"Was it a vision....or a waking dream...?"

 

 

 

 

 

 

 

 

 

Today is John Keats' birth anniversary, he's the youngest of the important Romantic poets and even though it's not a straight biopic fragments of his life are beautiful encapsulated in Jane Campion's Bright Star which, in retrospect, is my favourite film of 2009.

Poetry is meant to be heard, not read, and it's so smart of Campion to have actual audio tracks of the poems.

Deliberate cruelty is unforgivable: A Streetcar Named Dilemma

One of the pieces I'm doing this semester for my course on American Literature is A Streetcar Named Desire, and since Tennessee Williams is only my favourite playwright you can imagine how ecstatic I am to study his Pulitzer-Prize winning drama. The actual class hasn't been going as well, though. My teacher is particularly difficult and last week an argument came on in discussing Stanley and his relationship with his wife. I'm the only male in the class, so I'm outnumbered but the essential thesis of everyone else was that Stanley and Stella had a prototypical abusive husband/abused wife relationship and Stanley was essentially a heartless chauvinist man - a theory augmented by his rape of Blanche.

 

Streetcar is one of the few contemporary plays which have managed to seep into cultural consciousness, no short debt to be paid to the 1951 film adaptation of the play which Tennessee wrote himself, and features only one significant diversion from the play. So, the argument though literary based is just as apt to film folk, I think. As is typical of Tennessee the film is so dense thematically there really isn't a black-and-white perspective as to who's good and who's bad - at least, you wouldn't think so which only makes the arguments of my classmates and lecturer that much more confounding. Reading the play recently I was particularly drawn to what seemed to be a psychological battle between the pragmatic and the artistic. Tennessee himself admitted to feeling more sympathy for Blanche, but what makes him such a phenomenal writer is his ability to present the most monstrous aspects of his characters without a smidgen of condescension or judgement. He said somewhere that Streetcar is about the inability of Blanche and Stanley to understand the pain in each other (I paraphrase) which is why I think of the rape less of an animilastic urge, and more of Stanley using the faculties available to him - i.e. his body. It's so easy to get caught up in the heinous act of rape and forget to make any attempt to objectively analyse character motives.

 

Taking a feminist reading of the play it's easy to suggest that Stanley is the villain, but the play is without a villain, I think. The rational woman would see Stella as an abused wife who only remains with Stanley because she has no options, but the notion is so silly. I always remember the first image of Stella catching Stanley's meat at the play's beginning. Need I go into the innuendo there? Reading literature, or watching film I think it's always a crutch to get bogged down by specific acts and label characters within that realm so it's a shame that the rich text of Tennessee is whittled down to a piece appreciated only for showing how a villainous man succeeding. Everything about the characters are much more nuanced than that by robbing Stanely of his occasion sensitivity and his love for Stella it seems to me a deliberately cruel act of robbing his character of his humanity.
          
I'm curious. How do the characters of A Streetcar Named Desire hold up to you? Is the play/film's inclinations as rote as showing how an abuser hectors those around him or is Tennessee precipitation more nuanced themes? What do you think?

Celebrating the real Fanny Brice...sort of (maybe)

With all the people who win Oscars for playing real life characters I almost always forgot that Barbra Streisand's work in Funny Girl was inspired by a real woman - the real Fanny Brice. Today is that Fanny's birthday, and other than what Baaaaaaarbra tells me I don't know much about the woman. I adore Funny Girl though, so I feel a bit badly. But, it's so difficult to try to think of - or even care about - the real Fanny when Barbra is Fanny enough for everyone. I suppose it's less because I don't know of Brice prior-Funny Girl and more because Funny Girl isn't a straight-biopic in any form. Incidentally, it reminds me of the situation with Streisand's co-winner that year - Katharine Hepburn in The Lion Winter. Kate's Eleanor of Aquitaine is a real person too, but The Lion in Winter isn't a biopic either so I'm more inclined to think Kate when I hear the name and less of the real woman. Although, it's more than likely that I'm just so fond of the performances that I don't even care who they're based on.

Ultimately, I suppose it does not matter.

 

 

Even though it's the real Fanny's birthday today there's nothing wrong with fêting the imaginary one, right?

TV Week in Review: 23rd – 27th October

Looking back on this week in TV...
      
Boardwalk Empire: “Gimcrack and Bunkum”; Season Two, Episode Five [A-]

This episode was a mighty eccentric one, filled with significant moments and yet another entry in the show’s superb second season. I’m becoming and more inclined to think that the show is, at its heart, a story of a tragic hero as embodied by James Darmody and that moment at the Memorial Service seems like a fine beginning for all the hijinks which the episode sees. Eli and Richard get important moments this episode, the former committing murder and the latter almost committing suicide. True, the episode most forceful moment was the cataclysmic fight between Eli and Nucky in the conservatory (of all places, really). It once again casts doubt on Nucky’s personality, and Whigham is so phenomenal throughout the episode I’m inclined to give more than a half of dozen of the actors on this show Emmy nominations. Jimmy’s dilemma, though, affects me more if only because Pitt constantly reveals himself to be an excellent actor – to me, at least. As bizarre as his relationship with his mother is, the two are fantastic together and for all his emotional stiltedness, and as terrible as it is leading Richard down a violent path, the scene at the dinner table between the two was just powerful. If I have any complaints, it’s that since episode three Margaret’s inclinations remain puzzling and her blind faith in Nucky has become somewhat troubling.
[Writing: A-; Directing: A/A-]

