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I've been wanting to write up my thoughts on the new TV season for a while and it's always been the last thing on a list of six things I needed/wanted to do, which is why I never got around to it. Today, I put it at the top of the list and Shazam! here I am, writing up my thoughts on the new TV season.
Last year this time I was in Ireland and consuming all my TV via the miracle of Flash Video, including new shows like CHUCK, PUSHING DAISIES, LIFE, PRIVATE PRACTICE, BIONIC WOMAN and BURN NOTICE; and old standbys like GREY'S ANATOMY, UGLY BETTY, DEXTER and FRIDAY NIGHT LIGHTS.
I was greatly enjoying CHUCK, PD and LIFE. BIONIC WOMAN was cancelled for lo, it was bad and the new show-runner wrote Katee Sackhoff's bad/anti-hero cyborg Sarah Corvus out of the show, which removed any sane person's reason for watching. GA was deep in the suck – the characters unrecognizable from the show's second-season high-water mark, the plots stupid beyond words as the show drifted from its "life and times of surgeon trainees" into bad melodrama land – UB was starting to flounder – really, who wants to watch their eponymous heroine torn between her conscience and her soon-to-be-someone else'-baby-daddy boyfriend? – and FNL was showing everyone why you don't mess with what works. But 30R was a solid weekly half-hour of glee, DEXTER was giving a seminar on anti-heroes and how to write them and L&O: SVU, while not groundbreaking in anyway, was reliably entertaining, if grim.
Then November and the writer's strike (fomented by the AMPTP in a deliberate attempt at union-breaking, which may end up backfiring on the producers in the long-run as the abrupt implosion of the US economy this fall chokes off the supply of hedge-fund money that was paying for a large chunk of studio excesses at a point when Hollywood, still arguing with SAG, has very little product in the pipeline), which lasted four months and shut down production on all series TV on the US networks as the productions ran out of scripts.
TERMINATOR: THE SARAH CONNOR CHRONICLES started in January. By March, I had totally lost my mind for it. Then it came back and… I'm all suspicious and unsure that it can/will tell the story I want it to again, which is a problem that's entirely about my expectations and not the show itself, which is good (which is a post of it own).
The writer's strike ended (yay!), I moved back to Canada (boo!) and Fall TV started up in September, just in time for my post-MA brain slump (uh, Brain, please come back, I need you).
So, of the shows I was watching last fall, I've kicked CHUCK and PUSHING DAISIES to the curb. ( Pushing Daisies - dropped )
CHUCK, ( kicked to the curb )
PRIVATE PRACTIVE ( a sign I should be doing something else )
Of all the shows I watched last season, I loved LIFE most after TSCC. It had so much going for it – unique concept, interesting writing, awesome production values (let's hear it for the music supervisor), a brilliant performances from Damian Lewis (who should be cloned so we could all have one) and strong supporting work from Sarah Shahi, Adam Arkin and Robin Weigert. ( so why have I broken up with Life, then? )
As for BURN NOTICE, ( on hold (again) )
( Returning shows: GA, UB, FNL & DEXTER )
Meanwhile, there's not much new this season that I've really liked: FRINGE lost me after the pilot – dude, if characters don't care about the planeful of DEAD people, there's really no reason for me to invest in the diagesis either. Status: kill it with fire.
I did check out THE MENTALIST and while it's not bad, Simon Baker's character verges on awash in emo-manpain for which I have no patience. OTOH, the supporting cast is interesting. But I remember almost nothing from the episode I saw on Tuesday except for Simon Baker's pretty eyes and Robin Tunney's wan irritation with Baker's character. Status: seriously, dude, I should read a book instead.
Finally, I've been watching MAD MEN, mostly because there's not a lot on Sunday nights that I watch. I think New York Magazine's Vulture blog nails the secret of MAD MEN's appeal (and ultimately, why it's most popular with TV critics): At times, Mad Men has seemed like a walking catalogue of mid-century American fears: women in the workplace, media manipulation, alcoholism, rape, abortion, race, and homosexuality, for starters. As such, it's depicted a culture that suffers from a kind of panophobia — a fear of all things — probably because everyone has become so unmoored from any traditional sense of security.
Which also describes the current undercurrent of North American culture, if you hadn't gotten that already. Like FNL (and, in a way, TSCC), shows that most accurately pinpoint America's insecurities tend to be most widely rejected by American audiences.
