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Monday, 18 of November of 2024

Archives from author » noel

“You hear that, Elizabeth? I’m coming to join ya, honey!”: In Defense of the Conventional Sitcom

I’m not a fan of the mockumentary sitcom. It’s become a barrier of entry for me with shows like Parks and Recreation and Modern Family. Indeed, I think it’s a crutch that sitcoms are starting to rely on, much to their detriment. I was going to let my dislike of the format speak through my silence on the shows.

But then Matthew Gilbert over at the Boston Globe had to go and poke the bear. Gilbert extolls the format for providing the “still-needed alternative for the sitcom genre as a whole” and for shows that use the format as the “essential weapons in the battle against sitcom predictability.” And he pays the shows that use the format the ultimate compliment by declaring them “anti-sitcoms.”

At this point, I feel it’s best to crank the laugh track dial up to 11. Read more »


Lost – “What Kate Does”

“I don’t trust myself.”

So the buzz has died down a bit on Lost‘s return (except at the ABC promo department), it feels like time to start evaluating what the flash sideway offers as a narrative device. Even before the episode started, I had two things written down:

  1. Run away. That’s what Kate does.
  2. First challenge of flash sideways is to make characters we already know amazingly interesting. Develop Kate beyond “she runs.”

Because that’s the challenge the show faces with this new device. The flashbacks had become redundant (“Jack must save everyone.” “Sayid must come to terms with his past.” “Kate runs.” “Everyone has father issues.”) and were losing their narrative, and emotional, heft. While I think the flash sideways present an opportunity for interesting narrative moves, and this episode does make a few, I do worry that, thematically, they may potentially feel old hat.

Read more »


The Good Wife – “Hi”

“More secrets than an O’Neill play.”

My decision to watch The Good Wife was motivated by a number of factors, and I feel it’s important to map out these factors. One of the primary reasons is that the show’s just been highly recommended to me by a number of people I know and trust (even if one of them seems fit to drag me kicking and screaming into liking Parks and Recreation). And while Julianna Margulies has never done much for me as an actress (and still doesn’t), that she was recognized at both the Globes and the SAGs indicates that people like what she’s doing.

Factor #2 is that if you look at this blog, you’d find that Nick and I stick pretty close to shows that are targeted to us (semi-well to do white males in 18-34 demo). Hell, you’d think that ChuckHIMYM, and 3 out of the 4 NBC Thursday comedies were all that were on TV, with occasional dalliances with Life Unexpected and American Idol.  Part of this is motivated by the fact that Nick and I like these shows, and were already watching them when we started this blog. Part of this is simply a matter of scheduling our lives (I don’t own a DVR, for instance, so I try and watch as much as I can live).

Which leads to factor #3. When Nick and I started discussing the blog, we wanted, ideally, a range of shows, but the range has been pretty limited (see factor #2 for the reasons). I’m proud of everything we write here, but I did want to venture into new shows through the blog, hence  my decision to take on The Good Wife. Read more »


How I Met Your Mother – “Rabbit or Duck”

“Magic phone, guys. Magic. Phone.”

After last week’s lackluster performance, I was happy to see HIMYM getting back to fighting form, with a narrative trajectory that (mostly) came together and one that, I think, may finally be leading to something of a resolution concerning Robin and Barney’s break-up from the start of the season.

So, the question is: Rabbit season or duck season? Read more »


Lost – “LA X”

“I’m sorry you had to see me like that.”

“Nothing is irreversible.”

Oh, Lost, how I missed you.

So many many many many things occurred over two hours (that had they been spread out of over 2 weeks, I might’ve felt less enthralled by the narrative and philosophical gymnastics the show is engaging in right now) that thinking about where to begin just seems daunting. I felt as if I would need my own ash circle (exactly like what they had around Jacob’s cabin! (at least initially!)) to keep my brain from exploding. But it’s exploding in good ways, ways that make clear why Lost is such great television, why Lost can deliver those one-two punches of humor (Hurley) and sadness (Juliet) and still mix in its beats of destiny and choice and some neat action sequences.

Did I mention that I missed this show? Read more »


Community – “Romantic Expressionism”

“I’m a tenured professor sitting in a bean bag chair!”

Community continues to impress me with its maturation and its wise use of its ensemble. “Interpretive Dance” proved that the show was perfectly able to start stretching its ensemble outside of typical pairings or stories, and this episode is no different. Instead of a Jeff/Britta pairing being about their ever-complicating relationship, it deals with them emphasizing how they’ve assumed a parental role (Pierce is probably the “funny uncle” who isn’t really an uncle) of the rest of the study group, specifically now that Annie has started dating Vaughn. And that Alison Brie manages to make this seem like a perfectly natural evolution of her character just shows how smart this cast is.

As the parents, Jeff and Britta decide that Annie isn’t ready to date Vaughn, with Jeff identifying him as “gateway douche” (terrific phrase that I’m going to start using) to larger, sleezier douches. It’s a testament to the show’s devotion to its characters that Jeff hasn’t reverted to his loathing of the group yet, but instead with each week, he becomes closer and closer to them (and them to him). Even Britta and Jeff’s “manipulation” of Troy to get him to try and hook up with Annie (bringing back Annie’s high school crush on Troy) reeks of parental planning and meddling.