Homeland: “Semper I”; Season One, Episode Four [B+/A-]

This show continues as the most pleasant surprise of the season, completely off my radar until it wasn’t anymore. As is the case in most shows which deal with the political and public spheres, I’m most intrigued when things turn personal and as Kerry’s character continues to develop beautifully the show continues to deliver. I’m still the slightest bit miffed that Mandy Patinkin is being underused, but the issues of Kerry and David surely make for some interesting developments, without being overly precise which considering the fastidiousness (albeit, goodness) of the first episode I didn’t anticipate. Brody and Jessica relationship will, perhaps, be up in the air for the remainder of the season and even though it’s a bit rudimentary the potential love triangle there is being handled with deftness, and kudos to Baccarin for turning in good work. The couple apparently functioning as Abu Nazeer’s allies are titillating, but surely that final scene was a more than brilliant capper for the entire episode. Kerry’s motives are cloudy enough for us to be worried for everyone, her included and yet Danes is such a phenomenal actor that we’re coerced into identifying with her so that even as her vigilante excursions are a bit grotesque we can’t quite root against her. Assuming that the Brody arc isn’t a one season one-off, having him run for office would certainly be interesting.
Writing: B+/A-; Directing: B+/A-]

Dexter: “A Horse of a Different Color”; Season Six, Episode Four [B+]

I will admit that in its sixth, Dexter has reached the lowest level of emotional gravitas. The stakes, emotionally, are much lower. That doesn’t make a poor show; it’s still good, just different. Which, I suspect, is why the concept of a religious fanatic serial murderer was chosen as this season’s big bad. There’s something distressing about people killing so systemically in the name of fate, and it’s why the most profound moments of the episode are not Dexter’s wrestling with Harrison’s sickness or Deb adapting to her new role but those final ten minutes which are doubtlessly some of the best ten minutes of television this season. I’m somewhat anxious, hoping that the writers manage to sustain the intensity of the murderous plot this season. As the show changes, the supporting cast develops and I’m still hoping that Maria’s inclinations in helping Deb are completely evil, it’d be a real shame to waste Veleez’s talent on something so base.
[Writing: B+; Directing: A-]

The Good Wife: “Marthas and Caitlins”; Season Three, Episode Five [B+]

There’s something vaguely, vaguely unnerving about the way that the show seems to opening up more and more inviting more eclectic characters somewhat to the detriment of more core characters. The always appreciated Dylan Baker turns up to play his wife killer once more, and it’s a bit striking how excellent the first half of the episode in in contrast to the latter half which is only good. The issue of Grace’s tutor still seems like a too incidental way to show Alicia’s turmoil as a working mother, and even though the revelation of the Martha/Caitlin scenario was significant at the end it seems vaguely unnecessary especially in the wake of an episode which significant eschews Diane and Kalinda save for brief scenes, and still seems intent on presenting Cary as a flat character only for the purposes of movie plot-points forward. But, such a statement suggests that the episode isn’t good – which is untrue, because the overall development is quite good. It’s the tautest of episodes this season, and mounting tensions continue to abound. I want the show to make better use of Noth, but then with such a growing cast I can’t have all my favourites being given plum moments. There’s something especially melancholy about Celeste and Alicia’s bar conversation especially when done after a scene like Kalinda’s not insignificant glance over to Alicia’s office after turning down Eli’s chance to work for Peter. The thing is, tensions keep rising but there’s still no contact yet. And, perhaps that’s the vague thing unnerving me. Too much cerebral and not enough visceral, which of course means that when things DO get visceral it won’t be pretty.
[Writing: B+; Directing: B+]

Once Upon a Time…: “Pilot”; Season One, Episode One [B/B+]

With an already full slate of television shows I’m staying loyal to, I was wary about making a new adaptation and ultimately it was the presence of Ginnifer Goodwin which pushed me to check out ABC’s new fantasy drama. It’s an interesting premise of storybook characters inhabiting the human world which is not at all magical and the pilot functions well in setting up the issues to be resolved. Like most shows of this nature with a clear endpoint in sight (ultimate,y good must predominate over evil) I wonder about the longevity of the show because it goes on too long all that will matter is the end result and not the journey and I’m immediately worried as to how the creators – and whomever they hand the mantle over to – will manage to keep the audience interested in the now, without always peering for the future. As far as precocious television sprites go, Jared S. Gilmore is a breath of fresh air and even though there’s something overly obvious about our protagonist as played by Jennifer Morrison she’s still fun to watch. Goodwin delivers, as I’d presumed she was managing like she did so excellently on Big Love to make simple graciousness come across as eclectic on screen. I’m curious, too, to see how our Evil Queen and comatose Prince will develop, both give surprisingly deep performance. I want to say I’m not sure I’ll be back for the second instalment, but once I start these things I don’t like to quit them. So, I suppose I’m in for the long haul.
[Writing: B/B+; Directing: B/B+]

