Monsters of Television

“Psyche.”

Back in 2005, the same year that How I Met Your Mother began, I had another blog, this one devoted to popular culture in general. That blog never took off very much (lack of dedication from all those involved), and it faded away. I did, however, write about HIMYM. I called it “high-concept (for a sitcom), funny, and surprisingly sweet” but concluded the bit with this thought: “It’s that sense of pre-destination that ruins the show. It can’t run but for two or three seasons at the very most.”

What the hell happened? Where did it all go wrong? How does a show that I came to love, one that reach delirious heights of romance and humor, with sophistication and wit, end its sixth season with, well, whatever the hell this is? Read more »

“Ah! My study group! How long has it been?“

“I’m done with whatever you call this.“

Look how happy he is!

Oh, where to start? How to start?

First: I do wish I had done an individual review of “A Fist Full of Paintballs.” The two episodes are different enough that they practically stand alone, if only because “For a Few Paintballs More” drops the full on Western theme for something a little more rote, and in line with “Modern Warfare” (despite the Star Wars call to arms, the episode never approached the space western all that seriously beyond Abed being Han Solo (and being awesome at it)).

Second: The conclusion to the “Pierce is a jerk” arc is actually satisfying, and largely earned. I do kind of wonder how long the show will commit to the dynamics change they’ve put on  for season 3, or if they’ll even commit at all.

Third: Despite quibbles, both episodes are pretty fun, aren’t they?

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Still the winner and champion--and with her debt paid in full

This episode was the Damon hour. Despite that, I actually wish there had been more Damon. Yes, I am a fan of Ian Somerhalder and can never quite get enough of his hot bod, but there is more to it than that. I wrote last week that there were certain matters related to Damon that needed to be addressed (if not resolved) this week in order for the episode to be a success for me.  The show’s success on this front was middling at best.

I’ll review those finale expectations from last week after the jump (to avoid spoilers on the homepage), but in general, I thought Damon’s story moved rather slowly. Rather than force a dying, frightened Damon to have real conversations with the various people he has hurt—among the possibilities, Awesome Vampire Caroline, Sheriff Forbes, Jeremy, and Elena (Ric will be addressed below)—the writers’ trap Damon in a cell briefly and then have him wander town aimlessly for a while. The chase element did little to add suspense since there wasn’t any particular menace (i.e. Did he kill anyone while he was out there? Not that we saw). His conversation with Ric stopped before it started because Ric didn’t want to go there. Same could be said about his conversation with Elena—wonderful how dying makes everything suddenly okay, isn’t it? These were cheats that prevented all the characters from growing through actual conflict and conversation, in favor of a less satisfying compassion.

The side stories were more action driven, with Sheriff Forbes determined to take out Damon after being yelled at by Mayor Lockwood for her failure to deal with the “vampire situation.” Yet the conversations here, too, left me wanting.

You could make the argument that I am asking The Vampire Diaries to be more than it is. This is a show about action, romance, sex, adrenaline, fun, friendship, and entertainment. I get that. I watch it for all those reasons. But I see potential for more—in the actors, in the characters, and in the plot scenarios that the writers have developed. When I ask for more, it is out of love, not out of disdain or meanness.

Also should issue a caveat to my review (which is less of a recap than usual).  This was less a season finale than a preamble to season 3.  By all rights, last week was the official season finale–it resolved to a great degree a number of plot lines (Elena’s function in the ritual, her salvation, the fate of Jenna’s character, etc).  It also featured lots of fire, a series of gruesome deaths, and several heroic actions.  Because “As I Lay Dying” introduced a series of complications that will play out in season 3, some of my criticisms are somewhat premature.  But as we have several months to ponder the episode, these questions will only grow more urgent, so a deeper consideration of them now may be appropriate.

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“Our destiny was set the day we triggered the machine.”

Oh Bad Robot and their time paradoxes.

The grim depiction of our future in the wake of Peter activating the machine is enough to get anyone to seriously consider all possible consequences of making a decision. “If I get this kind cheese WILL THE UNIVERSE EXPLODE?” That may be a bit less dire than deciding the fate of two universes, but still. What “The Day We Died” was able to accomplish was giving us a different look at the world of Fringe. We saw where our characters would be in the future, what their lives would be like, what the world itself would be like. Most importantly: it defined the stakes. Peter had been battling with this decision for a large portion of this season. Well he made his bed and everyone in two universes had to sleep in it.

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“We’re not done yet.”

