suspicious and jealous wife, and she and Peter also seem much more like partners. Neal really does enjoy having fun above all else, and his theft of the painting and fabrication of a new inscription to ensure that no one would ever suspect it was a duplicate was a stellar surprise.
This show is becoming increasingly formulaic in an absolutely fantastic way. Each episode, it appears, will follow the scheme of some precious piece of art being stolen, Peter taking the case, and Neal stepping in to help out in an extralegal way by posing as a wealthy buyer. It’s something that works extraordinarily well, and just seems to become more entertaining every time. Neal’s side investigation into his disappeared girlfriend is equally interesting, and the fact that he gets as far as actually seeing her this episode is terrific. That she was able to arrange an in-person phone call to wave to him while telling him that someone is watching her was pretty impressive. It’s great that Peter is completely aware of Neal following these leads, and that he turns to his wife for advice on whether he should let Neal pursue his search or encourage him to go for the flirtatious museum curator. The childish banter between Peter and Neal over the radio was hilarious, and the notion of them as argument-prone pals rather than cops and robbers is the most compelling element of this show. It’s nice to have Elizabeth as a supportive rather than suspicious and jealous wife, and she and Peter also seem much more like partners. Neal really does enjoy having fun above all else, and his theft of the painting and fabrication of a new inscription to ensure that no one would ever suspect it was a duplicate was a stellar surprise.
What I’m Watching: Monk
Monk: Season 8, Episode 14 “Mr. Monk and the Badge” (B+)
This is one of those fitting tributes to Monk’s legacy, and a necessary stage through which he must pass before the character can be appropriately put to rest. The camping episode from two weeks ago seemed to address whether Monk would in fact ever be reinstated, and this second effort to get Monk reinstated takes a lot less work with Leland just announcing it at the beginning and proves just as unsatisfactory as Monk realizes that it just isn’t what he wants. It’s glaring how much Monk does stick out as a member of the regular force as compared with as a private consultant, and how disruptive to the general order of things he is. It would appear that his cases aren’t nearly as exciting and the bureaucracy of the chain of command gets in the way of Monk’s ability to solve cases, and therefore I wholeheartedly support his decision. The woman who kept calling to complain about her cat and the other hairy animal trying to kill her was a bit strange, but it was quite obviously one of those barely-connected plotlines that would eventually serve as a lens through which Monk could make a startling revelation about the case. The most touching part of the episode was the relationship between Monk and Natalie, with their heartfelt goodbye and failed attempts at chit-chat over the phone. The closing scene was perhaps the best, where Monk was relieved to see Natalie but still tried to cut her pay, and then quickly proceeded to wonder what the surprise, which was actually Natalie, was supposed to be. I’m sorry, Sharona fans, but I think Natalie is really here to stay. Monk, however, isn’t for long – part one of the series finale is next.
This is one of those fitting tributes to Monk’s legacy, and a necessary stage through which he must pass before the character can be appropriately put to rest. The camping episode from two weeks ago seemed to address whether Monk would in fact ever be reinstated, and this second effort to get Monk reinstated takes a lot less work with Leland just announcing it at the beginning and proves just as unsatisfactory as Monk realizes that it just isn’t what he wants. It’s glaring how much Monk does stick out as a member of the regular force as compared with as a private consultant, and how disruptive to the general order of things he is. It would appear that his cases aren’t nearly as exciting and the bureaucracy of the chain of command gets in the way of Monk’s ability to solve cases, and therefore I wholeheartedly support his decision. The woman who kept calling to complain about her cat and the other hairy animal trying to kill her was a bit strange, but it was quite obviously one of those barely-connected plotlines that would eventually serve as a lens through which Monk could make a startling revelation about the case. The most touching part of the episode was the relationship between Monk and Natalie, with their heartfelt goodbye and failed attempts at chit-chat over the phone. The closing scene was perhaps the best, where Monk was relieved to see Natalie but still tried to cut her pay, and then quickly proceeded to wonder what the surprise, which was actually Natalie, was supposed to be. I’m sorry, Sharona fans, but I think Natalie is really here to stay. Monk, however, isn’t for long – part one of the series finale is next.
What I'm Watching: Smallville
Smallville: Season 9, Episode 9 "Pandora" (B)
Finally seeing what happened to Lois during those three lost weeks has been a long time coming, and fortunately the reveal is interesting and helps to really drive the show forward, uniting two of this season’s main threads – the Kandorians and the budding romance between Clark and Lois. This happens to be one of the positive uses of time travel in a way that actually helps a show progress in its storylines (take note, “Heroes”), and it’s also important because this season now has a sense of purpose, a future to prevent. Seeing an angry Chloe who could no longer trust Clark and call him one of her friends was cool, even if some of her dialogue was, as usual for the character, a bit over-the-top and obnoxious. Chloe and Oliver made for a nice band of ninjas, and it was pretty awesome having them burst in there like that to save the lives of our two fated lovers. It’s sort of funny that they all managed to keep Clark’s alien identity a secret from Lois, and it’s actually quite impressive because, even if Lois had retained her memory, this was the more believable and fresher way to have her proceed without knowing Clark’s true identity. The standoff between Clark and Zod was intense, and having had it already means that it can be a disappointment when an alternate future happens and it’s not necessarily as remarkable. Clark’s decision to find the Kandorians was a surprise, but not as shocking as having them all, including Zod, bow down to him. It’s good that Clark is embracing his destiny and trying to save the planet, and also that he and Lois are now an official couple! This show could just be headed in the right direction. Looks like we'll have to wait until January to find out what's coming next - the show returns on January 22nd with a new episode.
Finally seeing what happened to Lois during those three lost weeks has been a long time coming, and fortunately the reveal is interesting and helps to really drive the show forward, uniting two of this season’s main threads – the Kandorians and the budding romance between Clark and Lois. This happens to be one of the positive uses of time travel in a way that actually helps a show progress in its storylines (take note, “Heroes”), and it’s also important because this season now has a sense of purpose, a future to prevent. Seeing an angry Chloe who could no longer trust Clark and call him one of her friends was cool, even if some of her dialogue was, as usual for the character, a bit over-the-top and obnoxious. Chloe and Oliver made for a nice band of ninjas, and it was pretty awesome having them burst in there like that to save the lives of our two fated lovers. It’s sort of funny that they all managed to keep Clark’s alien identity a secret from Lois, and it’s actually quite impressive because, even if Lois had retained her memory, this was the more believable and fresher way to have her proceed without knowing Clark’s true identity. The standoff between Clark and Zod was intense, and having had it already means that it can be a disappointment when an alternate future happens and it’s not necessarily as remarkable. Clark’s decision to find the Kandorians was a surprise, but not as shocking as having them all, including Zod, bow down to him. It’s good that Clark is embracing his destiny and trying to save the planet, and also that he and Lois are now an official couple! This show could just be headed in the right direction. Looks like we'll have to wait until January to find out what's coming next - the show returns on January 22nd with a new episode.
Sunday, November 29, 2009
Golden Globe Musings: Best TV Series – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
CALIFORNICATION
ENTOURAGE
THE OFFICE
30 ROCK
WEEDS
New contenders:
GLEE
MODERN FAMILY
THE UNITED STATES OF TARA
Potential first-time nominees:
THE BIG BANG THEORY
CHUCK
HOW I MET YOUR MOTHER
FAMILY GUY
FLIGHT OF THE CONCHORDS
Past nominees:
CURB YOUR ENTHUSIASM
All of last year’s nominees are eligible once again, and it’s worthwhile to note that, while “Entourage” might be considered the weakest link, it’s the senior show here with five nominations, one for every year it’s been on the air. “Weeds” and “The Office” were returning nominees after a year off, so they could easily be left off again, while “30 Rock” and “Californication” should be pretty solid. There’s no reason any of the potential first-time nominees should break through this year, and I’d hedge my bets on two popular new comedies that occupy my Wednesday nights – “Glee” and “Modern Family.”
Predicted nominees:
CALIFORNICATION
GLEE
MODERN FAMILY
THE OFFICE
30 ROCK
Last year’s nominees:
CALIFORNICATION
ENTOURAGE
THE OFFICE
30 ROCK
WEEDS
New contenders:
GLEE
MODERN FAMILY
THE UNITED STATES OF TARA
Potential first-time nominees:
THE BIG BANG THEORY
CHUCK
HOW I MET YOUR MOTHER
FAMILY GUY
FLIGHT OF THE CONCHORDS
Past nominees:
CURB YOUR ENTHUSIASM
All of last year’s nominees are eligible once again, and it’s worthwhile to note that, while “Entourage” might be considered the weakest link, it’s the senior show here with five nominations, one for every year it’s been on the air. “Weeds” and “The Office” were returning nominees after a year off, so they could easily be left off again, while “30 Rock” and “Californication” should be pretty solid. There’s no reason any of the potential first-time nominees should break through this year, and I’d hedge my bets on two popular new comedies that occupy my Wednesday nights – “Glee” and “Modern Family.”
Predicted nominees:
CALIFORNICATION
GLEE
MODERN FAMILY
THE OFFICE
30 ROCK
Saturday, November 28, 2009
Golden Globe Musings: Best TV Series – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
DEXTER
HOUSE
IN TREATMENT
MAD MEN
TRUE BLOOD
Ineligible last year:
BIG LOVE
DAMAGES
New contenders:
DOLLHOUSE
FLASH FORWARD
THE GOOD WIFE
V
Potential first-time nominees:
BREAKING BAD
Past nominees:
THE SHIELD
24
All five nominees from last year are still solid, and “House” is probably the weakest of all of them because it’s a procedural and voters could easily write it off while all the others are still going strong. The two returning shows, “Big Love” and “Damages,” both earned Emmy nominations for Best Drama Series for their most recent seasons and therefore might pose a threat, though I imagine that the short term memory tendencies of the Globes will leave them off in favor of last year’s nominees. None of the new shows are frontrunners to break through, and my money is on the show that got shut out last year at the Globes but might have the chance to break bad this year in its second round.
Predicted nominees:
BREAKING BAD
DEXTER
IN TREATMENT
MAD MEN
TRUE BLOOD
Last year’s nominees:
DEXTER
HOUSE
IN TREATMENT
MAD MEN
TRUE BLOOD
Ineligible last year:
BIG LOVE
DAMAGES
New contenders:
DOLLHOUSE
FLASH FORWARD
THE GOOD WIFE
V
Potential first-time nominees:
BREAKING BAD
Past nominees:
THE SHIELD
24
All five nominees from last year are still solid, and “House” is probably the weakest of all of them because it’s a procedural and voters could easily write it off while all the others are still going strong. The two returning shows, “Big Love” and “Damages,” both earned Emmy nominations for Best Drama Series for their most recent seasons and therefore might pose a threat, though I imagine that the short term memory tendencies of the Globes will leave them off in favor of last year’s nominees. None of the new shows are frontrunners to break through, and my money is on the show that got shut out last year at the Globes but might have the chance to break bad this year in its second round.
Predicted nominees:
BREAKING BAD
DEXTER
IN TREATMENT
MAD MEN
TRUE BLOOD
Friday, November 27, 2009
Golden Globe Musings: Best Actress in a Supporting Role in a Television Series
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable. In the supporting categories, a majority of the nominees usually come from TV movies and mini-series. I will be analyzing and predicting only the nominees who come from drama or comedy series.
Last year’s eligible nominees:
RACHEL GRIFFITHS, BROTHERS & SISTERS
DIANNE WIEST, IN TREATMENT
Not eligible last year:
ROSE BYRNE, DAMAGES
Last year, two actresses from “In Treatment” made it in, and this year, Dianne Wiest is still in the running but two more are eligible, Alison Pill and Hope Davis. Given how last year went, with Melissa George in and Mia Wasikowska out, I think Davis is the surer bet. Comediennes Jane Lynch (Glee) and Sofia Vergara (Modern Family) are possibilities, but I think that both shows will not have any actors nominated. Though it pains me to say it, Rose Byrne (Damages) will probably be back after her show took a year off. Never-nominated Christina Hendricks (Mad Men) and Jane Krakowski (30 Rock) have been suggested as possibilities, but I don’t think so. Additional nominees will be predicted before the nominations announcement on December 15.
Predicted nominees (series only):
ROSE BYRNE, DAMAGES
HOPE DAVIS, IN TREATMENT
DIANNE WIEST, IN TREATMENT
Last year’s eligible nominees:
RACHEL GRIFFITHS, BROTHERS & SISTERS
DIANNE WIEST, IN TREATMENT
Not eligible last year:
ROSE BYRNE, DAMAGES
Last year, two actresses from “In Treatment” made it in, and this year, Dianne Wiest is still in the running but two more are eligible, Alison Pill and Hope Davis. Given how last year went, with Melissa George in and Mia Wasikowska out, I think Davis is the surer bet. Comediennes Jane Lynch (Glee) and Sofia Vergara (Modern Family) are possibilities, but I think that both shows will not have any actors nominated. Though it pains me to say it, Rose Byrne (Damages) will probably be back after her show took a year off. Never-nominated Christina Hendricks (Mad Men) and Jane Krakowski (30 Rock) have been suggested as possibilities, but I don’t think so. Additional nominees will be predicted before the nominations announcement on December 15.
Predicted nominees (series only):
ROSE BYRNE, DAMAGES
HOPE DAVIS, IN TREATMENT
DIANNE WIEST, IN TREATMENT
Thursday, November 26, 2009
Golden Globe Musings: Best Actor in a Supporting Role in a Television Series
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable. In the supporting categories, a majority of the nominees usually come from TV movies and mini-series. I will be analyzing and predicting only the nominees who come from drama or comedy series.
Last year’s eligible nominees:
NEIL PATRICK HARRIS, HOW I MET YOUR MOTHER
JEREMY PIVEN, ENTOURAGE
Predicting this category is a real crapshoot. There’s little method to the madness, and there are surprises aplenty with performances that wouldn’t seem like they’re could enough caliber to be deemed the best out of three television mediums, like Kevin Dillon and Masi Oka, as well as completely out-there inclusions, like Oliver Platt for “Huff” and John Corbett for “Sex and the City.” Both Neil Patrick Harris (How I Met Your Mother) and Jeremy Piven (Entourage) will probably be back, though Piven’s Emmy snub doesn’t make his chances look good. Don’t expect Jon Cryer (Two and a Half Men) to suddenly earn a nomination now that he won an Emmy, because his show has only ever received two mentions, and those were for Charlie Sheen four years ago. New Emmy nominee Aaron Paul (Breaking Bad) could pop up here, as could William Hurt (Damages), but I think the only contender who will break through is John Mahoney (In Treatment), a past nominee in 1993 and 2000 for “Frasier,” following in the footsteps of the fellow patient Blair Underwood, also Emmy-snubbed and then Golden Globe-nominated. Additional nominees will be predicted before the nominations announcement on December 15.
Predicted nominees (series only):
NEIL PATRICK HARRIS, HOW I MET YOUR MOTHER
JOHN MAHONEY, IN TREATMENT
JEREMY PIVEN, ENTOURAGE
Last year’s eligible nominees:
NEIL PATRICK HARRIS, HOW I MET YOUR MOTHER
JEREMY PIVEN, ENTOURAGE
Predicting this category is a real crapshoot. There’s little method to the madness, and there are surprises aplenty with performances that wouldn’t seem like they’re could enough caliber to be deemed the best out of three television mediums, like Kevin Dillon and Masi Oka, as well as completely out-there inclusions, like Oliver Platt for “Huff” and John Corbett for “Sex and the City.” Both Neil Patrick Harris (How I Met Your Mother) and Jeremy Piven (Entourage) will probably be back, though Piven’s Emmy snub doesn’t make his chances look good. Don’t expect Jon Cryer (Two and a Half Men) to suddenly earn a nomination now that he won an Emmy, because his show has only ever received two mentions, and those were for Charlie Sheen four years ago. New Emmy nominee Aaron Paul (Breaking Bad) could pop up here, as could William Hurt (Damages), but I think the only contender who will break through is John Mahoney (In Treatment), a past nominee in 1993 and 2000 for “Frasier,” following in the footsteps of the fellow patient Blair Underwood, also Emmy-snubbed and then Golden Globe-nominated. Additional nominees will be predicted before the nominations announcement on December 15.
Predicted nominees (series only):
NEIL PATRICK HARRIS, HOW I MET YOUR MOTHER
JOHN MAHONEY, IN TREATMENT
JEREMY PIVEN, ENTOURAGE
Wednesday, November 25, 2009
Golden Globe Musings: Best Actress in a TV Series – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
CHRISTINA APPLEGATE, SAMANTHA WHO
AMERICA FERRERA, UGLY BETTY
TINA FEY, 30 ROCK
DEBRA MESSING, THE STARTER WIFE (ineligible)
MARY-LOUISE PARKER, WEEDS
New contenders:
JANE ADAMS, HUNG
TONI COLLETTE, THE UNITED STATES OF TARA
COURTENEY COX, COUGAR TOWN
EDIE FALCO, NURSE JACKIE
LEA MICHELE, GLEE
AMY POEHLER, PARKS & RECREATION
Last year’s lineup will probably be altered drastically because both Messing and Applegate’s shows were unceremoniously cancelled, and Ferrera got snubbed by the Emmys for the first time since her show has been on. “Weeds” is arguably as strong as it ever was, and Tina Fey isn’t going anywhere. The new contenders are quite overwhelming, however, and Showtime’s Collette and Falco, both awards darlings, should easily earn a spot on the list. Poehler should be able to nab a nomination for the first calendar year of her show just like Steve Carrell did for “The Office” (before the show garnered any Emmy attention), and improved reviews of the show should go a long way. I’m not confident that “Glee” will able to get any of its stars nominated, and while Michele is the likeliest one, I’ll stick with Parker for the final slot.
Predicted nominees:
TONI COLLETTE, THE UNITED STATES OF TARA
EDIE FALCO, NURSE JACKIE
TINA FEY, 30 ROCK
MARY-LOUISE PARKER, WEEDS
AMY POEHLER, PARKS & RECREATION
Last year’s nominees:
CHRISTINA APPLEGATE, SAMANTHA WHO
AMERICA FERRERA, UGLY BETTY
TINA FEY, 30 ROCK
DEBRA MESSING, THE STARTER WIFE (ineligible)
MARY-LOUISE PARKER, WEEDS
New contenders:
JANE ADAMS, HUNG
TONI COLLETTE, THE UNITED STATES OF TARA
COURTENEY COX, COUGAR TOWN
EDIE FALCO, NURSE JACKIE
LEA MICHELE, GLEE
AMY POEHLER, PARKS & RECREATION
Last year’s lineup will probably be altered drastically because both Messing and Applegate’s shows were unceremoniously cancelled, and Ferrera got snubbed by the Emmys for the first time since her show has been on. “Weeds” is arguably as strong as it ever was, and Tina Fey isn’t going anywhere. The new contenders are quite overwhelming, however, and Showtime’s Collette and Falco, both awards darlings, should easily earn a spot on the list. Poehler should be able to nab a nomination for the first calendar year of her show just like Steve Carrell did for “The Office” (before the show garnered any Emmy attention), and improved reviews of the show should go a long way. I’m not confident that “Glee” will able to get any of its stars nominated, and while Michele is the likeliest one, I’ll stick with Parker for the final slot.