Gossip Girl: “The Fasting and the Furious”; Season Five, Episode Five [C+]

What the hell is Louis up to, I wonder? If they’re turning him into a villain in an effort to eventually expel him from the show, I’m more than down with that. Almost everything surround him and his family is boring me, which by extension that Blair is boring me because most of her scenes are with or about them which is terrible because Leighton Meester needs something better to do. Serena and her issues don’t exactly rivet me, but I have to give props to the arc and the delivery of it as I must to the indications that Diana’s appearance in New York is not incidental, she’s got a history. Still, the episode is just okay, really. Plot development for Chuck seems imminent, which fun and maybe we’ll soon find out that Louis is not the father of Blair’s child which will be a good thing. Still, the show seems to be just existing and not thriving.
[Writing: C+; Directing: C+]

Revenge: “Intrigue”; Season One, Episode Six [B+]
There’s that love triangle hanging over the show between the rich boy, the poor boy and our anti-heroine and on a lesser show it would be wrought with angst and more than a little saccharine and transparent. It’s a credit to this smart show that each of the three players is sympathetic enough so that it doesn’t all come off as annoying. And, this is just in indication of how well the arcs on the show are unfolding. I’m still not completely sold on having Daniel work at The Stowaway, but it shall be interesting to see where it leads. And even knowing that he eventually meets a violent death and that perhaps he is not the “right” one for Emily still doesn’t prevent us from rooting for him a little bit. The fact that Lydia is only in a coma makes me hope against hope that she’ll turn up – perhaps in a next season – thrill us. There’s still no specific indication of just what Tyler is out to do with Daniel, and it looks like I might have been right about my homoerotic guess (pumps fist) which I think would be a great addition. This show sure does know how to take the campy and make it a whole lot of fun. What shall become of that sinister bodyguard, and what does he intend to do? Who knows? Still, this show just continues to impress.
[Writing: B+; Directing: B+]

American Horror Story: “Halloween I”; Season One, Episode Four [B+]
It is, perhaps, not lacking in irony that the finest episode of this show thus far happens to be the one which takes place on Halloween. It’s an especially solid forty minutes even as the show’s persisting lack of subtlety is a bit jarring at times – probably deliberately. Zachary Quinto as a victim of the house plays his gay character with a high sense of camp that manages to work quite well. Of course, he’s not on the level of Jessica Lange campiness – but who is? Speaking of which, the arc of Adelaide and Constance this episode was just beautifully addressed. One of the fine things about the show is that – thus far – there is a legitimate lack of predictability and there’s no telling how things will unfold. Even the ostensibly generic teen subplot works excellently, particularly because Peters and Farmiga are such good actors. I’m not overly enthused by the machinations of our major couple this season, and I will say that even though I like him generally I wish Denis O’Hare would be expelled from the show. His character remains as the only one who seems overwhelmingly disjointed in relation to the narrative.
[Writing: B+; Directing: B+/A-]

Community: “Horror Fiction in Seven Spooky Steps”; Season Three, Episode Five [B+]

It’s another strategically placed chance for the group to get into their own machinations, and it’s a whole load of fun once again because the main group is all that’s necessary for the show to be good. Britta is her typical kooky self in this episode leading to a string of some terrible stories which served as a nice backdrop for all the fun in this episode. Community doesn’t work for me as a standard show because it doesn’t thrive on any semblance of realistic character development, so I’m fine with the fact that the episode really reveals next to nothing about the characters’ inclinations – except for the fun end gag. In the race for best story, Annie’s obviously tops it all both for the twist and the sheer ridiculousness of everything before it.
[Writing: B+; Directing: B+]

The Office: “Spooked”; Season Eight, Episode Five [B+]

Erin hasn’t been front and centre in some time, but she’s instrumental in this instalment. The show has settled into an easiness that makes for steadily good comedy, albeit occasionally lacking in innovation – which isn’t a specifically bad thing. It’s nice having Robert turn up in this episode with a decisive role and the entire ridiculous and implausible story he feeds us at the end of the episode sent me into a fit of uncontrollable laughter, both for the story itself and the reactions it prompted. One of the things that keep this show so good, though (yes, good) are the small bits of attention to detail which never dissipate – like Meredith’s crazy, or Angela’s meanness or the general craziness of Kelly. The fun thing about these sorts of episodes is seeing who the lot decide to dress up as and seeing how ridiculous it all seems. The Erin/Andy issue is more than a little awkward, which is of course the point and even though he doesn’t get a big part this episode (like always this season) I love how Jim’s everyman is still the most interesting character to me. With Carrell gone, I really want them to pass the bar to Krasinski and give him more to do.
[Writing: B+; Directing: B+]