SpoilerTV has a video with MAD MEN's cast.
( Stuff I read online today - more on TV, comics, movies and Remembrance Day in Ireland )
Last year this time I was in Ireland and consuming all my TV via the miracle of Flash Video, including new shows like CHUCK, PUSHING DAISIES, LIFE, PRIVATE PRACTICE, BIONIC WOMAN and BURN NOTICE; and old standbys like GREY'S ANATOMY, UGLY BETTY, DEXTER and FRIDAY NIGHT LIGHTS.
I was greatly enjoying CHUCK, PD and LIFE. BIONIC WOMAN was cancelled for lo, it was bad and the new show-runner wrote Katee Sackhoff's bad/anti-hero cyborg Sarah Corvus out of the show, which removed any sane person's reason for watching. GA was deep in the suck – the characters unrecognizable from the show's second-season high-water mark, the plots stupid beyond words as the show drifted from its "life and times of surgeon trainees" into bad melodrama land – UB was starting to flounder – really, who wants to watch their eponymous heroine torn between her conscience and her soon-to-be-someone else'-baby-daddy boyfriend? – and FNL was showing everyone why you don't mess with what works. But 30R was a solid weekly half-hour of glee, DEXTER was giving a seminar on anti-heroes and how to write them and L&O: SVU, while not groundbreaking in anyway, was reliably entertaining, if grim.
Then November and the writer's strike (fomented by the AMPTP in a deliberate attempt at union-breaking, which may end up backfiring on the producers in the long-run as the abrupt implosion of the US economy this fall chokes off the supply of hedge-fund money that was paying for a large chunk of studio excesses at a point when Hollywood, still arguing with SAG, has very little product in the pipeline), which lasted four months and shut down production on all series TV on the US networks as the productions ran out of scripts.
TERMINATOR: THE SARAH CONNOR CHRONICLES started in January. By March, I had totally lost my mind for it. Then it came back and… I'm all suspicious and unsure that it can/will tell the story I want it to again, which is a problem that's entirely about my expectations and not the show itself, which is good (which is a post of it own).
The writer's strike ended (yay!), I moved back to Canada (boo!) and Fall TV started up in September, just in time for my post-MA brain slump (uh, Brain, please come back, I need you).
So, of the shows I was watching last fall, I've kicked CHUCK and PUSHING DAISIES to the curb. ( Pushing Daisies - dropped )
CHUCK, ( kicked to the curb )
PRIVATE PRACTIVE ( a sign I should be doing something else )
Of all the shows I watched last season, I loved LIFE most after TSCC. It had so much going for it – unique concept, interesting writing, awesome production values (let's hear it for the music supervisor), a brilliant performances from Damian Lewis (who should be cloned so we could all have one) and strong supporting work from Sarah Shahi, Adam Arkin and Robin Weigert. ( so why have I broken up with Life, then? )
As for BURN NOTICE, ( on hold (again) )
( Returning shows: GA, UB, FNL & DEXTER )
Meanwhile, there's not much new this season that I've really liked: FRINGE lost me after the pilot – dude, if characters don't care about the planeful of DEAD people, there's really no reason for me to invest in the diagesis either. Status: kill it with fire.
I did check out THE MENTALIST and while it's not bad, Simon Baker's character verges on awash in emo-manpain for which I have no patience. OTOH, the supporting cast is interesting. But I remember almost nothing from the episode I saw on Tuesday except for Simon Baker's pretty eyes and Robin Tunney's wan irritation with Baker's character. Status: seriously, dude, I should read a book instead.
Finally, I've been watching MAD MEN, mostly because there's not a lot on Sunday nights that I watch. I think New York Magazine's Vulture blog nails the secret of MAD MEN's appeal (and ultimately, why it's most popular with TV critics): At times, Mad Men has seemed like a walking catalogue of mid-century American fears: women in the workplace, media manipulation, alcoholism, rape, abortion, race, and homosexuality, for starters. As such, it's depicted a culture that suffers from a kind of panophobia — a fear of all things — probably because everyone has become so unmoored from any traditional sense of security.
Which also describes the current undercurrent of North American culture, if you hadn't gotten that already. Like FNL (and, in a way, TSCC), shows that most accurately pinpoint America's insecurities tend to be most widely rejected by American audiences.
SpoilerTV has a video with MAD MEN's cast.
( Stuff I read online today - more on TV, comics, movies and Remembrance Day in Ireland )