Predicted nominees:
TONI COLLETTE, THE UNITED STATES OF TARA
EDIE FALCO, NURSE JACKIE
TINA FEY, 30 ROCK
MARY-LOUISE PARKER, WEEDS
AMY POEHLER, PARKS & RECREATION
Tuesday, November 24, 2009
Golden Globe Musings: Best Actor in a TV Series – Comedy/Musical
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
KEVIN CONNOLLY, ENTOURAGE
DAVID DUCHOVNY, CALIFORNICATION
TONY SHALHOUB, MONK
Ineligible last year:
LARRY DAVID, CURB YOUR ENTHUSIASM
New contenders:
THOMAS JANE, HUNG
JOEL MCHALE, COMMUNITY
MATTHEW MORRISON, GLEE
Potential first-time nominees:
JEMAINE CLEMENT, FLIGHT OF THE CONCHORDS
ZACHARY LEVI, CHUCK
JIM PARSONS, THE BIG BANG THEORY
This category shouldn’t be transformed too radically. Baldwin, Carrell, and to a lesser extent Duchovny should be safe. Shalhoub missed out on a nomination twice in the history of his show, and this is his last chance to be honored, so he could easily be kept in or dropped. Parsons probably has the edge over Clement to break into the pack because his show is still actively going, and none of the new talent are strong enough to make a dent.
Predicted nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
DAVID DUCHOVNY, CALIFORNICATION
JIM PARSONS, THE BIG BANG THEORY
TONY SHALHOUB, MONK
Last year’s nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
KEVIN CONNOLLY, ENTOURAGE
DAVID DUCHOVNY, CALIFORNICATION
TONY SHALHOUB, MONK
Ineligible last year:
LARRY DAVID, CURB YOUR ENTHUSIASM
New contenders:
THOMAS JANE, HUNG
JOEL MCHALE, COMMUNITY
MATTHEW MORRISON, GLEE
Potential first-time nominees:
JEMAINE CLEMENT, FLIGHT OF THE CONCHORDS
ZACHARY LEVI, CHUCK
JIM PARSONS, THE BIG BANG THEORY
This category shouldn’t be transformed too radically. Baldwin, Carrell, and to a lesser extent Duchovny should be safe. Shalhoub missed out on a nomination twice in the history of his show, and this is his last chance to be honored, so he could easily be kept in or dropped. Parsons probably has the edge over Clement to break into the pack because his show is still actively going, and none of the new talent are strong enough to make a dent.
Predicted nominees:
ALEC BALDWIN, 30 ROCK
STEVE CARRELL, THE OFFICE
DAVID DUCHOVNY, CALIFORNICATION
JIM PARSONS, THE BIG BANG THEORY
TONY SHALHOUB, MONK
Monday, November 23, 2009
Golden Globe Musings: Best Actress in a TV Series – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
SALLY FIELD, BROTHERS & SISTERS
MARISKA HARGITAY, LAW & ORDER: SVU
JANUARY JONES, MAD MEN
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Ineligible last year:
GLENN CLOSE, DAMAGES
New contenders:
JULIANNA MARGUILES, THE GOOD WIFE
JADA PINKETT SMITH, HAWTHORNE
SONYA WALGER, FLASH FORWARD
Potential first-time nominees:
ELISABETH MOSS, MAD MEN
Past nominees:
HOLLY HUNTER, SAVING GRACE
PATRICIA ARQUETTE, MEDIUM
All five nominees from last year are equally likely to return this year, and Glenn Close should be back in the running because “Damages” aired this year. Six-time nominee Julianna Marguiles is also eligible again, this time for the well-received series “The Good Wife.” Holly Hunter missed out last year after scoring a nod for her show’s first year, and Elisabeth Moss, despite being picked by the Emmys and SAG as the “Mad Men” leading actress, missed out in favor of January Jones last year. There isn’t much to wonder about with this category, only who will be dumped.
Predicted nominees:
GLENN CLOSE, DAMAGES
JANUARY JONES, MAD MEN
JULIANNA MARGUILES, THE GOOD WIFE
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Last year’s nominees:
SALLY FIELD, BROTHERS & SISTERS
MARISKA HARGITAY, LAW & ORDER: SVU
JANUARY JONES, MAD MEN
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Ineligible last year:
GLENN CLOSE, DAMAGES
New contenders:
JULIANNA MARGUILES, THE GOOD WIFE
JADA PINKETT SMITH, HAWTHORNE
SONYA WALGER, FLASH FORWARD
Potential first-time nominees:
ELISABETH MOSS, MAD MEN
Past nominees:
HOLLY HUNTER, SAVING GRACE
PATRICIA ARQUETTE, MEDIUM
All five nominees from last year are equally likely to return this year, and Glenn Close should be back in the running because “Damages” aired this year. Six-time nominee Julianna Marguiles is also eligible again, this time for the well-received series “The Good Wife.” Holly Hunter missed out last year after scoring a nod for her show’s first year, and Elisabeth Moss, despite being picked by the Emmys and SAG as the “Mad Men” leading actress, missed out in favor of January Jones last year. There isn’t much to wonder about with this category, only who will be dumped.
Predicted nominees:
GLENN CLOSE, DAMAGES
JANUARY JONES, MAD MEN
JULIANNA MARGUILES, THE GOOD WIFE
ANNA PAQUIN, TRUE BLOOD
KYRA SEDGWICK, THE CLOSER
Sunday, November 22, 2009
Golden Globe Musings: Best Actor in a TV Series – Drama
Golden Globe nominations for this year will be announced in just a few weeks, so here’s a survey of the contenders and the most likely predictions at this time. Weigh in with your thoughts, and let me know if I’ve left off anyone important. A reminder that last year’s nominees mean zilch at the Globes and that the race is almost entirely unpredictable.
Last year’s nominees:
GABRIEL BYRNE, IN TREATMENT
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
JONATHAN RHYS-MEYERS, THE TUDORS
Ineligible last year:
BILL PAXTON, BIG LOVE
New contenders:
JOSEPH FIENNES, FLASH FORWARD
NATHAN FILLION, CASTLE
Potential first-time nominees:
SIMON BAKER, THE MENTALIST
BRYAN CRANSTON, BREAKING BAD
Past nominees:
MICHAEL CHIKLIS, THE SHIELD
KIEFER SUTHERLAND, 24
This category may be all set. Swap out Jonathan Rhys-Meyers, whose inclusion last year was mind-boggling and who likely has been all but forgotten about at this point, and send in one of the two remaining Emmy nominees from this year who were left off the list last year: Bryan Cranston and Simon Baker. Cranston probably has a better shot, and having more than seven episodes in the critically-acclaimed second season of “Breaking Bad” should help him. Both actors are past nominees, Cranston in 2003 for his considerably less impressive “Malcolm in the Middle” supporting role, and Baker in 2002 in this category for “The Guardian.” Neither Fiennes nor Fillion seem strong enough to place, but beware of Paxton, who has been nominated every time his show has been eligible. The Globes have forgotten all about “The Shield” and “24,” and they never liked “Battlestar Galactica.” There’s no fall show like “Prison Break” that could shock by showing up here, and the only crazy possibilities I can think of would be Paul Wesley for “The Vampire Diaries” or a posthumous nod for Patrick Swayze on “The Beast.”
Predicted nominees:
GABRIEL BYRNE, IN TREATMENT
BRYAN CRANSTON, BREAKING BAD
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
Last year’s nominees:
GABRIEL BYRNE, IN TREATMENT
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
JONATHAN RHYS-MEYERS, THE TUDORS
Ineligible last year:
BILL PAXTON, BIG LOVE
New contenders:
JOSEPH FIENNES, FLASH FORWARD
NATHAN FILLION, CASTLE
Potential first-time nominees:
SIMON BAKER, THE MENTALIST
BRYAN CRANSTON, BREAKING BAD
Past nominees:
MICHAEL CHIKLIS, THE SHIELD
KIEFER SUTHERLAND, 24
This category may be all set. Swap out Jonathan Rhys-Meyers, whose inclusion last year was mind-boggling and who likely has been all but forgotten about at this point, and send in one of the two remaining Emmy nominees from this year who were left off the list last year: Bryan Cranston and Simon Baker. Cranston probably has a better shot, and having more than seven episodes in the critically-acclaimed second season of “Breaking Bad” should help him. Both actors are past nominees, Cranston in 2003 for his considerably less impressive “Malcolm in the Middle” supporting role, and Baker in 2002 in this category for “The Guardian.” Neither Fiennes nor Fillion seem strong enough to place, but beware of Paxton, who has been nominated every time his show has been eligible. The Globes have forgotten all about “The Shield” and “24,” and they never liked “Battlestar Galactica.” There’s no fall show like “Prison Break” that could shock by showing up here, and the only crazy possibilities I can think of would be Paul Wesley for “The Vampire Diaries” or a posthumous nod for Patrick Swayze on “The Beast.”
Predicted nominees:
GABRIEL BYRNE, IN TREATMENT
BRYAN CRANSTON, BREAKING BAD
MICHAEL C. HALL, DEXTER
JON HAMM, MAD MEN
HUGH LAURIE, HOUSE
Saturday, November 21, 2009
What I’m Watching: 30 Rock
30 Rock: Season 4, Episode 6 “Sun Tea” (B-)
This is one of those episodes that most sophisticated viewers of this show probably love, but I just don’t find nearly as clever or, more importantly, effective as some of my favorite installments. This show’s blatant incorporation of NBC Green Week into the storyline with Kenneth trying to figure out ways to conserve energy wasn’t bad at the start, but having him look down at the green peacock logo in the bottom left-hand corner of the screen was a bit too flagrant. Having Al Gore guest star once again and note that jokes are best recycled before uttering the same line he said when he last appeared on this show, in the “Greenzo” episode, was more muted and much funnier. Brilliant as Frank’s sun tea/pee system was supposed to be, that plotline fell flat. The spontaneous desire by Jack and Tracy to get vasectomies came out of nowhere, and the notion of another Geiss sibling should have inspired some smart casting and a whole new story arc. Instead, Tracy has a hallucination (never a good thing), and a laugh track is introduced. I find that whenever laugh tracks are used on shows that don’t have them, it highlights how unfunny that particular stunt is (see: “Scrubs” with Clay Aiken and the season premiere of “Monk”). Liz’s attempts to oust her upstairs neighbor in a shameless effort to get her own desirable second apartment were the strongest part of the episode, and it was fun to see Nate Corrdry, formerly a cast member on the other variety show series that started on NBC in 2006, as the guy who turned out to be both gay and a cop.
This is one of those episodes that most sophisticated viewers of this show probably love, but I just don’t find nearly as clever or, more importantly, effective as some of my favorite installments. This show’s blatant incorporation of NBC Green Week into the storyline with Kenneth trying to figure out ways to conserve energy wasn’t bad at the start, but having him look down at the green peacock logo in the bottom left-hand corner of the screen was a bit too flagrant. Having Al Gore guest star once again and note that jokes are best recycled before uttering the same line he said when he last appeared on this show, in the “Greenzo” episode, was more muted and much funnier. Brilliant as Frank’s sun tea/pee system was supposed to be, that plotline fell flat. The spontaneous desire by Jack and Tracy to get vasectomies came out of nowhere, and the notion of another Geiss sibling should have inspired some smart casting and a whole new story arc. Instead, Tracy has a hallucination (never a good thing), and a laugh track is introduced. I find that whenever laugh tracks are used on shows that don’t have them, it highlights how unfunny that particular stunt is (see: “Scrubs” with Clay Aiken and the season premiere of “Monk”). Liz’s attempts to oust her upstairs neighbor in a shameless effort to get her own desirable second apartment were the strongest part of the episode, and it was fun to see Nate Corrdry, formerly a cast member on the other variety show series that started on NBC in 2006, as the guy who turned out to be both gay and a cop.
What I’m Watching: The Office
The Office: Season 6, Episode 11 “Shareholders Meeting” (B)
There’s some funny stuff here, but ultimately it’s all just a tad too ridiculous to actually work. Michael’s excitement at taking a limo was fun, but the amount of time he put into perfecting his wave was a telltale harbinger of doom. Michael has made a mess of things before, and now he’s really done it by promising a 45-day plan with 45 solutions to help Dunder-Mifflin recover when the company’s upper management has no interest in doing so. It might have been better had Michael been giving a second act, a chance to go back out there and present a plan to appease the shareholders. It would likely have been one of his half-plans, like the lists he used to make for Ryan that were unfinished and which he planned to tell him more about later (like the top ten rules of business). Instead, he only got the staredown from the fairly useless David Wallace and Grandpa Gene from “Mad Men.” Back at the office, things made a whole lot more sense as Phyllis and Stanley snickered at Jim’s assertion that he had real power. Pam’s near-failure to support her flailing husband was fun, but the most satisfying part of the experience was the punishment Jim came up with to get the eternally distracted Ryan to focus and stop giving him a hard time. Congratulations to Jim for finally stepping up to the late and being able to get something done in Michael’s absence that the latter manager would never had been able to do.
There’s some funny stuff here, but ultimately it’s all just a tad too ridiculous to actually work. Michael’s excitement at taking a limo was fun, but the amount of time he put into perfecting his wave was a telltale harbinger of doom. Michael has made a mess of things before, and now he’s really done it by promising a 45-day plan with 45 solutions to help Dunder-Mifflin recover when the company’s upper management has no interest in doing so. It might have been better had Michael been giving a second act, a chance to go back out there and present a plan to appease the shareholders. It would likely have been one of his half-plans, like the lists he used to make for Ryan that were unfinished and which he planned to tell him more about later (like the top ten rules of business). Instead, he only got the staredown from the fairly useless David Wallace and Grandpa Gene from “Mad Men.” Back at the office, things made a whole lot more sense as Phyllis and Stanley snickered at Jim’s assertion that he had real power. Pam’s near-failure to support her flailing husband was fun, but the most satisfying part of the experience was the punishment Jim came up with to get the eternally distracted Ryan to focus and stop giving him a hard time. Congratulations to Jim for finally stepping up to the late and being able to get something done in Michael’s absence that the latter manager would never had been able to do.
Friday, November 20, 2009
What I’m Watching: Parks and Recreation
Parks and Recreation: Season 2, Episode 10 “Hunting Trip” (B+)
Having Leslie tag along on a hunting trip so that she can be “one of the guys” is an inspired storyline for this show, and the result is quite hilarious. Ron’s unamused reaction to the invasion of his private space was fun, and it’s nice to have an episode that’s so Ron-centric while still highlighting all of the other characters so terrifically. It’s wonderful to have both Leslie and Ann along for the ride, and their attempts to bond in masculine ways are entertaining. Someone getting shot was clearly going to happen given the wealth of untrained and inexperienced hunters going off into the woods armed with weapons, and seeing how each of the new hunters went wrong was great. Leslie’s decision to bite the bullet and take the blame for shooting Ron in the head made for great comic fodder, with two marvelous scenes that seemed like they were never going to end – Ron’s berating of Leslie for shooting him in the head and Leslie’s excuses for why she, the inferior female, had shot Ron in the head. The revelation that it was actually the unlicensed Tom who shot Ron in the head was a nice surprise, and Ann pantsing Tom and then high-fiving Leslie was a fitting end to the fateful trip into the woods. Back at the office, April and Andy are really good at getting nothing done, and their little friends-with-benefits experiment to make Ann jealous doesn’t seem to have paid off, but it sure is amusing.
Having Leslie tag along on a hunting trip so that she can be “one of the guys” is an inspired storyline for this show, and the result is quite hilarious. Ron’s unamused reaction to the invasion of his private space was fun, and it’s nice to have an episode that’s so Ron-centric while still highlighting all of the other characters so terrifically. It’s wonderful to have both Leslie and Ann along for the ride, and their attempts to bond in masculine ways are entertaining. Someone getting shot was clearly going to happen given the wealth of untrained and inexperienced hunters going off into the woods armed with weapons, and seeing how each of the new hunters went wrong was great. Leslie’s decision to bite the bullet and take the blame for shooting Ron in the head made for great comic fodder, with two marvelous scenes that seemed like they were never going to end – Ron’s berating of Leslie for shooting him in the head and Leslie’s excuses for why she, the inferior female, had shot Ron in the head. The revelation that it was actually the unlicensed Tom who shot Ron in the head was a nice surprise, and Ann pantsing Tom and then high-fiving Leslie was a fitting end to the fateful trip into the woods. Back at the office, April and Andy are really good at getting nothing done, and their little friends-with-benefits experiment to make Ann jealous doesn’t seem to have paid off, but it sure is amusing.
What I’m Watching: Flash Forward
Flash Forward: Season 1, Episode 9 “Believe” (C)
My experiences with would-be lovers whose only interactions occur with subtitles is that they’re not going to work out. It didn’t work so well for Jack on “Lost,” and, on top of that, the storyline of a new character who only speaks in subtitles often feels hopelessly disconnected (Hiro on “Heroes”) unless both parties speak the language (Sun and Jin on “Lost”). Either way, it’s not terribly interesting, and devoting an entire episode to Bryce feels like a real waste, especially considering not one other plotline actually moves forward. The investigation into the woman who called Demetri to tell him he’s going to die hasn’t gone far, and there’s nothing on the front of the tattooed villains, Lloyd, or Simon. Instead, the action is focused on the main characters and how the flash forwards are continuing to tear them apart, with Mark offending both Stan and Aaron by accusing them of betraying him. This show needs to think more about the big picture – who cares about Bryce learning a new language and Aaron watching his daughter slip off the wagon? The show had some solid opening sequences for a few weeks there with slow-motion flashbacks to the day of the flash forwards, and this episode started out potentially intriguing with the title cards indicating “two weeks before the flash forwards” and so on, but seeing only Bryce in that light doesn’t cut it. This show needs a major revelation, and soon, otherwise it’s not going to get anywhere.