Parks and Recreation: “Meet 'n' Greet”; Season Four, Episode Five [B+]

Three relationships developed this episode, two that were already established one a bit new and all made me squeal with delight. Or, something akin. Maybe, just maybe you could accuse the writers of not knowing what to do with Ann and Ron at a Halloween party but having them pair is ace and having Ann so happy doing something important is just adorable. The great thing about putting odd cast members together is the fun resultant. Leslie and Tom had a great moment last season with their “Soulmates” episode, and it’s nice seeing the friendship develop more and it’s nice for the continuity of Ben’s predictions actually coming through. Of course, though, it’s the greatness of addressing the living of arrangements of April, Andy and Ben which is the fine point of the episode and it’s great seeing Ben and Andy opposite each other. And, then, there are those additional great moments like seeing Chris ravish Jerry’s daughter, or Donna looking hot in her costume or that silent, creepy guy who continues to freak every one out.
[Writing: B+; Directing: B+]

Grey’s Anatomy: “Put Me In, Coach”; Season Eight, Episode Seven [B/B+]

I don’t believe I’m reading into it at all when Meredith’s utterance of “I need to go back to the beginning” seems like a specific indication of where Grey’s Anatomy wants to go and I can applaud that they’re trying to do. What is it about this season, though? The episodes are good, the plot developments are sharp but the actors aren’t giving those big moments to show they’re worth –which is a shame. But the episode is still an especially solid one. One of the great things about shows like these is seeing the working folk in a different environment and having them in the sports arena is fun, but not for the reasons you’d think. Cristina and Meredith’s drunken bonding is absolutely golden and the episode was worth it for those final four minutes seeing the two, Alex and April all drunk for snatches. It’s nice seeing Alex work so hard to help Meredith and Derek, and I wish we’d see less of that affair with Lexie, Jackson and Mark even though I’ll admit it’s handled well this episode with just snatches (and hilarious). It’s nice having Cristina finally reach the place in her career where all is well and the episode is a success, but I want moments like “Lay Your Hands On Me” or “Let the Angels Commit” getting big moments for the cast to prove just how good actors they are.
[Writing: B/B+; Directing: B/B+]

Random Thoughts

Standout Performers
Claire Danes in Homeland
Jack Huston in Boardwalk Empire
Shea Whigham in Boardwalk Empire
Michael Pitt in Boardwalk Empire
Julianna Margulies in The Good Wife
Chris Pratt in Parks and Recreation
Joel McHale in Community

Aubrey Plaza inParks and Recreation
Monica Baccarin in Homeland
Aziz Ansari in Parks and Recreation
Michael C. Hall in Dexter
Evan Peters in American Horror Story
Jessica Lange in American Horror Story
Ellie Kempler in The Office
Amy Poehler in Parks and Recreation
Danny Pudi in Community
Jessica Capshaw in Dexter
Ginnifer Goodwin in Once Upon a Time
Damian Lewis in Homeland

What did you watch this week?

Kate Winslet: Oscar Winner, times five

This entry is part of CS’ feature for the Large Association of Movie Blogs – LAMB Acting School, this week focusing on Kate Winslet.
      
I couldn’t think of an idea for a new article on Kate’s ability as actress, and I just didn’t feel like reviewing an entry from her filmography. Instead, I opted for an entry that’s sort of absurd, but bear with me. For an actor who’s so esteemed Kate gets a bit of flak for her Oscar winning work in The Reader. I know that more than a few would agree that she’s one of those great actors who win for the wrong roles. Sure, she’s not quite as chameleonic as, for example, Cate Blanchett but she’s is an eclectic actress and there are so many different parts she seems to fit into like a glove. So, I’m replacing her actual winning turn in The Reader for a slew of five Oscar winning Best Actress roles she could fit into to showcase her range. And, is it possible I’m just itching to mention these five performances ranging from good to phenomenal? Probable.


Gaslight
Incidentally, I’ve always said that Bergman’s Paula in Cukor’s Gaslight often makes me think of Nicole Kidman. There’s a striking ethereal beauty to her, and at first glance Kate doesn’t quite emanate that same fragility. Still, taking into account two of her underrated (and non-nominated performances) in Quills and Finding Neverland there is a delicacy to some of her characterisations which is not often exploited. I could surely imagine Cukor framing her delicately in the forties, and indeed she’d have been stunning with the cinematography.

The Heiress
This was actually the first Oscar winning performance which I thought of injecting Kate into. I wouldn’t say that she and de Havilland are similar actors, but the transformation of Catherine from trusting girl to decisive woman strikes me as very Winslettian (Winsletesque? Winsletic?). And, true, in Titanic Rose doesn’t quite undergo that sort of transformation in Titanic but there’s something about the not insignificant juxtaposition of the end of the film having her stare up at The Statue of Liberty, and it’s that same sort of decisiveness necessary for Catherine. Albeit, augmented to the max. But, we know Kate has the ultimate bitch-face.