Among some of the folks I follow on Twitter, noticeably Daniel Walters and Justin Fowler,  there’s been discussion of how much impact a season finale can have on a particular season and our reception of it. Debate centered around whether or not a bad finale could hamper an otherwise strong season, or if a great finale helps elevate a murky season (see: Lost, season 3 (though it was getting progressively better before the finale, but that finale is amazing)). Likewise, a bad finale can only make a bad season seem all that worse (see: Battlestar Galactica, season 4 (at least in my opinion)).

The other central point that people discussed was the over-emphasis placed on the finale as an end-all be-all determiner of quality of a season. This is a silly mentality to take, of course. A season finale can’t wipe out all the good that has come before it (nor can a series finale for that matter (well, maybe)), and it shouldn’t be thought of as doing so.

Which is exactly the mentality I have about “The Fortress of Deception”: it may’ve been action-packed, but it wasn’t at all what the season had been leading up to recently. Read more »

“The time is now…Tetris?“

I am of two minds about “Operation P.R.O.M.” and I bet you can guess which ways I’m leaning.

This season has been pretty frustrating due to the long breaks between halves, the low lows, and the high highs. It’s only fitting then that this episode captures all of those joys and annoyances in a single episode. Compounding my anxiety is whether or not this is a season finale, which it is billed as or if it’s a series finale, which it very well cold be (Adult Swim hasn’t ordered a fifth season). Read more »

“The wings of Daedalus. Good call.”

Warehouse 13 doesn’t go out with a bang so much as it just kind of goes out. “Reset” excelled where the show usually does but failed to hit with the same “umph” that a finale should. Cool artifacts, quirky characters and entertaining banter are all present and normally what I say to sell a person on the show. Unfortunately, pay-off may not be a characteristic I include.

The HG storyline was exciting from the beginning. The “is she evil or isn’t she?” game was interesting and flirted with tediousness without ever fully committing. I was excited to see what her season long long con would produce. Alas, the journey was far better than the destination.

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“I have never loved, nor will I ever love, as I have loved you”

With a show as cliffhanger heavy as True Blood it can be hard to obtain the usual shock value of hanging story lines that most season finales contain. This episode proved that. Actually this episode proved a lot of things that have become very apparent in the third season of the show. Some characters obviously don’t matter anymore. Some characters just cannot have good stories. The line between intriguing and absurdity in the supernatural world is very, very thin.

True Blood has changed a lot in three years. But in many ways it’s stayed the same. Both are problematic. Many of the events of the finale are able to be applied to the problems of the characters and the series as wholes. It’s awfully meta. And far more interesting to think about than the episode (and more and more the show) itself.

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“Bet you never saw this coming.”

Oh, sure, he can figure who the father is.

Talking about the whole episode seems a little bit pointless, but since the entire episode (and of course the other episodes) were building to this. Indeed, as I told Ms. Monster of Television (girlfriend, not wife), deadlines are a key way to create suspense, and they do a terrific job in this episode. But they also constantly remind you that you’re so close yet so far to finding out who Moriarty is. And that can be infuriating.

Solving  the bombing cases was a pretty obvious ploy, a distraction (as Ms. Monster of Television figured out before I did), but the ploy makes for both an exciting and tiring episode, and with all that that entails. Countdowns and ticking clocks make for easy suspense (we’ve been using them for how long now?), and you pile it on with multiple micro-cases that allows us one last glimpse into how smart Sherlock is, the episode chugs along at a very pleasant pace (unlike “The Blind Banker”), but the deadlines and bombs and the cases make the episode feel a bit overstuffed (there’s clearly no pleasing me, is there?). Read more »

“Just because you say you’re retiring doesn’t mean you’re retiring. You could be like Jay-Z and come back like a couple of months later.”

Is this the end? The season three finale of The Boondocks could very well be the last episode of the show. Going into it with that in mind, there are many reasons why this not only felt like a series finale, but was a very appropriate one at that. Agent Jack Bauer Flowers is after Huey in connection with an impending terrorist attack in Woodcrest. What follows is an action movie inspired, 24 spoof episode utilizing characters and elements all related to our favorite ten-year-old terrorist: Huey Freeman.

The White Shadow (John C. McGinley) makes a much appreciated reappearance to warn Huey that his paranoia is finally merited. Men with guns are coming for him despite the fact that he has retired from the anti-establishment game. Huey’s planning and paranoia were a subject touched on a few episodes ago in “Fried Chicken Flu” but this put it in arenas more suited for Huey’s know-how. Instead of a zombie invasion like scenario he was finally placed right in the middle of a large conspiracy. Ed and Rummy are planning on blowing up Wuncler Plaza in connection with a new scheme by Ed Sr. and Huey is set up to take the fall for it.

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