My experiences with would-be lovers whose only interactions occur with subtitles is that they’re not going to work out. It didn’t work so well for Jack on “Lost,” and, on top of that, the storyline of a new character who only speaks in subtitles often feels hopelessly disconnected (Hiro on “Heroes”) unless both parties speak the language (Sun and Jin on “Lost”). Either way, it’s not terribly interesting, and devoting an entire episode to Bryce feels like a real waste, especially considering not one other plotline actually moves forward. The investigation into the woman who called Demetri to tell him he’s going to die hasn’t gone far, and there’s nothing on the front of the tattooed villains, Lloyd, or Simon. Instead, the action is focused on the main characters and how the flash forwards are continuing to tear them apart, with Mark offending both Stan and Aaron by accusing them of betraying him. This show needs to think more about the big picture – who cares about Bryce learning a new language and Aaron watching his daughter slip off the wagon? The show had some solid opening sequences for a few weeks there with slow-motion flashbacks to the day of the flash forwards, and this episode started out potentially intriguing with the title cards indicating “two weeks before the flash forwards” and so on, but seeing only Bryce in that light doesn’t cut it. This show needs a major revelation, and soon, otherwise it’s not going to get anywhere.
What I’m Watching: Modern Family
Modern Family: Season 1, Episode 8 “Great Expectations” (B+)
Taking a week off from this show makes its return even more exciting, and it doesn’t disappoint at all. Phil isn’t like the typical sitcom husband who forgets his wife’s anniversary, but instead he has a whole slew of presents lined up for her while she can’t hope to find anything that might be remotely please him. His list of ideal gifts was terrific, and the fact that he thinks it’s not tough to get him any of the nonexistent futuristic items he desires makes the comedy even richer. Claire’s delight at finding something that she thinks he’ll love is made spectacular by his perplexed, dumbfounded reaction to this band he’s never once spoken about during the entire course of their marriage. Edward Norton’s guest spot is funny, and it’s great to have him stop by. My question is, why isn’t this man, one of the best actors I’ve ever seen (see “American History X,” “Primal Fear,” and “25th Hour” if you don’t believe me), guest-starring on TV instead of making more movies? It’s also nice to have the lovely Elizabeth Banks on the show, and this is the perfect role for her. Having Cameron and Mitchell trying to figure out whether she actually threatened the life of their baby was hilarious, and it’s good to get them out of the house. Jay’s family night is a wonderful idea, and Haley’s fervent desire to get away from the night was fantastically turned on its head when her savior Dylan ended up being seduced by Jay’s Sloppy Joes and “The Gunfighter.”
Taking a week off from this show makes its return even more exciting, and it doesn’t disappoint at all. Phil isn’t like the typical sitcom husband who forgets his wife’s anniversary, but instead he has a whole slew of presents lined up for her while she can’t hope to find anything that might be remotely please him. His list of ideal gifts was terrific, and the fact that he thinks it’s not tough to get him any of the nonexistent futuristic items he desires makes the comedy even richer. Claire’s delight at finding something that she thinks he’ll love is made spectacular by his perplexed, dumbfounded reaction to this band he’s never once spoken about during the entire course of their marriage. Edward Norton’s guest spot is funny, and it’s great to have him stop by. My question is, why isn’t this man, one of the best actors I’ve ever seen (see “American History X,” “Primal Fear,” and “25th Hour” if you don’t believe me), guest-starring on TV instead of making more movies? It’s also nice to have the lovely Elizabeth Banks on the show, and this is the perfect role for her. Having Cameron and Mitchell trying to figure out whether she actually threatened the life of their baby was hilarious, and it’s good to get them out of the house. Jay’s family night is a wonderful idea, and Haley’s fervent desire to get away from the night was fantastically turned on its head when her savior Dylan ended up being seduced by Jay’s Sloppy Joes and “The Gunfighter.”
Thursday, November 19, 2009
What I’m Watching: Glee
Glee: Season 1, Episode 10 “Ballad” (B+)
After receiving a comment from reader Richter Scale on my review of last week’s episode, I’ve decided to go into this show each week with a focus on entertainment and the best things this show has to offer. As a result, I think I enjoyed this installment more than some of the recent ones (thanks!). Putting Kurt and Finn together is probably what people really want to see, and I’ll admit that it’s enjoyable to hear Kurt proclaim his adoration for Finn via voiceover while still being a good friend and helping him try to be an able father and boyfriend to Quinn, even at the risk of his own happiness. His frequent implications that girls just make everything complicated are entertaining, though he’d be better served to hit Finn over the head with a mallet to get his point across. Unfortunately, Finn isn’t too subtle with his very overt ballad, and the consequences of his confession result in his being even more closely united with Quinn. Casting Gregg Henry as her father was great, and it’s always fantastic to have him on a show, even if he’s playing drama rather than comedy (see “The Riches” for excellent instances of both). Rachel falling for Will isn’t too spectacular, though the combination of her narration, the Pepper flashbacks, and Terri using her as a maid make it work. Emma’s awe-struck reaction to Will’s attempt to send a message to Rachel wasn’t helpful for Will but was really funny – “You’re a very good performer! He’s very good!” – and it’s nice to see her on the show, even if only for a moment. The staff really is taking a backseat to what Mercedes hilariously deems “Babygate,” and Sue doesn’t even appear in this episode. Fortunately, there are plenty of new interactions which make up for that. Mercedes and Puck bonding is just one of those, and her aggressive declaration of “get something through your Mohawk” was hilarious. The episode’s strongest asset was singing itself out with a great performance of “Lean on Me,” and seeing Artie get a few solos was nice. This show knows how to save the best for last and close out the episode on a high note.
After receiving a comment from reader Richter Scale on my review of last week’s episode, I’ve decided to go into this show each week with a focus on entertainment and the best things this show has to offer. As a result, I think I enjoyed this installment more than some of the recent ones (thanks!). Putting Kurt and Finn together is probably what people really want to see, and I’ll admit that it’s enjoyable to hear Kurt proclaim his adoration for Finn via voiceover while still being a good friend and helping him try to be an able father and boyfriend to Quinn, even at the risk of his own happiness. His frequent implications that girls just make everything complicated are entertaining, though he’d be better served to hit Finn over the head with a mallet to get his point across. Unfortunately, Finn isn’t too subtle with his very overt ballad, and the consequences of his confession result in his being even more closely united with Quinn. Casting Gregg Henry as her father was great, and it’s always fantastic to have him on a show, even if he’s playing drama rather than comedy (see “The Riches” for excellent instances of both). Rachel falling for Will isn’t too spectacular, though the combination of her narration, the Pepper flashbacks, and Terri using her as a maid make it work. Emma’s awe-struck reaction to Will’s attempt to send a message to Rachel wasn’t helpful for Will but was really funny – “You’re a very good performer! He’s very good!” – and it’s nice to see her on the show, even if only for a moment. The staff really is taking a backseat to what Mercedes hilariously deems “Babygate,” and Sue doesn’t even appear in this episode. Fortunately, there are plenty of new interactions which make up for that. Mercedes and Puck bonding is just one of those, and her aggressive declaration of “get something through your Mohawk” was hilarious. The episode’s strongest asset was singing itself out with a great performance of “Lean on Me,” and seeing Artie get a few solos was nice. This show knows how to save the best for last and close out the episode on a high note.
What I’m Watching: Sons of Anarchy
Sons of Anarchy: Season 2, Episode 11 “Service” (A-)
It seemed like all the tension that had been building had finally exploded a few weeks ago when Clay and Jax fought physically, but this is where things finally boil over. It’s fascinating how the revelation of Gemma’s secret results in another member going over the edge and confessing his sins to the one man he really shouldn’t be talking to about it. This episode provided an incredible look at so many characters that don’t usually get such special treatment, like Tig, Chibs, and Piney. Tig’s meltdown in front of Opie was powerful, and seeing Piney come in guns blazing to take down Tig was pretty awe-inspiring too. The strongest and most shocking moment of this episode was Opie’s confrontation with Agent Stahl, where he managed to make the hard-as-nails fed break down in tears. That woman certainly gets what she deserves, as only moments before she tried to pull the same kind of life-endangering stunt she did with Opie on Chibs, and this isn’t the first time that she’s been punished for her extortionist behavior, like when Otto slammed her head down on the table in prison, but this is the first time that she actually starts to crack. Bravo to Ally Walker for playing well with the boys and delivering a stunning performance. Opie truly is a three-dimensional character, and seeing him not only decide to stay at the club knowing that Clay and Tig killed his wife but also tell them that he saw Chibs coming out of a meeting with Stahl to ensure that the club goes about investigating through the proper channels was stellar. It’s good that Clay and Jax have buried the hatchet and that the heir to the throne isn’t going anywhere, since, as the two SAMCRO leaders put it, they have to take down Zobelle and Weston the same way the white supremacists have been undermining them: slowly, steadily, and, above all, smartly.
It seemed like all the tension that had been building had finally exploded a few weeks ago when Clay and Jax fought physically, but this is where things finally boil over. It’s fascinating how the revelation of Gemma’s secret results in another member going over the edge and confessing his sins to the one man he really shouldn’t be talking to about it. This episode provided an incredible look at so many characters that don’t usually get such special treatment, like Tig, Chibs, and Piney. Tig’s meltdown in front of Opie was powerful, and seeing Piney come in guns blazing to take down Tig was pretty awe-inspiring too. The strongest and most shocking moment of this episode was Opie’s confrontation with Agent Stahl, where he managed to make the hard-as-nails fed break down in tears. That woman certainly gets what she deserves, as only moments before she tried to pull the same kind of life-endangering stunt she did with Opie on Chibs, and this isn’t the first time that she’s been punished for her extortionist behavior, like when Otto slammed her head down on the table in prison, but this is the first time that she actually starts to crack. Bravo to Ally Walker for playing well with the boys and delivering a stunning performance. Opie truly is a three-dimensional character, and seeing him not only decide to stay at the club knowing that Clay and Tig killed his wife but also tell them that he saw Chibs coming out of a meeting with Stahl to ensure that the club goes about investigating through the proper channels was stellar. It’s good that Clay and Jax have buried the hatchet and that the heir to the throne isn’t going anywhere, since, as the two SAMCRO leaders put it, they have to take down Zobelle and Weston the same way the white supremacists have been undermining them: slowly, steadily, and, above all, smartly.
What I’m Watching: NCIS: Los Angeles
NCIS: Los Angeles: Season 1, Episode 8 “Ambush” (B+)
Opening the episode with the marine’s paranoid flight into the aquarium and having his death captured on FishCam was a great jump-start for a very action-centric episode. Bringing back Special Agent Mike Renko, who appeared in the two-hour backdoor pilot that aired as part of the previous season of “NCIS,” was fun because he doesn’t distract from the main players of the team but has an entertaining rapport with the whole team and Kensi in particular. It was also cool to incorporate the murdered marine as Renko’s informant and connect him in that way. This show might be better named “NCIS: Undercover” since chameleon Callen always seems to be donning a fake identity for the same of the case, and most times at a moment’s notice. The reveal that Callen was seated in the prison van and that Sam was posing as a guard was treated so excitedly – it’s clear that this show is proud of itself when it manages to pull off a stunt like that. Callen’s back-and-forth insulting act with the brainwashed marine who kept holding a gun to him was really funny, and the other guy ultimately taking back his insults was a nice touch. Hetty’s trip to D.C. was highly interrupted by her desire to still supervise her team, and the relationship she has with Vance is truly superb. It’s impressive that Hetty is still able to motivate her team members to race each other up the stairs to be the first to the briefing room even when she’s not actually physically there.
Opening the episode with the marine’s paranoid flight into the aquarium and having his death captured on FishCam was a great jump-start for a very action-centric episode. Bringing back Special Agent Mike Renko, who appeared in the two-hour backdoor pilot that aired as part of the previous season of “NCIS,” was fun because he doesn’t distract from the main players of the team but has an entertaining rapport with the whole team and Kensi in particular. It was also cool to incorporate the murdered marine as Renko’s informant and connect him in that way. This show might be better named “NCIS: Undercover” since chameleon Callen always seems to be donning a fake identity for the same of the case, and most times at a moment’s notice. The reveal that Callen was seated in the prison van and that Sam was posing as a guard was treated so excitedly – it’s clear that this show is proud of itself when it manages to pull off a stunt like that. Callen’s back-and-forth insulting act with the brainwashed marine who kept holding a gun to him was really funny, and the other guy ultimately taking back his insults was a nice touch. Hetty’s trip to D.C. was highly interrupted by her desire to still supervise her team, and the relationship she has with Vance is truly superb. It’s impressive that Hetty is still able to motivate her team members to race each other up the stairs to be the first to the briefing room even when she’s not actually physically there.
Wednesday, November 18, 2009
What I’m Watching: NCIS
NCIS: Season 7, Episode 8 “Power Down” (B+)
The faster-paced spinoff really is rubbing off on this show. It’s rare that there’s an action sequence to start off the episode, and even rarer that the opening sequence ends not in a murder but in a killing of an altogether different sort. The city-wide blackout provides a great launching pad for this episode to show how all of these characters respond to life without their beloved overnight recharges. It also makes quite the statement about how the technologically savvy and dependent world functions when the power goes down and life has to be scaled back to the days before electricity. McGee and Ziva getting stuck in the elevator overnight was fun, even if we only got to catch the tail end of their lengthy affair. Tony’s remark that they should find a dinosaur who knows how to operate the card catalog system was hilarious, especially considering the crafty Gibbs stepped in only moments later to flawlessly utilize the archaic machine. The fact that so many things, including McGee’s camera and Abby’s music player, died simply because they didn’t charge overnight was pretty funny, and it still didn’t prevent NCIS from solving and closing the case. Tony certainly had a great time announcing to the guilty conspirator that they had caught him, and it’s his flair for filmic dramatics that makes him such a terrific character. The best moment of the episode is when the power comes back in the final moments, and everyone hurriedly logs onto their computers to reconnect with the technological universe, but Gibbs just smiles and packs up his bag, painlessly unconnected to the electronic world.
The faster-paced spinoff really is rubbing off on this show. It’s rare that there’s an action sequence to start off the episode, and even rarer that the opening sequence ends not in a murder but in a killing of an altogether different sort. The city-wide blackout provides a great launching pad for this episode to show how all of these characters respond to life without their beloved overnight recharges. It also makes quite the statement about how the technologically savvy and dependent world functions when the power goes down and life has to be scaled back to the days before electricity. McGee and Ziva getting stuck in the elevator overnight was fun, even if we only got to catch the tail end of their lengthy affair. Tony’s remark that they should find a dinosaur who knows how to operate the card catalog system was hilarious, especially considering the crafty Gibbs stepped in only moments later to flawlessly utilize the archaic machine. The fact that so many things, including McGee’s camera and Abby’s music player, died simply because they didn’t charge overnight was pretty funny, and it still didn’t prevent NCIS from solving and closing the case. Tony certainly had a great time announcing to the guilty conspirator that they had caught him, and it’s his flair for filmic dramatics that makes him such a terrific character. The best moment of the episode is when the power comes back in the final moments, and everyone hurriedly logs onto their computers to reconnect with the technological universe, but Gibbs just smiles and packs up his bag, painlessly unconnected to the electronic world.
Take Two: V
V: Season 1, Episodes 2 & 3 “There Is No Normal Anymore” & “A Bright New Day” (C+/B)
I’m going to tackle the second and third episodes of this new show together since I didn’t get a chance to review the second one last week. I’m happy to report that, in between these two installments, the show has improved markedly, and there’s a very clear sense that it’s going somewhere. Next week marks the last episode that will air in 2009, since the show will go on hiatus until the spring. Fortunately, it’s going out on a good note. Like in the first episode, it’s the story of the Vs that is infinitely better and more exciting than whatever’s going on with the humans. The dialogue has improved considerably, and Erica has found a sense of purpose now that she is putting together a resistance and the Vs are clearly aware of her existence. It’s clear that Erica is important in the grand of scheme of things, and that’s great. Weaving all the characters together definitely enhances the show a lot. Tyler is certainly much better than he was in the beginning, and the fact that the seemingly sweet Lisa is actually trying to position herself in Tyler’s life as a way of getting to Erica. It really makes the Vs seem much sinister than they seemed before, especially since the obnoxious Chad just makes them seem one-dimensional every time he appears on screen. Anna’s ploy to get her number one critic to go on public television declaring her solidarity with the Vs was quite impressive, and it’s notable that Anna is so easily able to achieve what she wants. The revelation that Lisa is actually Anna’s daughter is awesome, though there’s a real-life discrepancy: actress Laura Vandervoort is actually only five years younger than Morena Baccarin. It still works fine, and they are aliens, so perhaps their appearance is easily manipulated and tweaked. The coolest part of the show is the Fifth Column. It’s a great way of incorporating Morris Chestnut’s character, whose identity as a traitorous V is intriguing. It’s also a fantastic way of bringing back Dale (and actor Alan Tudyk) and giving him plenty of scenery to chew, followed by the fantastic reveal of the doctor as a traitor who is excited by the idea that Erica could be a great ally. Basically, this show is actually a lot better than it initially seemed, and I imagine I’ll be quite excited for it when it returns in a few months, provided next week’s episode lives up to this, focusing on the Vs, the traitors, and much, much less Chad.
I’m going to tackle the second and third episodes of this new show together since I didn’t get a chance to review the second one last week. I’m happy to report that, in between these two installments, the show has improved markedly, and there’s a very clear sense that it’s going somewhere. Next week marks the last episode that will air in 2009, since the show will go on hiatus until the spring. Fortunately, it’s going out on a good note. Like in the first episode, it’s the story of the Vs that is infinitely better and more exciting than whatever’s going on with the humans. The dialogue has improved considerably, and Erica has found a sense of purpose now that she is putting together a resistance and the Vs are clearly aware of her existence. It’s clear that Erica is important in the grand of scheme of things, and that’s great. Weaving all the characters together definitely enhances the show a lot. Tyler is certainly much better than he was in the beginning, and the fact that the seemingly sweet Lisa is actually trying to position herself in Tyler’s life as a way of getting to Erica. It really makes the Vs seem much sinister than they seemed before, especially since the obnoxious Chad just makes them seem one-dimensional every time he appears on screen. Anna’s ploy to get her number one critic to go on public television declaring her solidarity with the Vs was quite impressive, and it’s notable that Anna is so easily able to achieve what she wants. The revelation that Lisa is actually Anna’s daughter is awesome, though there’s a real-life discrepancy: actress Laura Vandervoort is actually only five years younger than Morena Baccarin. It still works fine, and they are aliens, so perhaps their appearance is easily manipulated and tweaked. The coolest part of the show is the Fifth Column. It’s a great way of incorporating Morris Chestnut’s character, whose identity as a traitorous V is intriguing. It’s also a fantastic way of bringing back Dale (and actor Alan Tudyk) and giving him plenty of scenery to chew, followed by the fantastic reveal of the doctor as a traitor who is excited by the idea that Erica could be a great ally. Basically, this show is actually a lot better than it initially seemed, and I imagine I’ll be quite excited for it when it returns in a few months, provided next week’s episode lives up to this, focusing on the Vs, the traitors, and much, much less Chad.