A Touch of Class
I have compared Glenda Jackson’s technical skills (and photogenic, too) to Cate Blanchett which is sort of a reason why I chose this specific performance for Kate to find a kindred Oscar spirit. In the oeuvre of Kate’s nominated performances the one I remember last is always Little Children, and the performance is a bit of anomaly as is the film – somewhere between tragicomedy, melodrama and tragedy. A Touch of Class is progressively comedic but in watching the machinations of Wilson and Winslet, there’s a prominent sense that you could pluck that same relationship into the 1973 pseudo-comedy. Just like Jackson, I suppose that the easiness of the performance in contrast to her general work would have been significant.

Sophie’s Choice
It’s a stretch, certainly, because there are two specific reasons I made this connection. So many, erroneously I believe, consider The Reader to be a prototypical holocaust movie complete with the lead actress using a different accent and secondly so many often speak of Winslet as the successor to Streep’s throne – I’m neither here nor there on that, either. Nonetheless, I do like the idea of Kate replacing Meryl mother in Sophie’s Choice. Kate’s adept at projecting inner turmoil outwards, and like The Reader the crux of the drama in Sophie’s Choice is internal.

A Streetcar Named Desire
Rereading Streetcar recently, for scholastic purposes this time, I was specifically attracted this time around to the eclectic nature of Blanche’s personality – which lends potential credence to readings of the play’s delineating the psychological battle within her. Clementine lacks the poetry and the guile of Blanche, but in imagining Kate in the role Clementine is a fine paradigm to work on – what will all the rash changes in temperament. And, Kate’s always worked well with monologues.
          

So, using my abilities to inject Kate into these Oscar winning performances in history – which of them do you think she’d have actually been able to pull off?

TV Week in Review: 16th-20th October

Boardwalk Empire: Season Two, Episode Four; “What the Bee Does” [A/A-]

I’m so pleased to see how excellent the second season of this drama is turning out to be. Whereas on True Blood I’m constantly exasperated with the show’s inability to address each member of its large cast, it’s the opposite with Boardwalk Empire. The machinations of even the most minor characters are interesting enough so that it all makes for a great whole. This episode in particular is one devoted more to the ambience of the ensemble than the lead characters specifically. If there’s any underlying theme to be found it’s the subtle, yet indelible changes, occurring in relationships across the board as we see new sides of some characters. The episode is bookended by Gillian and the commodore, the latter having suffered a debilitating stroke soon after the episode opens. I love Mol’s work on the show, and I’m glad to see her bumped up to series regular. She delivers in each scene, and that relationship shift is truly significant. What will the commodore’s stroke mean for the plan to throttle Nucky? Elsewhere, nerves are frayed as Chalky tries to acclimate back into his family life clearly out of place around his more highbrow family. That’s not even touching on Rothstein being back in the game, Angie reaching out to Richard, Jimmy attempting to take the reins and Margaret’s pilfering of Nucky’s dough (perhaps rightfully). The episode delivers on all fronts.
[Writing: A-; Directing: A-]

Homeland: Season One, Episode Three; “Clear Skin” [A-]

This third instalment of the political thriller does a fine job of making the machinations which set up the first two episodes succeed with an overwhelming amount of emotion. In fact, the episode is grounded in the emotional connection between the characters and it serves as being a fine recipe for the strongest instalment, yet. The amblings at Brody’s home, as standard as they are, are being established with grace and Baccarin and Lewis are both doing especially fine jobs playing opposite each other. Both get key scenes opposite their daughter and then that emotionally charged masturbating scene which was all sorts of awkward for everyone involved, and our voyeur. I'm still feeling as if Patinkin is being underused but he delivers on all fronts despite the short screen time underscoring the shortcomings of Kerry’s character we’ve all begun to notice. It was great watching her deal with the injustice of the way her asset is written off, and with the clock ticking it’s going to make for a forceful next couple of weeks with her and her deadline, and with Brody and his wife.
[Writing: A-; Directing: A-]

Dexter: Season Six, Episode Three; “Smokey and the Bandit” [B/B+]

When Lumen arrived last season she served as a good emotional surrogate for all of Dexter’s issues, so despite being a widower he still had that emotional bond with someone. It’s much difficult, with both women gone, for Harrison to represent that emotional strip and the show is now tentatively trying to establish that. Dexter’s own machinations this week seem slightly shunted by those at the work place as Deb tries to get used to her new job. I’ve always appreciated Velez’s Maria, and for all her abrasiveness I like that she’s good at her job, sort of. The religious arc of the season brews interest, and that final scene and preview did a brilliant job of suggesting the madness to follow for the rest of the season. Dexter’s decision not to kill the “Tooth Fairy” as he planned was a beautiful bit of character development, and the subsequent disarray that occurred to his slides is going to make for some curious repercussions. I have a hunch that next season will be the show’s final one, and I'm curious as to what the endgame will be.
[Writing: A-; Directing: A-]

The Good Wife: Season Three, Episode Four; “Feed the Rat” [B+/A-]