The ending to the episode’s main plot is a little too overly sweet, but the show balances that sweetness with perhaps the best study table scene the show’s provided as they come to a realization that the group is very much like a family, but a family wherein every one is a potential sexual partner. It leads some incredibly smart facial comedy as everyone looks around, sizing up the table’s potential. Pierce’s looks get rejected; Troy seems to calculate each woman’s hotness; Annie and Jeff share a look that implies attraction that will never be acted upon; and Abed’s come hither looks to random members are simply priceless. The sequence plays off the show’s limited history in organic ways but also in ways that wouldn’t totally alienate viewers coming in for the first time.

The B-plot is another no one wants to be around Pierce story. While this is getting a bit tired, it’s still funny enough that it still works well enough. Abed and Troy throw MST3K parties of bad movies (Kickpuncher – “A cyborg cop whose punches have the power of kicks.”), and invite Shirley along (and Senor Chang!). Pierce feels out of place since he can’t keep up with the zingers (it can be tricky) so he goes to the Greendale improv troupe. Two things about this: 1) Pierce’s interactions with the improv troupe were great and 2) I want more of the improv group. When he rattles off his pre-made sets of jokes, it’s a great bit of delivery on Chase’s part. Plus, you know, then there’s a pratfall, and the Chase pratfall is textbook.

What the B-plot does, and what I like to see B-plots always do, is compliment the main plot’s theme (or, in the case of recent episodes, what the show is ultimately about) is that these people ultimately like hanging out together and care about each other (even if they don’t always let Pierce know in so many words). The show is ironic but sweet, and in all the right ways.

FINAL THOUGHTS

  • Someone screwed up the announced list of episodes. I was expecting “Beginner Pottery.” This was nice, though.
  • I think I must’ve been the only one who thought the show looked different. The cinematography and lighting seemed different for the show, especially in the cafeteria.
  • That Vaughn thinks the study group is “evil” is probably my favorite non-cast regular moment of the night. Sometimes I wish for a Rosencrantz & Guildernstern Are Dead-esque episode on shows, but on Community, I like these limited bits of business that contribute to world building in ways that aren’t as obvious as the R&G approach.

How I Met Your Mother – “The Perfect Week”

“Giddy-waitforit-[neighwhinnystomp]-up!”

If there’s one thing I’ve learned from being immersed in film studies, television studies, and media studies for a number of years now, it’s that your own baggage, personal or theoretical, always comes with you to whatever you’re studying. In fact, any text is like that tree/cave thing on Dagobah in The Empire Strikes Back: What’s in there is only what you take with you.

I make that simile for two reasons. Reason number 1 is I think it nicely explains a person’s relationship with any text that they approach, be it a film, a book, a television show, a piece of music, whatever. Reason 2 is that the simile probably didn’t work for everyone. They may not have seen The Empire Strikes Back and thus have no idea what I’m talking about (which is I why I provided that handy link to Wookiepedia), thus limiting their ability to relate to my simile, which weakens my overall argument.

But that, dear readers, is how I felt about last’s night episode of How I Met Your Mother: an analogy that worked for most but kept me bogged down like that swamp that swallowed Luke’s X-wing in The Empire Strikes Back.

Read more »


Favorite Episodes of Lost

Spurred on by James Poniewozik over at Time, and a desire to satisfy a Lost entry hankering, I’ve compiled my favorite episodes.

They’re not ranked (though I will tell you that “The Constant” is probably the single best hour of television that show has produced) because that would involve re-watching a number of these episodes, and I don’t have the time! As a result, I’m grouping the episdes by season. Read more »


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Dollhouse – “Epitaph Two: Return”

“I try to do my best.”

I had an intro prepared for this finale involving a trace of the show’s history. “Epitaph Two” had me delete it though because it didn’t seem to really hold up to this odd little episode. This episode, more than the previous two, is where the narrative compacting the show had to perform, and on the fly with probably no money, really comes through. The in media res of it all didn’t help, and I frequently felt disconnected from the show (perhaps airing this episode at 9 with “Epitaph One” at 8 would’ve solved this…?). This disconnect plagued me for nearly the entire episode as I struggled to maintain an interest. The stakes felt forced and too easily given and achieved. Even the showdown scene had no tension to it, leaving me to wonder why I was watching. Read more »


Finding the Formula in the Characters

With Lost’s upcoming return, I wanted to take a brief moment to discuss the shows that aren’t exactly innovative in terms of narrative or character or having a big honking mythology. Yes, I’m talking about the other hour-long dramas that are on TV and that, let’s be honest, may not necessarily get the critical love and attention that they may deserve. More importantly though, I want to, hopefully, parse out some of the differences in between these shows and see how they ultimately survive compared to other shows like Lost that burns us up inside, but fizzle on screen.

I’ll admit that Lost’s return isn’t the only motivating factor here. Burn Notice is on tonight, one of my favorite formula shows, and ABC’s Castle was just given two more episodes (presumably based on either the strength of last week’s series high ratings or to cover some post-Ugly Betty spots in the schedule, but in either case it’s a sign of confidence in the series), so it seems appropriate to discuss the issue of formula on TV right now. Read more »