What I’m Watching: Heroes
Heroes: Season 4, Episode 10 “Brother’s Keeper” (F)
If Nathan/Sylar touches Matt’s hand, Sylar gets his body back. Could this be any dumber? It appears so, since the elder Petrelli brother is still essentially Nathan and maintains the ability to try and keep Sylar out of his body. The whole idea that Nathan and Peter would just happen to need to seek out Matt and that Peter would be able to save him is just preposterous, especially considering how much this messes up Matt’s half-decent plan of self-sacrifice to forever rid the world of at least one half of Sylar. At least Peter is smart enough to absorb Nathan/Sylar’s power so that he can stay with him. The reintroduction of a character I had long forgotten about in this episode came as a bit of an unneeded surprise. It’s also interesting that, prior to watching this episode, I saw a film in which actor Sendhil Ramamurthy played a famous actor, and I recalled his long-ago existence on this show, only to find him suddenly reappearing. Everything about Mohinder always seems exceedingly irrelevant, and his obsession over the film of his father (is there anything more boring?) fits into that category. Samuel was always a bit of a loose cannon, and the fact that he can learn how to control his powers from watching a video of his birth seems like quite a stretch. Tracy’s powers being on the fritz isn’t really an interesting thread, and she’s always had more than enough reason to shack up with the carnival freaks and abandon her public life. Breaking off a piece of Claire’s foot and then sobbing about it didn’t provide her with any newfound wisdom or revelation.
If Nathan/Sylar touches Matt’s hand, Sylar gets his body back. Could this be any dumber? It appears so, since the elder Petrelli brother is still essentially Nathan and maintains the ability to try and keep Sylar out of his body. The whole idea that Nathan and Peter would just happen to need to seek out Matt and that Peter would be able to save him is just preposterous, especially considering how much this messes up Matt’s half-decent plan of self-sacrifice to forever rid the world of at least one half of Sylar. At least Peter is smart enough to absorb Nathan/Sylar’s power so that he can stay with him. The reintroduction of a character I had long forgotten about in this episode came as a bit of an unneeded surprise. It’s also interesting that, prior to watching this episode, I saw a film in which actor Sendhil Ramamurthy played a famous actor, and I recalled his long-ago existence on this show, only to find him suddenly reappearing. Everything about Mohinder always seems exceedingly irrelevant, and his obsession over the film of his father (is there anything more boring?) fits into that category. Samuel was always a bit of a loose cannon, and the fact that he can learn how to control his powers from watching a video of his birth seems like quite a stretch. Tracy’s powers being on the fritz isn’t really an interesting thread, and she’s always had more than enough reason to shack up with the carnival freaks and abandon her public life. Breaking off a piece of Claire’s foot and then sobbing about it didn’t provide her with any newfound wisdom or revelation.
Tuesday, November 17, 2009
What I’m Watching: Californication
Californication: Season 3, Episode 8 “The Apartment” (B+)
How could these three women in Hank’s life have been brought together in any better fashion? The three arrivals are each fantastic in their own way, and the episode just keeps getting increasingly good. Part of what’s so great is that these women have been so singularly focused on Hank and blissfully unaware of the presence of each other in his life. Hank’s apartment has never felt so big, and the fact that it could hide the three ladies, a couple of strippers, Charlie, and even Rick Springfield is pretty hilarious. Eva Amurri, Diane Farr, and Embeth Davidtz are all wonderful in their respective performances as Jackie, Jill, and Felicia, and seeing and hearing their reactions to Hank’s other affairs was simply incredible. The best was probably Jackie’s disgust at Jill’s age. And then of course there’s the terrific Peter Gallagher, whose Dean Koons finally gets the chance to really speak his mind and try to chew Hank out while admitting his own faults, unknowingly in front of his wife, no less. The introduction of the two overly mature young daughters, Chelsea and Becca, made for an even funnier follow-up, and the best part of it was the rapport between Chelsea and her father. Seeing Becca stick up for Hank (“Hey, that’s my father!”) was a touching moment, and it’s refreshing that they’re bonding again, in their own extremely messed-up way. I hope that this show picks up a Screen Actors Guild nomination for Best Ensemble in December, because this cast really deserves it.
How could these three women in Hank’s life have been brought together in any better fashion? The three arrivals are each fantastic in their own way, and the episode just keeps getting increasingly good. Part of what’s so great is that these women have been so singularly focused on Hank and blissfully unaware of the presence of each other in his life. Hank’s apartment has never felt so big, and the fact that it could hide the three ladies, a couple of strippers, Charlie, and even Rick Springfield is pretty hilarious. Eva Amurri, Diane Farr, and Embeth Davidtz are all wonderful in their respective performances as Jackie, Jill, and Felicia, and seeing and hearing their reactions to Hank’s other affairs was simply incredible. The best was probably Jackie’s disgust at Jill’s age. And then of course there’s the terrific Peter Gallagher, whose Dean Koons finally gets the chance to really speak his mind and try to chew Hank out while admitting his own faults, unknowingly in front of his wife, no less. The introduction of the two overly mature young daughters, Chelsea and Becca, made for an even funnier follow-up, and the best part of it was the rapport between Chelsea and her father. Seeing Becca stick up for Hank (“Hey, that’s my father!”) was a touching moment, and it’s refreshing that they’re bonding again, in their own extremely messed-up way. I hope that this show picks up a Screen Actors Guild nomination for Best Ensemble in December, because this cast really deserves it.
What I’m Watching: Dexter
Dexter: Season 4, Episode 8 “Road Kill” (B+)
Let’s start off with a hearty round of applause for Deb. The usually unimpressive detective has been nothing but a whiny distraction lately, and she manages in this episode to make a staggering breakthrough that disconnects her shooting and Lundy’s death from the Trinity Killer. The way she worked through it with Masuka was pretty cool, and those two really are the most unlikely duo to make a major revelation, so kudos to them. Dexter’s rush to get out of Miami and find something science-y as a cover conference for his extracurricular Arthur activities in Tampa was fun, and it’s good to see the wheels spinning in his head. He was very clever in the way that he established his alibi and took a quick photo with the weatherman to send to Rita. Dexter’s previous affair was mistakenly referenced by Masuka in this episode in an attempt to defend Dexter’s honor, and that’s not going to go over well when Quinn tries to dredge up old skeletons. It’s also fair to say that Rita is entitled to an affair of her own with her fish-frying neighbor, though the way she values family will probably prevent her from slipping. It’s a good thing that Dexter is being careful about securing proof he was at the conference, since his current activities would certainly give her cause for concern that he’s having another affair or addicted to drugs again. Seeing Arthur slip and really go nuts was pretty intense, and Dexter’s decision to save him so that he can kill him later instead of letting him jump is a bit troubling since it’s clear that what he wants to do won’t go exactly as planned, and someone besides the Trinity Killer is probably going to get hurt.
Let’s start off with a hearty round of applause for Deb. The usually unimpressive detective has been nothing but a whiny distraction lately, and she manages in this episode to make a staggering breakthrough that disconnects her shooting and Lundy’s death from the Trinity Killer. The way she worked through it with Masuka was pretty cool, and those two really are the most unlikely duo to make a major revelation, so kudos to them. Dexter’s rush to get out of Miami and find something science-y as a cover conference for his extracurricular Arthur activities in Tampa was fun, and it’s good to see the wheels spinning in his head. He was very clever in the way that he established his alibi and took a quick photo with the weatherman to send to Rita. Dexter’s previous affair was mistakenly referenced by Masuka in this episode in an attempt to defend Dexter’s honor, and that’s not going to go over well when Quinn tries to dredge up old skeletons. It’s also fair to say that Rita is entitled to an affair of her own with her fish-frying neighbor, though the way she values family will probably prevent her from slipping. It’s a good thing that Dexter is being careful about securing proof he was at the conference, since his current activities would certainly give her cause for concern that he’s having another affair or addicted to drugs again. Seeing Arthur slip and really go nuts was pretty intense, and Dexter’s decision to save him so that he can kill him later instead of letting him jump is a bit troubling since it’s clear that what he wants to do won’t go exactly as planned, and someone besides the Trinity Killer is probably going to get hurt.
What I’m Watching: Desperate Housewives
Desperate Housewives: Season 6, Episode 8 “The Coffee Cup” (B+)
It’s fun to see how the determined efforts of one highly motivated housewife can so completely contradict and clash with the efforts and desires of another. It’s debatable who is the pushier of the two women, Gaby or Lynette, but going up against either of them is not a good idea. Gaby’s quickness to bribe the priest to try and get Juanita into the school was entertaining, but it’s also nice to get to see the more mean-spirited side of Gaby and have her get angry at Lynette for keeping her pregnancy a secret. Carlos’ conversation with Lynette also allowed him to be serious for once, and it’s an unfortunate situation that she’s in, though it’s hardly unexpected. Pairing another set of bickering housewives up worked well in comic terms for Katherine and Susan, whose community service sentences provided an amusing conversation that led to Susan trying too hard to have a sex-filled day with Mike and ultimately leading right into a positive reaffirmation of the lasting potential of their relationship. Orson’s resolve to expose Bree’s cheating ways could have ended tragically, but instead Angie steps up to the plate to save the day. The Bolen family is turning out to be extraordinarily interesting, and Nick’s phone call to the agent who’s been tracking him is a powerful one. It seems that they’re destined to keep leaving dead bodies in their wake, as the poor, flirtatious waitress becomes their latest victim. Julie’s run-in with Angie at the coffee shop was a fantastic scene, and having Angie as the possible strangler is a superb twist. Either way, Drea de Matteo is doing a terrific job and should be commended for her performance. This episode also deserves praise for being the most solid in a long time, and for being on the ball with every one of its threads.
It’s fun to see how the determined efforts of one highly motivated housewife can so completely contradict and clash with the efforts and desires of another. It’s debatable who is the pushier of the two women, Gaby or Lynette, but going up against either of them is not a good idea. Gaby’s quickness to bribe the priest to try and get Juanita into the school was entertaining, but it’s also nice to get to see the more mean-spirited side of Gaby and have her get angry at Lynette for keeping her pregnancy a secret. Carlos’ conversation with Lynette also allowed him to be serious for once, and it’s an unfortunate situation that she’s in, though it’s hardly unexpected. Pairing another set of bickering housewives up worked well in comic terms for Katherine and Susan, whose community service sentences provided an amusing conversation that led to Susan trying too hard to have a sex-filled day with Mike and ultimately leading right into a positive reaffirmation of the lasting potential of their relationship. Orson’s resolve to expose Bree’s cheating ways could have ended tragically, but instead Angie steps up to the plate to save the day. The Bolen family is turning out to be extraordinarily interesting, and Nick’s phone call to the agent who’s been tracking him is a powerful one. It seems that they’re destined to keep leaving dead bodies in their wake, as the poor, flirtatious waitress becomes their latest victim. Julie’s run-in with Angie at the coffee shop was a fantastic scene, and having Angie as the possible strangler is a superb twist. Either way, Drea de Matteo is doing a terrific job and should be commended for her performance. This episode also deserves praise for being the most solid in a long time, and for being on the ball with every one of its threads.
Monday, November 16, 2009
What I’m Watching: Curb Your Enthusiasm
Curb Your Enthusiasm: Season 7, Episode 9 “The Table Read” (B)
I’ll start with the parts of this episode that were really strong because they deserve commendation. Bringing together the Seinfeld cast and having them read through the script for the reunion show has been a long time coming, and it’s not a disappointment. Larry’s debate with Jason over the mistreatment of his pen while in his care was fun, and it’s also amusing, as a casual viewer who only came in regularly for the show’s fifth season, to see how Larry incorporates elements of his own life into his scripts. It was obvious that George was based heavily on Larry, but it’s cool to also see Kramer given some of Larry’s tics, like hiring a prostitute so that he can drive in the carpool lane, which I know is the plot of a season four episode I haven’t seen. Michael’s terrified response to Leon knocking at his door was hilarious as an expected way of referencing his real-life racist outburst from a few years, but it went a bit too far with him lashing out at Leon and getting caught on camera by all those around him. What’s so great about seeing Larry squirm on this show is that he’s a despicable guy who deserves it, but the show allows the opportunity to really get to know him and develop feelings of love-hate for him. That’s not true for Michael, and therefore seeming him get embarrassed isn’t as fulfilling. Some may have enjoyed it, but I think the first moment with Leon was so brilliant and quick that the next one just wasn’t necessary. Having Funkhouser as the one around on set and the one to tell Jerry the dirty joke feels weird since he’s always been the generally kind-hearted, easily-offended friend rather than an intrusive presence. Larry’s relationship with the 9-year-old was a also bit over-the-top in concept, and while the end-of-episode “Call the police” line was pretty funny, sometimes Larry just has to wake up and realize that he’s saying the wrong thing.
I’ll start with the parts of this episode that were really strong because they deserve commendation. Bringing together the Seinfeld cast and having them read through the script for the reunion show has been a long time coming, and it’s not a disappointment. Larry’s debate with Jason over the mistreatment of his pen while in his care was fun, and it’s also amusing, as a casual viewer who only came in regularly for the show’s fifth season, to see how Larry incorporates elements of his own life into his scripts. It was obvious that George was based heavily on Larry, but it’s cool to also see Kramer given some of Larry’s tics, like hiring a prostitute so that he can drive in the carpool lane, which I know is the plot of a season four episode I haven’t seen. Michael’s terrified response to Leon knocking at his door was hilarious as an expected way of referencing his real-life racist outburst from a few years, but it went a bit too far with him lashing out at Leon and getting caught on camera by all those around him. What’s so great about seeing Larry squirm on this show is that he’s a despicable guy who deserves it, but the show allows the opportunity to really get to know him and develop feelings of love-hate for him. That’s not true for Michael, and therefore seeming him get embarrassed isn’t as fulfilling. Some may have enjoyed it, but I think the first moment with Leon was so brilliant and quick that the next one just wasn’t necessary. Having Funkhouser as the one around on set and the one to tell Jerry the dirty joke feels weird since he’s always been the generally kind-hearted, easily-offended friend rather than an intrusive presence. Larry’s relationship with the 9-year-old was a also bit over-the-top in concept, and while the end-of-episode “Call the police” line was pretty funny, sometimes Larry just has to wake up and realize that he’s saying the wrong thing.
What I’m Watching: White Collar
White Collar: Season 1, Episode 4 “Flip of the Coin” (B+)
Over the past few weeks, it has been the relationship between Neal and Peter that’s proven truly interesting, and this time it’s the three-way dynamic between Neal, Peter, and Mozzie that really makes this episode work. The slippery Mozzie’s complete inability to act suave and take the hint when Neal tried to indicate cleverly that Peter was in the room was quite amusing, and Peter’s subsequent inviting in of the bald con artist was even better. Peter claims he’s keeping tabs on Mozzie, but it’s still nice to see the two of them actually interact. Neal’s displeasure with the car given to him to use as a high-roller by the FBI led to an impressive procurement by the tag-team of him and Mozzie, whose function as his driver proved crucial to the success of the FBI’s mission. That final moment where Mozzie hit the perpetrator (anyone else recognize Garret Dillahunt from "The Sarah Connor Chronicles"?) with his limo and said to an awestruck but amused Peter “I was never here” was terrific. The back-and-forth between Neal and Peter is wondrous because it’s based on a genuine, competitive friendship rather than animosity. Peter delights in leaving Neal in the lobby, and Neal is thrilled by the opportunity to one-up Peter by gaining access to the building in an altogether different way. Neal slipping in to the building with a host of coffees in his arms was a cool move, and all this talk of Neal being a renowned con artist is really fun.
Over the past few weeks, it has been the relationship between Neal and Peter that’s proven truly interesting, and this time it’s the three-way dynamic between Neal, Peter, and Mozzie that really makes this episode work. The slippery Mozzie’s complete inability to act suave and take the hint when Neal tried to indicate cleverly that Peter was in the room was quite amusing, and Peter’s subsequent inviting in of the bald con artist was even better. Peter claims he’s keeping tabs on Mozzie, but it’s still nice to see the two of them actually interact. Neal’s displeasure with the car given to him to use as a high-roller by the FBI led to an impressive procurement by the tag-team of him and Mozzie, whose function as his driver proved crucial to the success of the FBI’s mission. That final moment where Mozzie hit the perpetrator (anyone else recognize Garret Dillahunt from "The Sarah Connor Chronicles"?) with his limo and said to an awestruck but amused Peter “I was never here” was terrific. The back-and-forth between Neal and Peter is wondrous because it’s based on a genuine, competitive friendship rather than animosity. Peter delights in leaving Neal in the lobby, and Neal is thrilled by the opportunity to one-up Peter by gaining access to the building in an altogether different way. Neal slipping in to the building with a host of coffees in his arms was a cool move, and all this talk of Neal being a renowned con artist is really fun.
What I’m Watching: Monk
Monk: Season 8, Episode 13 “Mr. Monk is the Best Man” (B+)
It’s truly touching that Leland reaches out to Monk to be his best man. And it’s not as if Leland went to other candidates first and used Monk as a backup – he was actually his first choice. I wonder if the relatively unseen Randy was offended at not being chosen, but I guess that Leland and Monk go back a long time, presumably to long before Randy joined the force. The episode doesn’t contain anything terribly exciting, but it’s still a decent enough installment with no real faults. Monk ruining the surprise of Leland’s proposal isn’t quite disappointing, since T.K. has barely been seen on the show and therefore his popping the question might come as a big shock were it not prefaced by Monk’s clever detective work. Monk’s determination to protect the ring as if his life depended upon it is entertaining. It’s fun to see Teri Polo as T.K’s criminal friend, and even though her guilt is obvious from the very start, it’s still a nice guest spot. It’s also great to see Natalie get a chance to interact with some female friends, which is unusual, and to look at how put off by T.K. is by the danger of Leland being a cop since the lives of Leland and Monk seem so tame in comparison to some TV cops like any of the CSI guys or primetime drama detectives. These cases truly are fun, and Leland’s delighted singing on his way to see such a brutal homicide sums up the tone of this show well. There may be murders, but ultimately, there’s Monk, and it’s all about entertainment.
It’s truly touching that Leland reaches out to Monk to be his best man. And it’s not as if Leland went to other candidates first and used Monk as a backup – he was actually his first choice. I wonder if the relatively unseen Randy was offended at not being chosen, but I guess that Leland and Monk go back a long time, presumably to long before Randy joined the force. The episode doesn’t contain anything terribly exciting, but it’s still a decent enough installment with no real faults. Monk ruining the surprise of Leland’s proposal isn’t quite disappointing, since T.K. has barely been seen on the show and therefore his popping the question might come as a big shock were it not prefaced by Monk’s clever detective work. Monk’s determination to protect the ring as if his life depended upon it is entertaining. It’s fun to see Teri Polo as T.K’s criminal friend, and even though her guilt is obvious from the very start, it’s still a nice guest spot. It’s also great to see Natalie get a chance to interact with some female friends, which is unusual, and to look at how put off by T.K. is by the danger of Leland being a cop since the lives of Leland and Monk seem so tame in comparison to some TV cops like any of the CSI guys or primetime drama detectives. These cases truly are fun, and Leland’s delighted singing on his way to see such a brutal homicide sums up the tone of this show well. There may be murders, but ultimately, there’s Monk, and it’s all about entertainment.