True, there’s still a vague sort of shadow hanging over what is to be the main arc of this season but this episode is a fine entry in the coffers of the show – a fine episode on its own, but significant in moving a number of issues forward. It’s our first truly Diane centred episode as her general altruism rises to the forefront once again. Baranski is lovely, as always and I love how realistically the firm is portrayed, never completely without typical issues monetary issues but always changing its form. The Will/Alicia arc of the show has truly never interested, but Will’s automatic “I love you” this week injected that relationship will a legitimate dose of tension which it had always been missing for me. It’s further proof of how much the characters have developed since the series premiere. The Kalinda/Eli dynamic is still glorious even though just the slightest bit wary that the writers are getting too caught up with the cuteness of the relationship and not giving the enough meat to chew on. I’m glad whenever Cary shows up to get something to do and the new AUSA seems to be an interesting addition. I’m still not ready to believe that Peter Florrick is the devil, so I’m curious as to where that will go.
[Writing: B+; Directing: B+]

Gossip Girl: Season Five, Episode Four; “Memoirs of an Invisible Dan” [B-]

This is one of those episodes that underscore the vague bizarre nature of the show’s development where Dan is a successful author. With the revelation that he’s the author of “Inside” he calls a conference with all our Upper Eastsiders to reveal their tacit involvement in the novel. It predictably leads to a fallout with him and everyone else, Lily aside, as they’re all less than enthused with their portrayals. Having read that single page of the novel from a screen-capture during last week’s episode I can say that it really sounds awful, but I digress – it’s mindboggling that Dan even became friends with Blair in the first place, so all that sexual tension is awkward – for me. Naturally Louis and Blair couldn’t be a bed of roses all season, though it’s strange that it’s Dan who’s coming between them. Victoria presence on the show is dubious, but for her definitive position as a villainess. Now that she knows Ivy’s secret there’s no telling how she’ll use that to get the dirt on all the Upper Eastside crew.
[Writing: B-/C+; Directing: B-]

Parenthood: Season Three, Episode Six; “Tales from the Luncheonette” [B/B+]

Good episode after good episode aside, something about this season of Parenthood seems to be lacking drive where the machinations of the characters seem a bit nondescript. Case in point is Seth’s drunken return. With Sarah’s cajoling he decides it’s time for rehab and Zeke is his typical staunch self and Sarah ends up asking Julia. I have to give kudos for all the actors especially Graham who is just beautiful dealing with that issue. And that dinner table confrontation of sorts where Joel tells Zeke to back off was just lovely. One, because really he needs to but even more because Sam Jaegar has had essentially nothing to do this season but have his daughter paint his nails which is cute but undeserving of the man who was the show’s strongest male last season. That arc was the only which completely took my attention this episode. Crosby and Adam’s recording studio issues, even with Ceelo didn’t exactly rivet me. It’s great that they’re working together, of course, but something is missing. The same goes for Haddie and Kristina and their issues. It’s still a good episode overall, but I want more – especially from Katims.
[Writing: B+; Directing: B+]

Modern Family: Season Three, Episode Six: “Go, Bullfrogs” [B/B+]

I don’t know what it is, but I’ve not been feeling that same level of goodness from Ty Burrell that I’ve felt for the show’s first two seasons and as much as his arc this episode should have been indicative of him at his zany best, it just felt a little forced. Luckily, the other arcs – even one which was vaguely nauseating – were enough to divert from that. Having Claire wanting Mitchell and Cameron to hook her up with a night on the town with the gays was nice enough. It’s the only time Giles Marini doesn’t seem completely out of place, and even if Claire is still being painted a bit too harshly Bowen is a delight in this episode. Similarly, Cam and Mitchell are great even if they were in a rut. So many of their interactions this season have been golden, and six episodes in Ferguson has been the show’s MVP. The Gloria and Jay arc contained two bits that felt especially tired – the TV show, and Manny’s issues but it ended up feeling somewhat sweet with despite a lack of nicety.
[Writing: B/B+; B/B+]

Revenge: Season One, Episode Five: “Guilt” [B+]

This episode was the first to diverge from the “one act of revenge per episode” theme, and it’s a bit of a slow burn but in that way it ends up being a finely constructed episode and yet another entry in the annals of this show – which is building up to be a superb drama. Lydia’s return was much welcomed, especially since I feel that Amber Valetta has been severely underused so her death does feel the slightest bit premature but it raises some interesting developments. Victoria’s reaction gives us some more much needed insight into her fragilities, and that psycho bodyguard of hers is getting more interesting by the minute. What’s the deal with Daniel’s friend is a whole other story – one I hope we learn soon enough. True, the development of the Declan/Charlotte romance has the vaguest hints of something overly cutesy, but with all the backstabbing abounding it’s a nice breather. I’m not as enthused about Emily’s triangle either, unless they throw Nolan in and make it a quadruple but having the cards somewhat evenly staked is surely making it more interesting.
[Writing: B+; Directing: B+]

American Horror Story: Season One, Episode Three: “Murder House” [B]

