Posts tagged TV
Posts tagged TV
Episode #83: Happy Endings (3x4): ‘More Like Stanksgiving’
Original Airdate: November 20, 2012
Summary: When the gang celebrates Thanksgiving at Alex and Dave’s new apartment, Max brings along a tape of Brad and him on “The Real World,” and everyone recalls how they met ten years ago.
- Alex: Should I be reading something into it?
Penny: What? No. No. Don’t read anything into anything Reading’s stupid. TV rules!
- Dave: You guys wouldn’t understand, neither of your ancestors were at the first Thanksgiving
Jane: Okay, neither were the Navajo.
Dave: One of our many snubs.
- Brad: Dude, he just sneezed right in my mouth. I need some hand sani for my face.
- Jane: I am not controlling. I’ll prove it. You know what, Alex? Let’s make the potatoes together. We can make them however you want. The good way or….your way.
Alex: We can make my famous bad potatoes?
- Max: Come on, you guys. You’re being really insensitive to what I’m going through now ten years ago.
This is one of the best Thanksgiving episodes in recent TV memory. Dave reliving his Navajo ancestor’s history in a few hours was an irreverent gambit.
Marcia Wallace (1942 - 2013)
Oh no. that’s so sad
RIP Marcia Wallace
you’re all so cynical. you don’t smile, you smirk.
I recently made a not so nice remark on Damon Lindelof constantly talking about Breaking Bad. He was oddly serving as a point-man for fan theories and reactions to the show. I just thought that was bullshit. One, because it was not his show and his celebrity gave him much more pull than other people which is annoying (see: Norm MacDonald’s Walt was having a dream theory). Two, Damon Lindelof always made sure it was in the context of Lost where he would assert his opinions. I could only take so much Walt-Walt puns.
After the Breaking Bad finale Lindelof wrote a guest-piece for The Hollywood Reporter that Breaking Bad was sort of a coping mechanism where he could enjoy a television work in the wake of Lost, where the fan tide turned hard against him and the finale. I began to understand his effusive praise also having that tone but the sort of rambling aspects make me think he is still working it out. So the reports that he is checking out of Twitter after getting more shit for the Lost finale, because apparently Lost and Breaking Bad need to have the same exact finales because they’re both on TV, I can understand and actually find it healthy.
Lindelof is just one person. To put the Lost finale not working entirely on him just seems absurd. But he became the face of the show even after it was gone because of that web presence. Truth be told, Carlton Cuse should get as much shit (though not really) but I do not see him waxing poetic about Mad Men on Twitter.
Lindelof becoming the face of the TV writer/screenwriter of genre shows/movies was a double-edged sword. I would say the Lost blowback was not nearly as strong as it became. There were always haters beating the drum like Devin Faraci of Badass Digest but I would say it was when Lindelof entered the realm of moviemaking that it really became trouble for him as consensus started to form.
Nobody saw Cowboys & Aliens or really thought it was enough of a failure to pick apart in script so he got the pass. But then came Prometheus. Prometheus was one of the big blockbuster disappointments for me, personally, in terms of anticipation. The movie had one of the smartest, most well-done marketing campaigns you could want from a major studio blockbusters. But as a film it just did not deliver. It was not disappointing on a Star Wars prequel level but there is something really grating about the fact the design is there, the cast is there, it felt like it earned its rating, its 3D felt worth it, and Ridley Scott felt engaged but the script feels like every other page ends in a question mark. The fact his follow-ups have been blockbusters, practically screenplay for hire situations and nothing to even sink your teeth into the inane absurdity of some random-ass mythology exercise is also frustrating. The second-act is tough. There is a reason why a David Chase stays in the shadows or immediately goes abroad after The Sopranos reaches its end.
Lindelof’s web presence was not going to be an easy cut of the chord. He had established a presence and fan base. He was buddies with the likes of the Chris Hardwicks types that were ascending on being inescapable even in my household. He had a comfortable spot where he could be critical of other blockbusters (I remember him singling out January Jones in X-Men: First Class and for me, that was when I just thought he was a douchebag). This was pre-Prometheus. For whatever reason, whether it is due to Prometheus re-opening the wounds of Lost or seeing other TV shows like Mad Men get its mythology right without being too open-ended or Breaking Bad sticking its landing at the end, it seems that Lost’s legacy has re-surfaced in a boil. I was not a fan of the show and, in fact, my first episode I watched from beginning to end was the much derided finale. But the way people talk about the finale and the writers, does give me chills as an aspiring writer who wants to write for television. What if my vision is not in sync with what viewers want? And people who say the Lost writers ran out of ideas. So? It is completely true. There are an incredible amount of factors in television that can completely upend plenty of ideas that makes the show swerve in directions that can be both good and bad.
I may think Damon Lindelof is hack-ish but I also think he should be able to not be reminded for one little part that people saw as a negative when most of his prized work was on a show a lot of people loved. I am sorry he got bullied off Twitter but it may be healthy, even if temporary. I am also sorry for how strong I came on him for writing pieces like, ‘Walter White is Batman!’ and his other tweets when in reality, I would love to be in his position. So thanks Damon Lindelof, of reminding me of the pleasures and anxieties of being a writer on a television phenomenon.
Chris Messina and James Franco have a million different jobs
Jay & Mark Duplass
We haven’t even gotten to Mindy’s NBC/The Office connections that have appeared on the show. On one hand it is cool that it seems actors just drop by with nothing on their schedule but then they have an arc and I am just like, ‘But I want you on the show forever!”
But from Season 1’s fallout into Season 2, there was absolutely **nothing** that was realistic fallout of what happened and what was happening. It was melodramatic, poorly paced, and poorly presented. Season 3 still wants to have it both ways. Brody suffers, Carrie suffers, Dana suffers, but that Senate Committee is so evil, and Saul is getting corrupted but it is for something he should have acted on over a season ago. The show is doing more course-correction than any real smart, admirable depictions of fallout that is more ‘ripped from the headlines’ than actually in line with the show’s DNA. It is like they just remembered that Carrie is bipolar, Dana easily would have been traumatized by the events of Season 1 than what was thrown at her for Season 2, and Brody had every reason to be in hiding than be some Congressman. If there was realistic fallout, I’d actually have felt the human cost of the dead CIA agents, Estes, the Vice President and his family being killed from Season 2. But I felt nothing when it happened. It is way too late in the game to reverse that feeling.
I am firmly more interested in what Quinn is doing and rooting for the Senate Committee to take everybody down. I am feeling like that show has the opposite point of view.
The level of detail into this is astounding. Seasons in the making.
Sorry to break it to you all, but the “Mad Men” series finale is going to be 1000000000000x better. Mark my words.
Why are we comparing these two shows and their finales?
It only matters if the ending feels true for the series, not in competition with some other brilliant show (that has different characters, characterizations, themes, and perspectives). Both shows are brilliant and plenty of great shows have great endings and others not so memorable. Putting greatest TV ending/finale in a vacuum or in competition with other shows is just reductive.
Six Feet Under’s finale, completely removed from the show is a brilliant piece of TV and ends exactly what you expect from the show but as a whole it is an inconsistent, meandering show that relied a lot on its incredible cast than good writing. That is universally accepted as a great finale as opposed to the more polarizing finale of The Sopranos cut to black. But guess what: I’d never compare the two shows nor its finales. Why? The shows are night and day.