Sunday, November 15, 2009
What I’m Watching: Ugly Betty
Ugly Betty: Season 4, Episode 6 “Backseat Betty” (B-)
This show is certainly entertaining, there’s no doubt about that, but it feels more unfocused now than ever. At the heart of the story is Betty’s search to define herself in terms that aren’t so limiting or expected, and that’s probably the strongest element of the show because it’s something that has recurred throughout the entire series, and constantly remained fresh and interesting. Betty’s hallucinated moments where she put herself out there and says the kind of things she’d never actually say were great, and it’s a fitting tribute to the character that she doesn’t really say them but still manages to break out of her shell by the end of the episode and become satisfied with the person she is. Justin’s ability to get past people making fun of him with the help of Marc is a nice triumph for the character, and his acceptance speech ended up being quite heartfelt when it came to his shout-out to Hilda. Daniel’s soul-searching continues to be frustrating because Natalie is clearly plotting something, and it’s about time her plan was revealed. Seeing her get angry at a clueless Amanda was an interesting moment though, and having Dylan Baker around is never a bad thing. Wilhelmina’s decision to quit Mode and start a new life with her daughter was never actually going to happen, and the revelation that Connor is dead really messes things up. This season feels like it’s waiting for all the characters and storylines to settle down, and it would be much more productive and satisfying if that started happening sooner than later.
This show is certainly entertaining, there’s no doubt about that, but it feels more unfocused now than ever. At the heart of the story is Betty’s search to define herself in terms that aren’t so limiting or expected, and that’s probably the strongest element of the show because it’s something that has recurred throughout the entire series, and constantly remained fresh and interesting. Betty’s hallucinated moments where she put herself out there and says the kind of things she’d never actually say were great, and it’s a fitting tribute to the character that she doesn’t really say them but still manages to break out of her shell by the end of the episode and become satisfied with the person she is. Justin’s ability to get past people making fun of him with the help of Marc is a nice triumph for the character, and his acceptance speech ended up being quite heartfelt when it came to his shout-out to Hilda. Daniel’s soul-searching continues to be frustrating because Natalie is clearly plotting something, and it’s about time her plan was revealed. Seeing her get angry at a clueless Amanda was an interesting moment though, and having Dylan Baker around is never a bad thing. Wilhelmina’s decision to quit Mode and start a new life with her daughter was never actually going to happen, and the revelation that Connor is dead really messes things up. This season feels like it’s waiting for all the characters and storylines to settle down, and it would be much more productive and satisfying if that started happening sooner than later.
What I’m Watching: Smallville
Smallville: Season 9, Episode 8 “Idol” (C+)
This episode works more as an idea than in its actual execution. The Wonder Twins are pretty lame and don’t feel like they belong on this show, but having them helps put things in perspective. Clark really is all the things Lois thinks he’s not when it comes to saving people, and he always does a great job of making sure people can taken care of and saving them just in the nick of time. His role as the protective Blur is important to the city of Metropolis, and he fills it well. The fact that the female Wonder Twin was played by Allion Scagliotti, also known as Claudia on “Warehouse 13,” was fun because it’s always great to see sci-fi stars popping up on shows in the same genre, even if it’s an actress from a sub-par sci-fi show on a sub-par episode of a somewhat better show. Lois’ accidental discovery that the Blur was in fact Clark was a fantastic moment, though it’s so impossibly frustrating that, as always seems to be the case on this show, it was all just pretend and she doesn’t actually know anything. At least in this case it’s not memory loss or an imagined reality, and the deception is orchestrated by a very meddlesome and clearly jealous Chloe, who definitely wants to share a secret with Clark even if she claims to be looking out for his best interests. Lois’ therapy also isn’t the best way to realize her affection for Clark, but it’s a start. It would be a bit better if the district attorney hadn’t actually thrown her off the building to try to frame the Blur, but I guess Metropolis is supposed to be a dark city filled with corruption akin to something like, say, Gotham City. The final scene with Clark and Lois’ shared kiss was a touching moment, and its violent conclusion is a sign that there are intense things to come on this show, hopefully sometime soon.
This episode works more as an idea than in its actual execution. The Wonder Twins are pretty lame and don’t feel like they belong on this show, but having them helps put things in perspective. Clark really is all the things Lois thinks he’s not when it comes to saving people, and he always does a great job of making sure people can taken care of and saving them just in the nick of time. His role as the protective Blur is important to the city of Metropolis, and he fills it well. The fact that the female Wonder Twin was played by Allion Scagliotti, also known as Claudia on “Warehouse 13,” was fun because it’s always great to see sci-fi stars popping up on shows in the same genre, even if it’s an actress from a sub-par sci-fi show on a sub-par episode of a somewhat better show. Lois’ accidental discovery that the Blur was in fact Clark was a fantastic moment, though it’s so impossibly frustrating that, as always seems to be the case on this show, it was all just pretend and she doesn’t actually know anything. At least in this case it’s not memory loss or an imagined reality, and the deception is orchestrated by a very meddlesome and clearly jealous Chloe, who definitely wants to share a secret with Clark even if she claims to be looking out for his best interests. Lois’ therapy also isn’t the best way to realize her affection for Clark, but it’s a start. It would be a bit better if the district attorney hadn’t actually thrown her off the building to try to frame the Blur, but I guess Metropolis is supposed to be a dark city filled with corruption akin to something like, say, Gotham City. The final scene with Clark and Lois’ shared kiss was a touching moment, and its violent conclusion is a sign that there are intense things to come on this show, hopefully sometime soon.
What I’m Watching: 30 Rock
30 Rock: Season 4, Episode 5 “The Problem Solvers” (B)
What this show really boils down to, crazy supporting characters aside, is the relationship between Jack and Liz. It’s perfectly framed by their conversation at the restaurant, where each surprises the other by simultaneously speaking the same words to show how well they know each other. The story is also symbolic of the different kind of people they are. They may be good friends, but Liz will always be the unprepared one who doesn’t really know anything about how the business side of the television industry works and Jack will always be one step ahead and all-manipulative behind the scenes of every situation. Liz’s Dealbreaker talk show is sure to tank really quickly, but it should be fun while it lasts. The arrival of the new cast member is considerably more subdued than what all the wacky people who auditioned for the part foreshadowed, and his only real function, besides an entertaining inability to stifle his Canadian accent while pronouncing the word “about,” is to cause the three zaniest characters on the show to become even more outrageous. Tracy and Jenna seem to be around to cause nothing but trouble, and their ill-fated creation of the Problem Solvers duo is predictably doomed from the start. They just seem more odd than actually funny, and it’s about time the cast members started actually acting on the show. Let’s see how the robot holds up when he’s playing a character other than the robot – he certainly seems like he’s the “real American” that Jack so desperately wanted to find.
What this show really boils down to, crazy supporting characters aside, is the relationship between Jack and Liz. It’s perfectly framed by their conversation at the restaurant, where each surprises the other by simultaneously speaking the same words to show how well they know each other. The story is also symbolic of the different kind of people they are. They may be good friends, but Liz will always be the unprepared one who doesn’t really know anything about how the business side of the television industry works and Jack will always be one step ahead and all-manipulative behind the scenes of every situation. Liz’s Dealbreaker talk show is sure to tank really quickly, but it should be fun while it lasts. The arrival of the new cast member is considerably more subdued than what all the wacky people who auditioned for the part foreshadowed, and his only real function, besides an entertaining inability to stifle his Canadian accent while pronouncing the word “about,” is to cause the three zaniest characters on the show to become even more outrageous. Tracy and Jenna seem to be around to cause nothing but trouble, and their ill-fated creation of the Problem Solvers duo is predictably doomed from the start. They just seem more odd than actually funny, and it’s about time the cast members started actually acting on the show. Let’s see how the robot holds up when he’s playing a character other than the robot – he certainly seems like he’s the “real American” that Jack so desperately wanted to find.
Saturday, November 14, 2009
What I’m Watching: The Office
The Office: Season 6, Episode 10 “Murder” (C+)
My frustration with this episode is similar to that of the office employees: why waste time role playing when the future of the company is at stake? This is just the latest in a string of episodes that haven’t really accomplished anything, and the idea that Dunder-Mifflin may be going under is pretty major in terms of the future of the show. Bringing it up and so purposely pushing its resolution off feels like a tease, and Wallace’s quick, frank phone call with Jim confirms that there is indeed something to be worried about, but just like Jim, we’re not going to know for a while exactly how worried to be. Demonstrating the fact that Michael is, in his own particular ways, a good boss is hardly necessary at this point because it only serves to weaken Jim’s own credibility. Jim does very little this episode besides fidget, shout, and look desperately at the camera, and it’s not becoming for him. He’s a terrific character because he’s subdued in the way that he checks Michael, and having him become so easily flappable takes away from that. This episode was overstuffed with outrageous moments that raised eyebrows but also produced laughs, like Michael’s hamster tube plan and Oscar’s high-pitched, barely audible attempt at a Southern accent. This certainly gets the office together, but it’s under false pretenses, and the interactions are all fabricated through the playing of Michael’s game. On a closing note, it appears that Erin and Andy have become the new Jim and Pam, woefully unaware of their mutual feelings and destined to do nothing for years about it until it’s way too late (or maybe not).
My frustration with this episode is similar to that of the office employees: why waste time role playing when the future of the company is at stake? This is just the latest in a string of episodes that haven’t really accomplished anything, and the idea that Dunder-Mifflin may be going under is pretty major in terms of the future of the show. Bringing it up and so purposely pushing its resolution off feels like a tease, and Wallace’s quick, frank phone call with Jim confirms that there is indeed something to be worried about, but just like Jim, we’re not going to know for a while exactly how worried to be. Demonstrating the fact that Michael is, in his own particular ways, a good boss is hardly necessary at this point because it only serves to weaken Jim’s own credibility. Jim does very little this episode besides fidget, shout, and look desperately at the camera, and it’s not becoming for him. He’s a terrific character because he’s subdued in the way that he checks Michael, and having him become so easily flappable takes away from that. This episode was overstuffed with outrageous moments that raised eyebrows but also produced laughs, like Michael’s hamster tube plan and Oscar’s high-pitched, barely audible attempt at a Southern accent. This certainly gets the office together, but it’s under false pretenses, and the interactions are all fabricated through the playing of Michael’s game. On a closing note, it appears that Erin and Andy have become the new Jim and Pam, woefully unaware of their mutual feelings and destined to do nothing for years about it until it’s way too late (or maybe not).
What I’m Watching: Parks and Recreation
Parks and Recreation: Season 2, Episode 9 “The Camel” (B+)
This episode isn’t as great as the ones that have led up to it this season, but it’s still hard to find much at fault with it, and it still works pretty well at getting the cast together and (semi-)motivated to do something. The state institution departmental rivalries are arguably the funniest part of this show, and the perplexing fact that Sewage always gets the hot interns is this week’s contribution to that aspect, and it’s a worthy follow-up to last week’s Parks-led hatred of the library. Redesigning the town mural is exactly the kind of thing that Leslie would be into, and her leading the charge brought out some truly interesting and entertaining responses from her team. Tom’s decision to pay an aspiring artist, trash him, and than tear up at the sight of this bizarrely mesmerizing painting was great. Ann’s involvement, despite her not actually being a member of the department, was nice, and it was amusing to see her come up with such an unimpressive result. April’s was just plain trashy, and Jerry didn’t even get a chance to show off his work of art due to the team’s immature chanting of “murinal,” which was strange but still pretty damn funny. Ron’s brief cameo at the start where he confirmed Leslie’s rank was great, and his bunion-motivated shoe-shine fetish was a bit weird but still worked. It’s good to see Andy taking action and working hard at his job, even if he’s doomed to get himself into trouble letting his friends cut the line.
This episode isn’t as great as the ones that have led up to it this season, but it’s still hard to find much at fault with it, and it still works pretty well at getting the cast together and (semi-)motivated to do something. The state institution departmental rivalries are arguably the funniest part of this show, and the perplexing fact that Sewage always gets the hot interns is this week’s contribution to that aspect, and it’s a worthy follow-up to last week’s Parks-led hatred of the library. Redesigning the town mural is exactly the kind of thing that Leslie would be into, and her leading the charge brought out some truly interesting and entertaining responses from her team. Tom’s decision to pay an aspiring artist, trash him, and than tear up at the sight of this bizarrely mesmerizing painting was great. Ann’s involvement, despite her not actually being a member of the department, was nice, and it was amusing to see her come up with such an unimpressive result. April’s was just plain trashy, and Jerry didn’t even get a chance to show off his work of art due to the team’s immature chanting of “murinal,” which was strange but still pretty damn funny. Ron’s brief cameo at the start where he confirmed Leslie’s rank was great, and his bunion-motivated shoe-shine fetish was a bit weird but still worked. It’s good to see Andy taking action and working hard at his job, even if he’s doomed to get himself into trouble letting his friends cut the line.
What I’m Watching: Flash Forward
Flash Forward: Season 1, Episode 8 “Rules of the Game” (C)
There’s a point at which toying with the world as if it’s meaningless enough to be decided over a card game becomes impossibly irritating. This show reached that point relatively quickly, as the previously relatively unseen Simon comes onto the scene full force to meddle with Lloyd’s livelihood and exert his mysteriously-amassed medical knowledge to conveniently insert himself into situations that shouldn’t really involve him. The fact that Lloyd cheated at the supposedly fateful game seems remarkably out of character for the righteous do-gooder weighed down by a guilty conscience, but it appears it was the only way to stop the evil-oozing Simon. These characters really are defined as black-and-white, and the attempts to make the heroes seem flawed and potentially corruptible (killing to avoid being killed, for instance), don’t really work. Gough’s death as a way of transforming people’s outlook on the future would be better displayed by looking at the populace as a whole rather than just the members of the team. Aaron’s daughter’s presence is even less germane this episode as the one connective tissue to the primary storyline, Mark, is seen as a threat when we know that he’s anything but and can be implicitly trusted over any character on the show. In short, Gough’s monumental act of self-sacrifice last week should have paved the way for a far more coherent and well-grounded follow-up, and this episode is hardly that. Perhaps it’s time for Mark to meet Simon and they can talk about the fate of the world.
There’s a point at which toying with the world as if it’s meaningless enough to be decided over a card game becomes impossibly irritating. This show reached that point relatively quickly, as the previously relatively unseen Simon comes onto the scene full force to meddle with Lloyd’s livelihood and exert his mysteriously-amassed medical knowledge to conveniently insert himself into situations that shouldn’t really involve him. The fact that Lloyd cheated at the supposedly fateful game seems remarkably out of character for the righteous do-gooder weighed down by a guilty conscience, but it appears it was the only way to stop the evil-oozing Simon. These characters really are defined as black-and-white, and the attempts to make the heroes seem flawed and potentially corruptible (killing to avoid being killed, for instance), don’t really work. Gough’s death as a way of transforming people’s outlook on the future would be better displayed by looking at the populace as a whole rather than just the members of the team. Aaron’s daughter’s presence is even less germane this episode as the one connective tissue to the primary storyline, Mark, is seen as a threat when we know that he’s anything but and can be implicitly trusted over any character on the show. In short, Gough’s monumental act of self-sacrifice last week should have paved the way for a far more coherent and well-grounded follow-up, and this episode is hardly that. Perhaps it’s time for Mark to meet Simon and they can talk about the fate of the world.
Friday, November 13, 2009
What I’m Watching: Glee
Glee: Season 1, Episode 9 “Wheels” (C)
This wheelchair stunt is only the latest in a series of very bad ideas from Will Shuster. It’s a stunt that seemed so utterly ridiculous that it won’t do much but waste time, and it’s very likely that scrounging up all of those wheelchairs cost a fair amount of money which could have been put towards the handicap-accessible bus for Artie. The wheelchair number was an even more poorly-conceived idea, and wasn’t anywhere near as interesting or moving as Artie’s solo rendition of “Dancing with Myself,” which still went against the theme of characters performing only in rehearsal or while performing. The fact that Finn got a job as a result of his being in a wheelchair is sure not to pan out well, though the show likely won’t follow it through or dwell on it again in the future. The fact that Rachel helped him to get it certainly shouldn’t help get Quinn on his side, and Puck really does seem like he’s interested in putting forth the effort to help Quinn raise their child. Finn is too dumb to ever pick up on the existence of their relationship, and I’m curious who will be the first to discover it accidentally (probably Rachel). Finn’s enhancement of the baked goods is a bit too reminiscent of the “Vitamin D” episode from a few weeks ago. Singing portions of “Defying Gravity” was fun, but how could it not have been? It might have been better to feature a little bit more of the song since it’s really an incredible song, and the show always thrives when its characters are singing. Seeing a softer side of Sue hasn’t won me over in the past, but it was much more well done in this episode, and probably ranks as the high point.
This wheelchair stunt is only the latest in a series of very bad ideas from Will Shuster. It’s a stunt that seemed so utterly ridiculous that it won’t do much but waste time, and it’s very likely that scrounging up all of those wheelchairs cost a fair amount of money which could have been put towards the handicap-accessible bus for Artie. The wheelchair number was an even more poorly-conceived idea, and wasn’t anywhere near as interesting or moving as Artie’s solo rendition of “Dancing with Myself,” which still went against the theme of characters performing only in rehearsal or while performing. The fact that Finn got a job as a result of his being in a wheelchair is sure not to pan out well, though the show likely won’t follow it through or dwell on it again in the future. The fact that Rachel helped him to get it certainly shouldn’t help get Quinn on his side, and Puck really does seem like he’s interested in putting forth the effort to help Quinn raise their child. Finn is too dumb to ever pick up on the existence of their relationship, and I’m curious who will be the first to discover it accidentally (probably Rachel). Finn’s enhancement of the baked goods is a bit too reminiscent of the “Vitamin D” episode from a few weeks ago. Singing portions of “Defying Gravity” was fun, but how could it not have been? It might have been better to feature a little bit more of the song since it’s really an incredible song, and the show always thrives when its characters are singing. Seeing a softer side of Sue hasn’t won me over in the past, but it was much more well done in this episode, and probably ranks as the high point.