Ultimately, I suppose that horror is not quite up my alley and I may not quite be on board with American Horror Story, other than the pedigree which pushed me to watch in the first place. Still, the show’s developing at a legitimately exciting pace. We’ve got some interesting development this episode, and it does make me wonder if the fact that the house seems privy to more than a single fatal debacle won’t end up making it a bit too cluttered. The thing about this slow build to final showing us the revelations, is that the episodes end up seeming a slight bit wandering as the audience is sort of unsure what to retain. Some of the little mysteries work especially well this episode, though, the best of which is easily that of the freakish maid. The relationship between the duo of Constance and Moira is proving to be especially interesting and it’s going to be fun watching it all unfold.
[Writing: B/B+; Directing: B+]

Grey’s Anatomy: Season Eight, Episode Six: “Poker Face” [B+]

True, this episode isn’t particularly high on dramatic tension but it’s an all-round great entry in the series for me. In some not insignificant ways it evokes the silly humour of some of the middle episodes of the show’s second (and finest) season. April’s attempt to be a good chief resident have managed to retain some humour as Alex – rather meanly, admittedly – tells her that her voice is too annoying to be a good leader and it’s nice seeing that act as some sort of quasi-epiphany leading to her making strident attempts to wield her power. I’m a bit pleased, and yet exasperated, with the breakdown of Meredith’s and Bailey’s relationship. Pleased, because it’s a nice development but exasperated because I don’t think they’re addressing it enough. Still, it’s nice seeing Bailey be especially mean in those moments and it’s good having us remember that bond between Meredith and Richard, and the fact that Meredith is actually a good doctor. I’m a bit torn on the messages in the Cristina and Alex story encouraging them to be more risky surgeons; shouldn’t they err on the side of caution? Still, the overall cadence of the episode pleases on some much needed developments while managing to be enjoyable and not overwrought.
[Writing: B/B+; B/B+]

Random Thought

• If Brody is a terrorist, his first act of terrorism should be killing his daughter because really that girl is ingratiating.

Standout Performers
Claire Danes in Homeland B+/A-
Damian Lewis in Homeland B+
Christine Baranski in The Good Wife B+
Lauren Graham in Parenthood B+
Michael Pitt in Boardwalk Empire B+
Gretchen Mol in Boardwalk Empire B+

Julie Bowen in Modern Family B+
Michael Kenneth Williams in Boardwalk Empire B+
Madeleine Stowe in Revenge B+
Michael C. Hall in Dexter B+
Morena Baccarin in Homeland B+
Sofia Vergara in Modern Family B+
Frances Conroy in American Horror Story B+
Mandy Patinkin in Homeland B+
       
What did you watch this week?

"They call him Strider"

I was discussing Viggo Mortensen with someone recently and how he's managed to dole out some fantastic performances in the last decade or so even though he's been acting since the eighties. I mentioned that his role as Aragorn in The Lord of the Rings trilogy was the first of many, and they sort of scoffed as if to imply that his work there was nothing to shout about. Now, I'm a devotee of the trilogy, even if I'm not so insane to forget that there are those who don't love it.

Viggo is arguably one of the finest actors of his age right now (he was particularly phenomenal in History of Violence, for example) but I'd intimate that he was fantastic in The Lord of the Rings too. I'd have given him an Oscar nomination for the second film. But, then, I've always been known for oddities.
       
Happy birthday, Viggo. Do you think his work in the trilogy is worthy of the actor he's become?

“So, it won’t hit us?”

Melancholia: directed and written by Lars Von Trier

Melancholia is not subtly named. It’s a decisive pun on the part of Von Trier. A meteor is hurtling towards the earth with the curious name of Melancholia, whilst two sisters both suffer from a severe sort of depression – melancholia – in two separate, but not disparate halves. With the unsubtle precision in its title you’d anticipate that the juxtaposition of the film’s apocalyptical tendencies with its characters more human interests would be more calculated. Instead, Von Trier takes a number of steps back as a director and crafts the film with little ostensible directorial intrusion, and with little focus on actual plot. Instead, we’re met with almost impressionistic meanderings marked by overwhelming symbolism.

It seems to be a somewhat curious choice that Von Trier chooses to spend half off the narrative a wedding reception engulfed in dissonance especially when the pragmatic “end of world” spectacle of the final third are brought into context. Then, when I consider his almost self-servingly bleak outlook on life I suppose not. A wedding is one of those events which often exist as a sort of social crucible allowing for everyone to immerse themselves in one of those benchmark moments in life as they submerge themselves in the joie de vivre. Yet, watching Dunst’s Justine amble through the affair unmoved by it all only serves to underscore, even before we actually know what is being underscored, the triviality of the human experience – for Von Trier at least. It’s no wonder that, as Justine meanders through the event she significantly prevaricates the truth telling others, so often, how happy she is.