What I’m Watching: Sons of Anarchy
Sons of Anarchy: Season 2, Episode 10 “Balm” (B+)
The need to have every member of SAMCRO vote on whether Jax should be allowed to change his membership to the Nomad chapter provides a great way to check in with all the characters and to see a bit more of some of the less prominently-featured characters on this show. The usually unserious Juice seems truly shocked by the news that Jax wants to transfer, and it’s good to see that he’s okay after his selfless deed for the club nearly got him killed while they were in prison. Chibs also gets the biggest showcase he’s ever had on this show, and the fact that he’s the one out of all of the club members to turn informant comes as quite a surprise. In a town that blurs the line constantly between the law and the lawbreakers, the need for an informant seems almost extraneous. Yet Agent Stahl continues to insist that SAMCRO isn’t the real enemy in Charming and that she’s changed her focus to take down the real bad guys. Zobelle and Weston didn’t even appear this episode, but Gemma’s revelation to the two men in her life should change that. Gemma’s confession is a necessary step to unify not just Jax and Clay but also to keep Tara somehow involved as her professional life takes a turn for the worse. The most affecting moment of the impromptu family meeting was when Jax put his hand on Clay’s shoulder and the gruff club leader put his hand on Jax’s. It’s a rare intimate moment between these men who have been so at odds recently that speaks volumes about their relationship.
The need to have every member of SAMCRO vote on whether Jax should be allowed to change his membership to the Nomad chapter provides a great way to check in with all the characters and to see a bit more of some of the less prominently-featured characters on this show. The usually unserious Juice seems truly shocked by the news that Jax wants to transfer, and it’s good to see that he’s okay after his selfless deed for the club nearly got him killed while they were in prison. Chibs also gets the biggest showcase he’s ever had on this show, and the fact that he’s the one out of all of the club members to turn informant comes as quite a surprise. In a town that blurs the line constantly between the law and the lawbreakers, the need for an informant seems almost extraneous. Yet Agent Stahl continues to insist that SAMCRO isn’t the real enemy in Charming and that she’s changed her focus to take down the real bad guys. Zobelle and Weston didn’t even appear this episode, but Gemma’s revelation to the two men in her life should change that. Gemma’s confession is a necessary step to unify not just Jax and Clay but also to keep Tara somehow involved as her professional life takes a turn for the worse. The most affecting moment of the impromptu family meeting was when Jax put his hand on Clay’s shoulder and the gruff club leader put his hand on Jax’s. It’s a rare intimate moment between these men who have been so at odds recently that speaks volumes about their relationship.
What I’m Watching: NCIS: Los Angeles
NCIS: Los Angeles: Season 1, Episode 7 “Pushback” (B+)
It’s fitting that this series references events that occurred in its backdoor pilot on the same night that the very show that launched it features a crossover of Vance’s villain nemesis that appeared on this show just a few weeks ago. The opening sequence was an intense start to the episode, and exploring Callen’s mysterious past was a great focus. Nate’s concern over all the holes in Callen’s file was both intriguing and amusing, and his notion that perhaps Hetty was the one responsible for all the redactions was fun. Callen is a nice enough guy who certainly has better social skills than his partner, and it’s interesting to think that he has this international history behind him rife with secret identities and numerous friends and enemies. Callen certainly isn’t as intimidating or fearsome as someone like Leroy Jethro Gibbs, and he’s far more diplomatic in his relations with his co-workers and supervisors. His undercover job with Kensi was quite entertaining, and that seems to be what the two of them do best together, and it’s certainly the best way to incorporate Kensi into the team. Sam’s efforts to appease Hetty by trying to share her love of tea made for a hilarious situation, and his distaste for the tea wasn’t nearly as funny as her realization that it just wasn’t good. The relationship between Callen, Sam, and Hetty, and even some of the other cast members, is absolutely priceless, and definitely serves as the driving force of the show.
It’s fitting that this series references events that occurred in its backdoor pilot on the same night that the very show that launched it features a crossover of Vance’s villain nemesis that appeared on this show just a few weeks ago. The opening sequence was an intense start to the episode, and exploring Callen’s mysterious past was a great focus. Nate’s concern over all the holes in Callen’s file was both intriguing and amusing, and his notion that perhaps Hetty was the one responsible for all the redactions was fun. Callen is a nice enough guy who certainly has better social skills than his partner, and it’s interesting to think that he has this international history behind him rife with secret identities and numerous friends and enemies. Callen certainly isn’t as intimidating or fearsome as someone like Leroy Jethro Gibbs, and he’s far more diplomatic in his relations with his co-workers and supervisors. His undercover job with Kensi was quite entertaining, and that seems to be what the two of them do best together, and it’s certainly the best way to incorporate Kensi into the team. Sam’s efforts to appease Hetty by trying to share her love of tea made for a hilarious situation, and his distaste for the tea wasn’t nearly as funny as her realization that it just wasn’t good. The relationship between Callen, Sam, and Hetty, and even some of the other cast members, is absolutely priceless, and definitely serves as the driving force of the show.
Thursday, November 12, 2009
What I’m Watching: NCIS
NCIS: Season 7, Episode 7 “Endgame” (B+)
It’s interesting that how this episode works extraordinarily well as a way to link the spin-off to the original but that it also functions just fine all on its own. The reference to Lee Wuan Ka’s recent encounter with Vance in Los Angeles could be interpreted by a casual viewer checking in for this episode alone and unaware of the existence of the spin-off as just another stop on her hit list, with no idea that Ka was the focus of an episode from just a few weeks ago in Los Angeles. The fact that Vance plays just a big a role on “NCIS: Los Angeles” as he does here, and actually a bigger part than he currently does on this show, makes for a crucial bond between the two since the latter really doesn’t trumpet the NCIS part of the show as much. This episode keeps with the tradition of a deadly international killer having a personal relationship with a high-ranking NCIS agent and ending up dead in their homes. It’s a good way of enhancing Vance, who initially came on the scene as a potentially corrupt replacement for the dearly departed Jenny Shepard. This gives him a sense of purpose, and it’s also good for him to be a bit separate from the team. McGee’s romantic entanglement seemed like it was going so well, and I suppose that he does deserve credit for realizing that something was up. The abrupt accent change came out of nowhere, and Ka’s quick execution made for an intense moment. Eventually the probie will find happiness – just not anytime soon, it appears. On a lighter note, Tony deserves credit for coming up with an infinite number of ways to incorporate “Mc” into every word he uses and nicknames he gives McGee.
It’s interesting that how this episode works extraordinarily well as a way to link the spin-off to the original but that it also functions just fine all on its own. The reference to Lee Wuan Ka’s recent encounter with Vance in Los Angeles could be interpreted by a casual viewer checking in for this episode alone and unaware of the existence of the spin-off as just another stop on her hit list, with no idea that Ka was the focus of an episode from just a few weeks ago in Los Angeles. The fact that Vance plays just a big a role on “NCIS: Los Angeles” as he does here, and actually a bigger part than he currently does on this show, makes for a crucial bond between the two since the latter really doesn’t trumpet the NCIS part of the show as much. This episode keeps with the tradition of a deadly international killer having a personal relationship with a high-ranking NCIS agent and ending up dead in their homes. It’s a good way of enhancing Vance, who initially came on the scene as a potentially corrupt replacement for the dearly departed Jenny Shepard. This gives him a sense of purpose, and it’s also good for him to be a bit separate from the team. McGee’s romantic entanglement seemed like it was going so well, and I suppose that he does deserve credit for realizing that something was up. The abrupt accent change came out of nowhere, and Ka’s quick execution made for an intense moment. Eventually the probie will find happiness – just not anytime soon, it appears. On a lighter note, Tony deserves credit for coming up with an infinite number of ways to incorporate “Mc” into every word he uses and nicknames he gives McGee.
What I’m Watching: Heroes
Heroes: Season 4, Episode 9 “Shadowboxing” (F)
Last week this show was all about trying to relive the glory days of the past, and this installment is a tragic reminder that nothing has changed in the present. Forget all about Hiro, he’s irrelevant now, it seems. Peter is trying to save too many people with the power he’s picked up and it’s clearly taking a lot of energy away from him. His whole situation often just appears comic, as the hapless ambulance driver continually remarks that each case is far less severe than it initially appeared. The cleanup effort engineered by Noah in Claire’s dorm seems like it wouldn’t work just based on how glaringly suspicious Noah and the Haitian are walking around unaccompanied by a student. Noah getting caught alone in Rebecca’s room is an instance of what likely happened many times while they were parading through the halls wiping memories clean, but I guess the Haitian being there means that they can just wipe anyone’s memory if they start to suspect anything. Gretchen’s tearful exodus isn’t a sad moment since the character has only been irritating since she first set her eyes on Claire. Rebecca’s historical connection to Noah turns this whole universe into a world that’s way too small and incestuous. Samuel’s decision to shock Rebecca to get her in control presented an intriguing notion that Samuel might not in fact be a villain, but his later confirmation that Rebecca would get her revenge negates that. The presence of Sylar in Matt’s mind was perhaps the stupidest part of this episode, and having him tormenting Matt was idiotic enough. Having Matt try to one-up and deceive him is intolerable. Maybe it’s because Matt’s always been a poorly-written character or that Sylar’s haircut is obnoxious. It looks like much more effort was put in to making sure that Zachary Quinto and Greg Grunberg wore the same outfits than into crafting decent scenes. And then, the worst ending of all – Matt gets himself killed except, in typical “Heroes” fashion, he’s probably not really dead. Can nothing stop this stupid storyline?
Last week this show was all about trying to relive the glory days of the past, and this installment is a tragic reminder that nothing has changed in the present. Forget all about Hiro, he’s irrelevant now, it seems. Peter is trying to save too many people with the power he’s picked up and it’s clearly taking a lot of energy away from him. His whole situation often just appears comic, as the hapless ambulance driver continually remarks that each case is far less severe than it initially appeared. The cleanup effort engineered by Noah in Claire’s dorm seems like it wouldn’t work just based on how glaringly suspicious Noah and the Haitian are walking around unaccompanied by a student. Noah getting caught alone in Rebecca’s room is an instance of what likely happened many times while they were parading through the halls wiping memories clean, but I guess the Haitian being there means that they can just wipe anyone’s memory if they start to suspect anything. Gretchen’s tearful exodus isn’t a sad moment since the character has only been irritating since she first set her eyes on Claire. Rebecca’s historical connection to Noah turns this whole universe into a world that’s way too small and incestuous. Samuel’s decision to shock Rebecca to get her in control presented an intriguing notion that Samuel might not in fact be a villain, but his later confirmation that Rebecca would get her revenge negates that. The presence of Sylar in Matt’s mind was perhaps the stupidest part of this episode, and having him tormenting Matt was idiotic enough. Having Matt try to one-up and deceive him is intolerable. Maybe it’s because Matt’s always been a poorly-written character or that Sylar’s haircut is obnoxious. It looks like much more effort was put in to making sure that Zachary Quinto and Greg Grunberg wore the same outfits than into crafting decent scenes. And then, the worst ending of all – Matt gets himself killed except, in typical “Heroes” fashion, he’s probably not really dead. Can nothing stop this stupid storyline?
What I’m Watching: Californication
Californication: Season 3, Episode 7 “So Here’s The Thing…” (B+)
Who knew that Hank’s attempts to break off his three elicit affairs would result in such terrible failure in such diverse ways? Each effort was simply more outrageous and counter to Hank’s intentions than the previous one, and increasingly entertaining to boot. Hank was powerless in resisting Jackie, and that scene worked out wondrously in that it brought in the woefully underused Dean Koons, who tried to convey fury but instead got himself caught off guard by Jackie’s duplicity and flirtation, and ultimately saw him left dumbfounded by Hank’s exiting comment. Hank’s restaurant rendezvous with Jill brought out an unusually feminine side of Hank, and it was really fun to see him be so ridiculous in his kindly gesture to Jill to help her deal with her former flame being engaged. The cut after his “so here’s the thing…” was a fantastic way of wrapping that up, since it’s unclear whether he quite severed the relationship’s cord completely or simply let his breakup slide to avoid angering his testy teaching assistant. The most surprising turn of events was Hank’s visit to the Koons residence, where it seemed like Felicia’s sense of being spurned would result in things ending poorly between them. Instead, Ken Marino appeared as an admirer of Hank’s who planned to help Felicia cash in her free affair card and got taken down a peg by a bullying Hank. The look on Felicia’s face when Hank kissed her and picked her up was priceless, and easily one of the best moments of the season. If only Hank could use his prowess for charming women to get on his daughter’s good side, but it doesn’t seem like that’s possible, considering her knowledge of his promiscuous behavior.
Who knew that Hank’s attempts to break off his three elicit affairs would result in such terrible failure in such diverse ways? Each effort was simply more outrageous and counter to Hank’s intentions than the previous one, and increasingly entertaining to boot. Hank was powerless in resisting Jackie, and that scene worked out wondrously in that it brought in the woefully underused Dean Koons, who tried to convey fury but instead got himself caught off guard by Jackie’s duplicity and flirtation, and ultimately saw him left dumbfounded by Hank’s exiting comment. Hank’s restaurant rendezvous with Jill brought out an unusually feminine side of Hank, and it was really fun to see him be so ridiculous in his kindly gesture to Jill to help her deal with her former flame being engaged. The cut after his “so here’s the thing…” was a fantastic way of wrapping that up, since it’s unclear whether he quite severed the relationship’s cord completely or simply let his breakup slide to avoid angering his testy teaching assistant. The most surprising turn of events was Hank’s visit to the Koons residence, where it seemed like Felicia’s sense of being spurned would result in things ending poorly between them. Instead, Ken Marino appeared as an admirer of Hank’s who planned to help Felicia cash in her free affair card and got taken down a peg by a bullying Hank. The look on Felicia’s face when Hank kissed her and picked her up was priceless, and easily one of the best moments of the season. If only Hank could use his prowess for charming women to get on his daughter’s good side, but it doesn’t seem like that’s possible, considering her knowledge of his promiscuous behavior.
Wednesday, November 11, 2009
What I’m Watching: Mad Men (Season Finale)
Mad Men: Season 3, Episode 13 “Shut the Door, Have a Seat” (A)
A stellar season with all great episodes goes out with an extraordinary bang with this, the best episode of the season and the series itself. The British invasion which could have been troubling for the show turned out to be the best thing that could ever have happened. A good old-fashioned conspiracy brings out the most interesting and entertaining characteristics of all the show’s mainstays, as well as witling down the cast to the bare essentials (sorry, Ken and Paul). Closing the door on Hilton before undertaking this new endeavor was smart, and now Don can really focus on what’s best without having to worry about contracts. The fact that Don, Roger, and Bert turn to Lane for help in their plan is a sign that they really do like him and that he’s been a positive force, and he has been an asset this year. Jared Harris deserves commendation for his strong performance, and his new role in the firm, and the show, should be great. This episode showcases a particularly fine performance from Robert Morse, as well as John Slattery, whose character finally gets right with Don after a season of feuding and generally ignoring each other. Roger’s casual mention of Henry Francis truly catches an unsuspecting Don off guard, and it’s jarring to see Betty finally take the step to officially divorce him and move on with Henry. Don’s better off focusing on his work, and he and Roger make a magnificently intimidating and effective team. It’s wonderful to see Pete and Peggy take a stand when they’re initially approached, and their different reaction to the pitches are both spectacular in their own ways. It’s nice to see Trudy’s support for her husband, especially considering the shaky way their marriage started out and the not much improved way it’s been going recently. Having Joan back is absolutely fantastic, and the manner in which she’s called in and arrives is perfect. Her sarcastic yet excited answering of the phone in the new office is brilliant, and the future of Sterling-Cooper-Draper-Pryce looks promising. It will be great to see them get back off the ground, and this episode really seals everything up nicely, highlighting every character’s great strengths, while still setting the show up for an altogether different direction in the fourth season, which AMC is already advertising as starting next summer. If there was any doubt that “Mad Men” is the best show of the season, it should be put to rest after this amazing finale.
Season grade: A
Season MVP: Jon Hamm
A stellar season with all great episodes goes out with an extraordinary bang with this, the best episode of the season and the series itself. The British invasion which could have been troubling for the show turned out to be the best thing that could ever have happened. A good old-fashioned conspiracy brings out the most interesting and entertaining characteristics of all the show’s mainstays, as well as witling down the cast to the bare essentials (sorry, Ken and Paul). Closing the door on Hilton before undertaking this new endeavor was smart, and now Don can really focus on what’s best without having to worry about contracts. The fact that Don, Roger, and Bert turn to Lane for help in their plan is a sign that they really do like him and that he’s been a positive force, and he has been an asset this year. Jared Harris deserves commendation for his strong performance, and his new role in the firm, and the show, should be great. This episode showcases a particularly fine performance from Robert Morse, as well as John Slattery, whose character finally gets right with Don after a season of feuding and generally ignoring each other. Roger’s casual mention of Henry Francis truly catches an unsuspecting Don off guard, and it’s jarring to see Betty finally take the step to officially divorce him and move on with Henry. Don’s better off focusing on his work, and he and Roger make a magnificently intimidating and effective team. It’s wonderful to see Pete and Peggy take a stand when they’re initially approached, and their different reaction to the pitches are both spectacular in their own ways. It’s nice to see Trudy’s support for her husband, especially considering the shaky way their marriage started out and the not much improved way it’s been going recently. Having Joan back is absolutely fantastic, and the manner in which she’s called in and arrives is perfect. Her sarcastic yet excited answering of the phone in the new office is brilliant, and the future of Sterling-Cooper-Draper-Pryce looks promising. It will be great to see them get back off the ground, and this episode really seals everything up nicely, highlighting every character’s great strengths, while still setting the show up for an altogether different direction in the fourth season, which AMC is already advertising as starting next summer. If there was any doubt that “Mad Men” is the best show of the season, it should be put to rest after this amazing finale.
Season grade: A
Season MVP: Jon Hamm
What I’m Watching: Bored to Death (Season Finale)
Bored to Death: Season 1, Episode 8 “Take a Dive” (B+)
This season comes to a fitting close as the characters take on their rivals in the boxing ring, which, in keeping with the nature of the show, is hardly the place for them to compete. This show has been fantastically entertaining since its third installment, and it feels like it’s barely been given a chance to get started since this is only the sixth good episode that’s been produced. Fortunately, the show was renewed a while ago for a second season, and the writers will have a nice long time to get the show in order before it returns next year. The opening interview with Richard and George demonstrates just how ridiculous this fight is, and how the main characters know it. George sums it up perfectly, deeming it inane but necessary because Richard challenged him. It’s gratifying to see George approached by his ex-wife and have him take a dive for once and help someone else out rather than always turn to Jonathan to help him get out of a sticky situation or deal with a problem. Jonathan’s speedy response to the calls of an attempted blackmailer who needed to inform him that he had to go at the end of each call was impressive, and it’s great to see him getting out there and trying to be debonair and shrewd when he can be. I loved how each of the fights went down, all with different outcomes that were completely right for each set of opponents. It was hilarious that Richard hired a cartoonist because Ray was fighting alongside George and Jonathan, and the man’s admiration for Ray was amusing. Even funnier was the fact that the rival cartoonist accidentally knocked Ray down for the count with one punch, and then beat himself up accordingly so that he would have scars to show too. Jonathan’s takedown of his bullying opponent was a nice moment, as was George’s decision to go down, even though it wasn’t clear that he was actually a stronger fighter. This show has been a lot of fun, and I’m glad I stuck with it even though the first two episodes weren’t stellar. I look forward to its return, and I also hope to see more of the lovely Olivia Thirlby next year.
Season grade: B+
Season MVP: Zach Galifianakis
This season comes to a fitting close as the characters take on their rivals in the boxing ring, which, in keeping with the nature of the show, is hardly the place for them to compete. This show has been fantastically entertaining since its third installment, and it feels like it’s barely been given a chance to get started since this is only the sixth good episode that’s been produced. Fortunately, the show was renewed a while ago for a second season, and the writers will have a nice long time to get the show in order before it returns next year. The opening interview with Richard and George demonstrates just how ridiculous this fight is, and how the main characters know it. George sums it up perfectly, deeming it inane but necessary because Richard challenged him. It’s gratifying to see George approached by his ex-wife and have him take a dive for once and help someone else out rather than always turn to Jonathan to help him get out of a sticky situation or deal with a problem. Jonathan’s speedy response to the calls of an attempted blackmailer who needed to inform him that he had to go at the end of each call was impressive, and it’s great to see him getting out there and trying to be debonair and shrewd when he can be. I loved how each of the fights went down, all with different outcomes that were completely right for each set of opponents. It was hilarious that Richard hired a cartoonist because Ray was fighting alongside George and Jonathan, and the man’s admiration for Ray was amusing. Even funnier was the fact that the rival cartoonist accidentally knocked Ray down for the count with one punch, and then beat himself up accordingly so that he would have scars to show too. Jonathan’s takedown of his bullying opponent was a nice moment, as was George’s decision to go down, even though it wasn’t clear that he was actually a stronger fighter. This show has been a lot of fun, and I’m glad I stuck with it even though the first two episodes weren’t stellar. I look forward to its return, and I also hope to see more of the lovely Olivia Thirlby next year.
Season grade: B+
Season MVP: Zach Galifianakis
What I’m Watching: Dexter
Dexter: Season 4, Episode 7 “Slack Tide” (B+)
Dexter really is daring in his attempts to get to know Arthur, and constantly pushing him closer and closer to an outburst of rage is a dangerous way of living. Dexter’s wry commentary about two serial killers going into the woods was a nice breath of comic relief for an otherwise rather serious episode. Dexter’s discussions with his father about how he wants to learn something from the Trinity Killer before he does away with him is very intriguing, and it again cements Arthur’s presence as crucial to this season rather than distracting from the main serial killer. It’s fantastic that Dexter is trying to get his act together with his family, and his very direct question to Rita about how he’s doing begets an affirmative, satisfactory response for those who were concerned that she would be the downfall of this show. Dexter was surprisingly effective at finding something for the kids to do, though he should be careful not to take Arthur’s advice on being firm and unflinching with his children since that will lead to a darker side that Dexter doesn’t possess (when it comes to the people he loves, not the people he kills). His chaperoning nearly results in a devastatingly scarring story for the children, and he probably ranks with Adrian Monk as the week’s worst field trip guardian. Deb’s search for her father’s mistress isn’t that interesting, which leads into the notion that Deb just isn’t that interesting. The same goes for Batista and LaGuerta, though their quick, sharp responses to Deb and Quinn suggest strongly that they still really care about each other and that their relationship might actually be destined to survive. The lack of a concrete deathbed confession from Dexter’s target, played by Greg Ellis (“24”), was a red flag that maybe he wasn’t guilty, and his innocence may really get Dexter down in coming episodes. The important thing that Dexter should keep in mind is that, while he’s not a killer, he’s still not a good man. Dexter’s still doing his job, he just needs to expand his standards and amend his code to incorporate more than just one capital crime.
Dexter really is daring in his attempts to get to know Arthur, and constantly pushing him closer and closer to an outburst of rage is a dangerous way of living. Dexter’s wry commentary about two serial killers going into the woods was a nice breath of comic relief for an otherwise rather serious episode. Dexter’s discussions with his father about how he wants to learn something from the Trinity Killer before he does away with him is very intriguing, and it again cements Arthur’s presence as crucial to this season rather than distracting from the main serial killer. It’s fantastic that Dexter is trying to get his act together with his family, and his very direct question to Rita about how he’s doing begets an affirmative, satisfactory response for those who were concerned that she would be the downfall of this show. Dexter was surprisingly effective at finding something for the kids to do, though he should be careful not to take Arthur’s advice on being firm and unflinching with his children since that will lead to a darker side that Dexter doesn’t possess (when it comes to the people he loves, not the people he kills). His chaperoning nearly results in a devastatingly scarring story for the children, and he probably ranks with Adrian Monk as the week’s worst field trip guardian. Deb’s search for her father’s mistress isn’t that interesting, which leads into the notion that Deb just isn’t that interesting. The same goes for Batista and LaGuerta, though their quick, sharp responses to Deb and Quinn suggest strongly that they still really care about each other and that their relationship might actually be destined to survive. The lack of a concrete deathbed confession from Dexter’s target, played by Greg Ellis (“24”), was a red flag that maybe he wasn’t guilty, and his innocence may really get Dexter down in coming episodes. The important thing that Dexter should keep in mind is that, while he’s not a killer, he’s still not a good man. Dexter’s still doing his job, he just needs to expand his standards and amend his code to incorporate more than just one capital crime.
Tuesday, November 10, 2009
What I’m Watching: Desperate Housewives
Desperate Housewives: Season 6, Episode 7 “Be Careful What You Say” (B-)
I’m so glad that Andrea Bowen is back on this show. I thought she was incredibly strong in the show’s first season when she was only fourteen, and now that she’s grown up a bit, she’s even better. I also like the fact that the show brought her back after getting rid of her for a bit, and she’s been great this season, building to her terrific scene at the start of this episode. This show is actually doing much better this season than in the past few years, and while it isn’t anywhere close to the tremendous quality of its first season, some of its elements are doing very well and getting more interesting with every episode. Angie really comes out in full force this episode with terrific material, and several excellent scenes. Her attempts to appear dignified and presentable in front of her guests while her husband is pushing too hard and trying to find his New York accent were just the start. Her conversation with Bree about being good at hiding things was quite powerful, and her seemingly casual brushing off of Nick’s affair results in a fearsome release of her stress. Bree’s uneasiness with the idea of hiring another unknown quantity from the Wisteria Line pool of crazy women is understandable, and she had good comic and dramatic moments in this episode, with her massive, deceptive cooking and her outburst at Orson for trying to win her back despite her unhappiness. Lynette turning to Tom for support on Julie’s problem is a welcome thing, and it’s a good tribute to her that she’s a great mother figure. The threat Nick issues to her is reminiscent of the last time a neighbor confessed his true nature to her, when pedophile Art (Matt Roth) told her that his sister had been the only thing keeping his perversion at bay in the third season episode “The Miracle Song,” and her reaction is similarly stark and affecting. Susan has seen better days, and she’s had much more intriguing interactions with cops in the past. The fact that the episode’s closing note leaves her in jail is something new, and I’m not quite sure what to make of it, whether it’s trying to imply anything about Susan or not.
I’m so glad that Andrea Bowen is back on this show. I thought she was incredibly strong in the show’s first season when she was only fourteen, and now that she’s grown up a bit, she’s even better. I also like the fact that the show brought her back after getting rid of her for a bit, and she’s been great this season, building to her terrific scene at the start of this episode. This show is actually doing much better this season than in the past few years, and while it isn’t anywhere close to the tremendous quality of its first season, some of its elements are doing very well and getting more interesting with every episode. Angie really comes out in full force this episode with terrific material, and several excellent scenes. Her attempts to appear dignified and presentable in front of her guests while her husband is pushing too hard and trying to find his New York accent were just the start. Her conversation with Bree about being good at hiding things was quite powerful, and her seemingly casual brushing off of Nick’s affair results in a fearsome release of her stress. Bree’s uneasiness with the idea of hiring another unknown quantity from the Wisteria Line pool of crazy women is understandable, and she had good comic and dramatic moments in this episode, with her massive, deceptive cooking and her outburst at Orson for trying to win her back despite her unhappiness. Lynette turning to Tom for support on Julie’s problem is a welcome thing, and it’s a good tribute to her that she’s a great mother figure. The threat Nick issues to her is reminiscent of the last time a neighbor confessed his true nature to her, when pedophile Art (Matt Roth) told her that his sister had been the only thing keeping his perversion at bay in the third season episode “The Miracle Song,” and her reaction is similarly stark and affecting. Susan has seen better days, and she’s had much more intriguing interactions with cops in the past. The fact that the episode’s closing note leaves her in jail is something new, and I’m not quite sure what to make of it, whether it’s trying to imply anything about Susan or not.
What I’m Watching: Curb Your Enthusiasm
Curb Your Enthusiasm: Season 7, Episode 8 “Officer Krupke” (B)
This episode is considerably more far-fetched than usual, which is really saying something for the societal-convention-defying Larry. It’s a mostly effective and generally quite funny installment, but at times it reaches. Larry’s gleeful encounter with Officer Krupke was a nice start, and it was obvious that his specific noting of “Officer Krupke, krup you!” to the police officer wouldn’t turn out well for him in the end. The sheer silliness of the tragically-named cop wouldn’t have ever heard of his “West Wide Story” doppelganger clashes wondrously with Larry’s perceived perception that the world revolves around him and that anyone who doesn’t get his references must be deranged. His refusal to take off his pants after the store doesn’t open up is a typically Larry thing to do, and it’s entertaining as far as he’s able to take it. The culmination and intersection of Larry’s pants and Jeff’s panties problem was actually truly lever, and it’s nice to see Larry do something to help someone else out, for once. The ending shot of Jeff telling Larry to say that they were in a car accident is a bit of a stretch, especially considering its similarity to Jeff and Susie’s car accident after trying the sex act that was mentioned over and over again in the episode “Vehicular Fallatio” earlier this season. Larry’s befuddlement at Cheryl’s casual consideration of Dennis and Virginia’s threesome proposal took up a big chunk of the episode, and didn’t allow either portrayer of the spouses much opportunity to contribute to the show. My family man image of John Schneider after watching him for years on “Smallville” has really been corrupted with his marriage-opening policies on this show and “Dirty Sexy Money.” It’s about time the Seinfeld reunion got started – let’s cast this thing already and get it rolling.
This episode is considerably more far-fetched than usual, which is really saying something for the societal-convention-defying Larry. It’s a mostly effective and generally quite funny installment, but at times it reaches. Larry’s gleeful encounter with Officer Krupke was a nice start, and it was obvious that his specific noting of “Officer Krupke, krup you!” to the police officer wouldn’t turn out well for him in the end. The sheer silliness of the tragically-named cop wouldn’t have ever heard of his “West Wide Story” doppelganger clashes wondrously with Larry’s perceived perception that the world revolves around him and that anyone who doesn’t get his references must be deranged. His refusal to take off his pants after the store doesn’t open up is a typically Larry thing to do, and it’s entertaining as far as he’s able to take it. The culmination and intersection of Larry’s pants and Jeff’s panties problem was actually truly lever, and it’s nice to see Larry do something to help someone else out, for once. The ending shot of Jeff telling Larry to say that they were in a car accident is a bit of a stretch, especially considering its similarity to Jeff and Susie’s car accident after trying the sex act that was mentioned over and over again in the episode “Vehicular Fallatio” earlier this season. Larry’s befuddlement at Cheryl’s casual consideration of Dennis and Virginia’s threesome proposal took up a big chunk of the episode, and didn’t allow either portrayer of the spouses much opportunity to contribute to the show. My family man image of John Schneider after watching him for years on “Smallville” has really been corrupted with his marriage-opening policies on this show and “Dirty Sexy Money.” It’s about time the Seinfeld reunion got started – let’s cast this thing already and get it rolling.
What I’m Watching: White Collar
White Collar: Season 1, Episode 3 “Book of Hours” (B)
This show continues to be fueled by the relationship between its two leads. Neal and Peter are so comfortable with each other that their interactions are unguarded and infinitely amusing. Peter seems to have gotten past Neal’s invasion of his personal life and now feels completely fine with having him in his home, speaking to his wife and developing a bond with her. It’s also great to know that Peter isn’t totally letting Neal run his own show, and that he’s keeping tabs on Neal and his associates, also known as Mozzie. Teaming up with, or rather subtly working against, the FBI unit which includes Kirk Acevedo ("Fringe") and Sharif Atkins ("Hawaii," "ER"), doesn’t create as much fodder for hilarity as perhaps it could, but that’s not this show’s greatest strength. It’s Neal’s continual delight at playing the system and breaking the rules. His delight at taking Peter’s FBI jacket and giving it to Mozzie to wear so that he’s not the one impersonating an FBI agent is supremely clever, and watching him get such a kick about it just enhances its effectiveness. What’s even better is that Peter lets him get away with these small acts of mischief. The key guest star of the week is Callie Thorne, who starts off with as a subdued intellectual possessing the same normalcy as her overworked chef on “Royal Pains,” but the crazy comes through in the end, far more reminiscent of her wild “Rescue Me” role. It’s great to see this actress making the rounds on different shows and making the most of her time off from her regular series while it’s on hiatus.
This show continues to be fueled by the relationship between its two leads. Neal and Peter are so comfortable with each other that their interactions are unguarded and infinitely amusing. Peter seems to have gotten past Neal’s invasion of his personal life and now feels completely fine with having him in his home, speaking to his wife and developing a bond with her. It’s also great to know that Peter isn’t totally letting Neal run his own show, and that he’s keeping tabs on Neal and his associates, also known as Mozzie. Teaming up with, or rather subtly working against, the FBI unit which includes Kirk Acevedo ("Fringe") and Sharif Atkins ("Hawaii," "ER"), doesn’t create as much fodder for hilarity as perhaps it could, but that’s not this show’s greatest strength. It’s Neal’s continual delight at playing the system and breaking the rules. His delight at taking Peter’s FBI jacket and giving it to Mozzie to wear so that he’s not the one impersonating an FBI agent is supremely clever, and watching him get such a kick about it just enhances its effectiveness. What’s even better is that Peter lets him get away with these small acts of mischief. The key guest star of the week is Callie Thorne, who starts off with as a subdued intellectual possessing the same normalcy as her overworked chef on “Royal Pains,” but the crazy comes through in the end, far more reminiscent of her wild “Rescue Me” role. It’s great to see this actress making the rounds on different shows and making the most of her time off from her regular series while it’s on hiatus.
Monday, November 9, 2009
What I’m Watching: Monk
Monk: Season 8, Episode 12 “Mr. Monk Goes Camping” (B+)
The notion of Monk going camping seems like exactly the kind of thing the erstwhile detective shouldn’t do. It’s a setup that could result in familiar antics of Monk cleaning everything obsessively and being unable to function in the wilderness setting. Instead, his behavior, while unproductive, is absolutely entertaining, including spraying bug spray as a smokescreen in front of him, sleeping standing up, and screaming like a girl when the bear approaches. It’s fun to have Randy leading the charge in the middle of the woods and mentoring the kids in his own different way. His refusal to check his watch because he wanted to estimate the time by using the sun was both in character for the somewhat odd cop and someone who’s looking to educate kids on the value of appreciating nature. Monk’s reinstatement hearing starting out a bit slowly but came through as much more intriguing in the end. The stubbornness of the third decision-maker, played by Wade Williams (“Prison Break”), was an unfortunate hiccup for Monk, who spent the entire day in the courtroom to prepare for his hearing. Monk’s ability to win over the third guy by unexpectedly saving his life was a nice small victory for him, but the best surprise was saved for the decision hearing. The about-face of the other two was fantastic, and Monk’s inability to process the situation and actually hear their refusals to approve his reinstatement was amusing. Monk’s doing well enough as a consultant, so there’s really no need for him to be reinstated. I suppose it’s something the show had to touch on before the series clocks out for the last time in December, and this is a good way of sealing up that plotline.
The notion of Monk going camping seems like exactly the kind of thing the erstwhile detective shouldn’t do. It’s a setup that could result in familiar antics of Monk cleaning everything obsessively and being unable to function in the wilderness setting. Instead, his behavior, while unproductive, is absolutely entertaining, including spraying bug spray as a smokescreen in front of him, sleeping standing up, and screaming like a girl when the bear approaches. It’s fun to have Randy leading the charge in the middle of the woods and mentoring the kids in his own different way. His refusal to check his watch because he wanted to estimate the time by using the sun was both in character for the somewhat odd cop and someone who’s looking to educate kids on the value of appreciating nature. Monk’s reinstatement hearing starting out a bit slowly but came through as much more intriguing in the end. The stubbornness of the third decision-maker, played by Wade Williams (“Prison Break”), was an unfortunate hiccup for Monk, who spent the entire day in the courtroom to prepare for his hearing. Monk’s ability to win over the third guy by unexpectedly saving his life was a nice small victory for him, but the best surprise was saved for the decision hearing. The about-face of the other two was fantastic, and Monk’s inability to process the situation and actually hear their refusals to approve his reinstatement was amusing. Monk’s doing well enough as a consultant, so there’s really no need for him to be reinstated. I suppose it’s something the show had to touch on before the series clocks out for the last time in December, and this is a good way of sealing up that plotline.
What I’m Watching: Ugly Betty
Ugly Betty: Season 4, Episode 5 “Plus None” (C+)
There are a lot of relationship-changing revelations in this episode, and most of it isn’t good news, and hardly surprising or shocking. We knew already that Claire and the elder Hartley had an affair once, and the existence of another Meade sibling isn’t necessary. Other shows like “Brothers & Sisters” and “Grey’s Anatomy” introduce newfound surprise siblings to try to take the show in a new direction, but less Meade drama would probably be a good thing for this series. It would be much better to simply have Alexis return to the show, and it would be good for Rebecca Romjin to get out of “Eastwick” fast since that show is really awful. The Meade brother currently on the show needs to wake up and realize that he sucks at picking assistants, and Natalie’s standoffishness to Betty’s efforts to be helpful comes as a bit of a shock and certainly not a welcome surprise. It is good to see Matt back in his role as philanthropist and great lover of everybody, most especially Betty and Amanda, though his obliviousness of their feelings is extremely frustrating. Amanda’s attempt to cushion what she thought would be her very public date with Matt were funny, and as I always articulate, more of Amanda is always a wonderful thing. Wilhelmina’s storylines have always been better when they weren’t quite that outlandish, and the fact that there wasn’t even a murder committed at all is crazy. If Wilhelmina proclaims that she doesn’t have money to pay the blackmail amount demanded by Nico’s boyfriend, why does Nico think that she does? This can’t possibly work out well. The episode did go out on a great high note - Betty dancing with herself.
There are a lot of relationship-changing revelations in this episode, and most of it isn’t good news, and hardly surprising or shocking. We knew already that Claire and the elder Hartley had an affair once, and the existence of another Meade sibling isn’t necessary. Other shows like “Brothers & Sisters” and “Grey’s Anatomy” introduce newfound surprise siblings to try to take the show in a new direction, but less Meade drama would probably be a good thing for this series. It would be much better to simply have Alexis return to the show, and it would be good for Rebecca Romjin to get out of “Eastwick” fast since that show is really awful. The Meade brother currently on the show needs to wake up and realize that he sucks at picking assistants, and Natalie’s standoffishness to Betty’s efforts to be helpful comes as a bit of a shock and certainly not a welcome surprise. It is good to see Matt back in his role as philanthropist and great lover of everybody, most especially Betty and Amanda, though his obliviousness of their feelings is extremely frustrating. Amanda’s attempt to cushion what she thought would be her very public date with Matt were funny, and as I always articulate, more of Amanda is always a wonderful thing. Wilhelmina’s storylines have always been better when they weren’t quite that outlandish, and the fact that there wasn’t even a murder committed at all is crazy. If Wilhelmina proclaims that she doesn’t have money to pay the blackmail amount demanded by Nico’s boyfriend, why does Nico think that she does? This can’t possibly work out well. The episode did go out on a great high note - Betty dancing with herself.
What I’m Watching: Smallville
Smallville: Season 9, Episode 7 “Kandor” (B-)
It’s as if there are three separate Smallvilles this season, and none of them are really connected at all. One or two of them are featured in each episode, and they’re hardly consecutive, in the same way that the third and fourth seasons of “Lost” featured certain characters in one episode that thereafter weren’t seen or heard from again for weeks at a time. The best of the three different directions is that of Lois and Clark, while Oliver and the Kandorians aren’t as promising or fulfilling. References to the unseen Lois from Clark, Chloe, and Oliver simply won’t cut it, and their relationship can’t be expected to progress if she doesn’t even appear. The show was doing well enough with the notion of Clark as the Red-Blue Blur, his budding reporting career, and his courtship of Lois, and would have been well served to go pursue just those angles this season. The presence of the Kandorians has always been a big strange, partially because of its incongruity with the timeline of the show. While it is great to see the great British actors Callum Blue (“Secret Diary of a Call Girl,” “Dead Like Me”) and Julian Sands (“24,” “Leaving Las Vegas”) share the screen, it doesn’t make a whole lot of sense that they’re actually in the present, roaming free with seeming super-strength but no powers otherwise. Having Jor-El meet Chloe and barely even speak with Clark is a bit of a disappointment, though it’s good that he didn’t stick around for too long to disrupt the space-time continuum too much. The most intense and gratifying scene was Clark’s business-only approach to interrogating Tess, shorting out much more quickly than usual and grabbing her by the throat. Her joy at having him all but confirm his true identity as a Kryptonian was truly striking, and it’s nice to see that the character is following very well in her LutherCorp president predecessor’s footsteps.
It’s as if there are three separate Smallvilles this season, and none of them are really connected at all. One or two of them are featured in each episode, and they’re hardly consecutive, in the same way that the third and fourth seasons of “Lost” featured certain characters in one episode that thereafter weren’t seen or heard from again for weeks at a time. The best of the three different directions is that of Lois and Clark, while Oliver and the Kandorians aren’t as promising or fulfilling. References to the unseen Lois from Clark, Chloe, and Oliver simply won’t cut it, and their relationship can’t be expected to progress if she doesn’t even appear. The show was doing well enough with the notion of Clark as the Red-Blue Blur, his budding reporting career, and his courtship of Lois, and would have been well served to go pursue just those angles this season. The presence of the Kandorians has always been a big strange, partially because of its incongruity with the timeline of the show. While it is great to see the great British actors Callum Blue (“Secret Diary of a Call Girl,” “Dead Like Me”) and Julian Sands (“24,” “Leaving Las Vegas”) share the screen, it doesn’t make a whole lot of sense that they’re actually in the present, roaming free with seeming super-strength but no powers otherwise. Having Jor-El meet Chloe and barely even speak with Clark is a bit of a disappointment, though it’s good that he didn’t stick around for too long to disrupt the space-time continuum too much. The most intense and gratifying scene was Clark’s business-only approach to interrogating Tess, shorting out much more quickly than usual and grabbing her by the throat. Her joy at having him all but confirm his true identity as a Kryptonian was truly striking, and it’s nice to see that the character is following very well in her LutherCorp president predecessor’s footsteps.
Sunday, November 8, 2009
What I’m Watching: 30 Rock
30 Rock: Season 4, Episode 4 “Audition Day” (B-)
Seeing Jack squirm as he’s cast off by society is fun, but the way it starts out is a bit silly. Bed bugs as a major issue in New York City, as far as I know, isn’t something that’s currently happening now more than ever. Perhaps it’s supposed to serve as a euphemism for swine flu, the current disease that can be perceived of as an epidemic and which has instilled panic in its citizens. In any case, Jack’s frequent scratching and sad sack attitude doesn’t really fit him, and the way that Kenneth and the cab driver so quickly recognize his symptoms doesn’t feel right. Jack’s subway ride was somewhat amusing but also quite over-the-top and preposterous. The same can be said for the horrible mess that the Hornberger system warped into, pulling together too many wild and wacky personalities and putting them in one place. Jenna and Tracy are pretty entertaining when they’re together, but they’re also loose cannons who really cannot be controlled. It is great to see DotCom break out his more theatrical side, and Jenna’s failure to differentiate between Grizz and DotCom was funny. The audition process was hit or miss, performer-to-performer, and the highlight was probably the return of Josh, who identified himself as a former cast member, only to have no one care. Pete’s quick grab off the street of the robot was pretty zany, but good for a quick laugh. The fact that Jack actually chose him in his state of delirium seems like a serious misstep for the show that could have detrimental effects in the coming episodes. The revelation that Liz’s choice for the new cast member was actually manipulative and a complete liar was somewhat amusing, but sort of came out of nowhere. This show has become a bit unhinged, and it seems as if the addition of the new cast member won’t be as show-saving as I had hoped.
Seeing Jack squirm as he’s cast off by society is fun, but the way it starts out is a bit silly. Bed bugs as a major issue in New York City, as far as I know, isn’t something that’s currently happening now more than ever. Perhaps it’s supposed to serve as a euphemism for swine flu, the current disease that can be perceived of as an epidemic and which has instilled panic in its citizens. In any case, Jack’s frequent scratching and sad sack attitude doesn’t really fit him, and the way that Kenneth and the cab driver so quickly recognize his symptoms doesn’t feel right. Jack’s subway ride was somewhat amusing but also quite over-the-top and preposterous. The same can be said for the horrible mess that the Hornberger system warped into, pulling together too many wild and wacky personalities and putting them in one place. Jenna and Tracy are pretty entertaining when they’re together, but they’re also loose cannons who really cannot be controlled. It is great to see DotCom break out his more theatrical side, and Jenna’s failure to differentiate between Grizz and DotCom was funny. The audition process was hit or miss, performer-to-performer, and the highlight was probably the return of Josh, who identified himself as a former cast member, only to have no one care. Pete’s quick grab off the street of the robot was pretty zany, but good for a quick laugh. The fact that Jack actually chose him in his state of delirium seems like a serious misstep for the show that could have detrimental effects in the coming episodes. The revelation that Liz’s choice for the new cast member was actually manipulative and a complete liar was somewhat amusing, but sort of came out of nowhere. This show has become a bit unhinged, and it seems as if the addition of the new cast member won’t be as show-saving as I had hoped.
What I’m Watching: The Office
The Office: Season 6, Episode 7 “Double Date” (C+)
This show has always been at its best when it utilizes its fantastic ensemble and gives all of them something to do. Usually, this show does that well, evidenced by the wedding episode from earlier this season which was really spectacular in its use of characters like Kevin and Oscar. Jim’s promotion seems to have shifted the focus onto the primary five characters, with Andy replacing the still-credited Ryan as the fifth, and away from any of the other office workers, who now serve as observers only and, if they’re lucky, get the opportunity to emit one funny comment in the span of an episode. It’s actually Pam, interestingly enough, who’s been at the center of the majority of the plotlines recently, and while it’s great to see as much of Jenna Fischer as possible, they’re not always strong, and the episode feels unfinished and incomplete when there’s only one big event per episode. It’s always important to note that Dwight and Andy will never be Dwight and Jim, and their attempts to constantly be the last to do the other a favor were funny a few times, but not as the only supporting storyline in a whole episode. In this episode, Pam’s discomfort and disgust at Michael’s affection for her mother was quickly done away with, and perhaps it’s the way that Michael never changes that’s so frustrating. His delayed realization of Helene’s age feels so expected from Michael, and also seems like such a both minor and predictable thing to end his highly buzzed-about relationship. It’s not as if their encounter allows Jim much to do, and Pam’s ultimate decision to punch him as the way of getting back at him is sort of dumb. Toby’s eagerness to show her the proper form and the subsequent panicked look on Michael’s face was fun, but nothing great. This episode isn’t using its best assets, and needs to realize that and correct the error.
This show has always been at its best when it utilizes its fantastic ensemble and gives all of them something to do. Usually, this show does that well, evidenced by the wedding episode from earlier this season which was really spectacular in its use of characters like Kevin and Oscar. Jim’s promotion seems to have shifted the focus onto the primary five characters, with Andy replacing the still-credited Ryan as the fifth, and away from any of the other office workers, who now serve as observers only and, if they’re lucky, get the opportunity to emit one funny comment in the span of an episode. It’s actually Pam, interestingly enough, who’s been at the center of the majority of the plotlines recently, and while it’s great to see as much of Jenna Fischer as possible, they’re not always strong, and the episode feels unfinished and incomplete when there’s only one big event per episode. It’s always important to note that Dwight and Andy will never be Dwight and Jim, and their attempts to constantly be the last to do the other a favor were funny a few times, but not as the only supporting storyline in a whole episode. In this episode, Pam’s discomfort and disgust at Michael’s affection for her mother was quickly done away with, and perhaps it’s the way that Michael never changes that’s so frustrating. His delayed realization of Helene’s age feels so expected from Michael, and also seems like such a both minor and predictable thing to end his highly buzzed-about relationship. It’s not as if their encounter allows Jim much to do, and Pam’s ultimate decision to punch him as the way of getting back at him is sort of dumb. Toby’s eagerness to show her the proper form and the subsequent panicked look on Michael’s face was fun, but nothing great. This episode isn’t using its best assets, and needs to realize that and correct the error.
What I’m Watching: Flash Forward
Flash Forward: Season 1, Episode 7 “The Gift” (B-)
So here’s where the show gets really interesting – trying to determine whether the future can in fact be changed. This episode deserves credit for actually taking on that question, even if events aren’t ultimately affected. The Blue Hand club, while some of what’s going on there seems rather depraved, is quite interesting in concept, and especially in how the three FBI agents look at it in terms of what it represents. Gough’s decision to pull the trigger during Russian roulette without a moment’s hesitation was superbly intense and a great way to incorporate the recurring character that hasn’t had a major part in events up until this point except as Demetri’s partner. He’s obviously plays a major part in this episode, and his suicide may be a game-changer for both the investigation and the show itself. I was absolutely expecting him to get saved by a safety net or scaffolding in place somewhere, but the definitive picture of him lying motionless on the ground indicates that this really happened. The fact that he was actually able to end his life is a monumental step and was quite a shocking event. The identity of the Blue Hand key figure was a nice revelation as well, showcasing actor Callum Keith Rennie ("Battlestar Galactica," "Californication"), who’s simply perfect for this role. Bringing babysitter Nicole back into the fold should hopefully be interesting, but it seems a bit random and her spontaneous spurting of Japanese feels a bit too convenient. Aaron’s entire storyline and the end-of-episode reappearance of his daughter isn’t connected to a single thing, and while it’s gratifying for him, it’s should be hardly a surprise, for him and for the audience, and just doesn’t relate to anything on the show, which makes it feel very…unimportant.
So here’s where the show gets really interesting – trying to determine whether the future can in fact be changed. This episode deserves credit for actually taking on that question, even if events aren’t ultimately affected. The Blue Hand club, while some of what’s going on there seems rather depraved, is quite interesting in concept, and especially in how the three FBI agents look at it in terms of what it represents. Gough’s decision to pull the trigger during Russian roulette without a moment’s hesitation was superbly intense and a great way to incorporate the recurring character that hasn’t had a major part in events up until this point except as Demetri’s partner. He’s obviously plays a major part in this episode, and his suicide may be a game-changer for both the investigation and the show itself. I was absolutely expecting him to get saved by a safety net or scaffolding in place somewhere, but the definitive picture of him lying motionless on the ground indicates that this really happened. The fact that he was actually able to end his life is a monumental step and was quite a shocking event. The identity of the Blue Hand key figure was a nice revelation as well, showcasing actor Callum Keith Rennie ("Battlestar Galactica," "Californication"), who’s simply perfect for this role. Bringing babysitter Nicole back into the fold should hopefully be interesting, but it seems a bit random and her spontaneous spurting of Japanese feels a bit too convenient. Aaron’s entire storyline and the end-of-episode reappearance of his daughter isn’t connected to a single thing, and while it’s gratifying for him, it’s should be hardly a surprise, for him and for the audience, and just doesn’t relate to anything on the show, which makes it feel very…unimportant.
Saturday, November 7, 2009
What I’m Watching: Modern Family
Modern Family: Season 1, Episode 7 “En Garde” (A-)
Bringing the whole gang together is a wonderful way to produce a terrific episode where all elements are in fine form. Seeing the extended family all in attendance at Manny’s fencing match is fun, and it’s a great way to get them all together that’s not uncommon in families that live close together and try to support each other. Jay’s affinity for making T-shirts is the first kindly characteristic he’s exhibited yet, and this is a fantastically fun one. If you were paying close attention, you may have caught a shot of Claire wearing a “Claire and Present Danger” shirt clearly designed by the family patriarch. Gloria’s speech to Manny and Jay in which she completely rips him apart for not wanting to fight a girl was entirely hilarious, as was their horrified reaction to the revelation that Manny’s sparring partner could really have used a win. Usually those kinds of scenes are far too awkward and uncomfortable, but in this case it’s played out perfectly. Claire and Mitchell revisiting their figure-skating past was great, specifically in the way that it allowed those two characters to interact. The most amazing part of the episode was incredibly subtle and I’m very happy I caught it. Phil’s rendition of the ABCs of closing wasn’t merely a restatement of the classic Alec Baldwin scene (“Always Be Closing”) from “Glengarry Glen Ross,” but a crucial misunderstanding of the adage and foolhardy attempt to utilize the full alphabet to shed light on some methodology about effective sales. The funniest thing about it was that it actually made a bit of sense.
Bringing the whole gang together is a wonderful way to produce a terrific episode where all elements are in fine form. Seeing the extended family all in attendance at Manny’s fencing match is fun, and it’s a great way to get them all together that’s not uncommon in families that live close together and try to support each other. Jay’s affinity for making T-shirts is the first kindly characteristic he’s exhibited yet, and this is a fantastically fun one. If you were paying close attention, you may have caught a shot of Claire wearing a “Claire and Present Danger” shirt clearly designed by the family patriarch. Gloria’s speech to Manny and Jay in which she completely rips him apart for not wanting to fight a girl was entirely hilarious, as was their horrified reaction to the revelation that Manny’s sparring partner could really have used a win. Usually those kinds of scenes are far too awkward and uncomfortable, but in this case it’s played out perfectly. Claire and Mitchell revisiting their figure-skating past was great, specifically in the way that it allowed those two characters to interact. The most amazing part of the episode was incredibly subtle and I’m very happy I caught it. Phil’s rendition of the ABCs of closing wasn’t merely a restatement of the classic Alec Baldwin scene (“Always Be Closing”) from “Glengarry Glen Ross,” but a crucial misunderstanding of the adage and foolhardy attempt to utilize the full alphabet to shed light on some methodology about effective sales. The funniest thing about it was that it actually made a bit of sense.
What I’m Watching: Sons of Anarchy
Sons of Anarchy: Season 2, Episode 9 “Fa Guan” (B+)
If things were headed for a breaking point, that time is here. The death of the show’s most arguably despicable character, Darby, signals a monumental change in climate in Charming. The season started off with a brutal act that left one character devastatingly alive, and last week really took a dive off the deep end with the murder of Otto’s wife. The tension leading up to these deaths and the steps that SAMCRO took represent a recent violent shift in their behavior. The way that the club sharply decides that Darby needs to be exiled from Charming results in an intense confrontation which shows even the relatively nice and non-violent Half-Sack angrily punching one of his crew who tried to flee. The most stunning and powerful interaction is the second big blowout of the season between Clay and Jax. This verbal sparring is even more effective than their fistfight. The crazy, furious smile on Jax’s face while he’s speaking makes his words resound even more strongly, and when he drops his line, “Do you really want to talk about blame for getting a wife’s member killed,” sets the stage for what could have been a brutal beating from Clay. Instead, Jax’s response of laying out his gun and giving Clay the opportunity to kill him right there in front of anyone was superbly intense. It also looks like Bobby, for whatever reason, is firmly in Jax’s camp and will likely be the one who ultimately protects, and possibly even saves, him from Clay’s wrath. Jax’s final proclamation of “I’m going nomad” means things will be really out of control next week, but I’m completely and totally hooked.
If things were headed for a breaking point, that time is here. The death of the show’s most arguably despicable character, Darby, signals a monumental change in climate in Charming. The season started off with a brutal act that left one character devastatingly alive, and last week really took a dive off the deep end with the murder of Otto’s wife. The tension leading up to these deaths and the steps that SAMCRO took represent a recent violent shift in their behavior. The way that the club sharply decides that Darby needs to be exiled from Charming results in an intense confrontation which shows even the relatively nice and non-violent Half-Sack angrily punching one of his crew who tried to flee. The most stunning and powerful interaction is the second big blowout of the season between Clay and Jax. This verbal sparring is even more effective than their fistfight. The crazy, furious smile on Jax’s face while he’s speaking makes his words resound even more strongly, and when he drops his line, “Do you really want to talk about blame for getting a wife’s member killed,” sets the stage for what could have been a brutal beating from Clay. Instead, Jax’s response of laying out his gun and giving Clay the opportunity to kill him right there in front of anyone was superbly intense. It also looks like Bobby, for whatever reason, is firmly in Jax’s camp and will likely be the one who ultimately protects, and possibly even saves, him from Clay’s wrath. Jax’s final proclamation of “I’m going nomad” means things will be really out of control next week, but I’m completely and totally hooked.
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