There’s a striking insularity which accompanies Von Trier’s ruminations on the end of the world. It’s deliberate on his part, I'm sure and that sort of bleak outlook on life does precipitate something like a sort of disconnect between the audience and the subjects it observes. It is probably just as significant that we are introduced to the film through Justine and not Claire. Dunst’s Justine becomes a problematic character almost immediately. There’s a perverse streak of viciousness which emanates from her, often at odds with the more sedate aspects of her personality. It’s the very reason that as we observe this woman we’re confused as to what her inclinations. The first half is so lacking in any momentous propinquity that we’re never sure which aspect of the masquerade we’re meant to focus on. I’ve commented before that as laudable the concept of true realism in art is, realism just for realism sake is not appreciative on my part. The discord rooting the wedding party retains a distinct air of practicality and the editing is so delicate even as we never quite understand the people we observe it is as if we know them – as much as one can know people, which is never enough.

It’s something of a jarring shift when we move to the second half. It’s nowhere near as exquisite to behold as the first half, and Gainsbourg pathetic Claire is a bit awkward to behold in her pitiable way the same that Justine was awkward to watch with her abrasiveness. There is a potent organic nature as the meteor Melancholia enters the narrative and even with the obvious foreboding indications it is a testimony to Lars that it never feels overdone. Even as the end draws near he maintains the narrowness of the tale keeping our perspectives eclipsed which raises the inadvertent question in the mind whether the melancholia of these two sisters could, in any way, be responsible for this end of the world. It’s even possible to consider that, perhaps, that final shot is even inauthentic. That shot exists as a fine paradigm to view the entire film through. It’s difficult to look away from it, even as it appears jarring and awkward and it’s the same way with the film Melancholia. It’s a fearsome thing to behold and often comes off on the wrong side of gauche. But, it’s arresting throughout. It never hits is on the emotionally personal level you’d expect it to, and yet it hits us in a powerful way nonetheless. It’s difficult to forget its machinations.


B+

TV Week in Review: 9th-13th October

It's been a great week for TV, solid entries, great performances and character development. It's glad to see my obsessive viewership isn't going to waste.


Boardwalk Empire: “A Dangerous Maid”; Season Two, Episode Three [B+]

This episode is curiously low on those gut-reaction thrills but very heavy on the emotional. It seems to be an especially subdued entry in the annals of the series. We didn’t see Van Alden last week, and this week we return to the abject ridiculous nature of his relationship with Lucy. The pathetic nature of their relationship is laughably ostensibly, but digging into their relationship this week it becomes surprisingly poignant despite the silliness. Paz turns in her strongest performance, yet, in the development. Margaret, meanwhile, is dealing with her past and it’s lovely and sad the way she tries to bond with the maids only to come to the realisation at the end that perhaps she shouldn’t. Pitt reminds me why he was my MVP of this last season, and even though he’s continuing what seems to be his trend this season of being overly introspective, it works especially well in this episode. I'm still not completely sold on Jimmy betraying Nucky, and that final moment with Angie underscores the fact that he’s still hesitant. I'm looking forward to how that battle will go down.
[Writing: B+; Directing: B+]

Breaking Bad: “Face/Off”; SEASON FINALE; Season Four, Episode Thirteen [B+/A-]

And so, another season ends. I shall never be a complete aficionado of Breaking Bad and at the end of the day I'm quite all right with that. The show ends on a powerful note, setting up – but only subtly – what is sure to be an interesting final season next year. True, it was a bit surprising that both Walt and Jesse seem to escape their horrors unscathed, but then again it’s probably only unscathed in the superficial sense. The typical first half full of smouldering tension and the second half of catastrophic explosions is normal for the series and the dénouement of those final plot points were all beautifully handled. The show’s tendency to overemphasise its serious paid off well for a climax of this sort and even if the overwhelming happenstance of situations like Jesse’s “arrest” or Gus’ stubbornness is difficult to ignore, it makes sense in the show’s universe of overwhelming deliberateness.
[Writing: B+; Directing: A-]

Dexter: “Once upon a time...”; Season Six, Episode Two [B+]
In the way it unfolds Dexter bears closer resemblance to a serial like Damages more than one like Mad Men. (or, yes, Breaking Bad) as the episode to episode machinations unfold we’re learning more about an arc which will become the root for the entire season. Last season’s Lumen mystery was a potently taut one, and with his wife gone and his ties to Lumen gone it’s given the show – and the character – to retain a bit of flippancy as the dark humour returns with full force. In this way, the creation of the season long arc being built Olmos and Hanks seems a bit overly precise – although, I'm sure, it’ll bear much more terror as the season unfolds. It’s the only weak link in an episode of fine developments. Deb as Lieutenant is not an overly attractive development in itself, but it suggests interesting arcs in terms of Batista and Quinn. It’s been done before, but the Quinn’s proposal dilemma was handled nicely and I figure that that relationship can’t be completely over. The appearance of Mos (Def?) works well in sync with Dexter’s own issues, and even though it’s a minor episode it’s a minor one with a purpose.
[Writing: B/B+ ; Directing: B+]

Homeland: “Grace”; Season One, Episode Two [B+]

Two episodes are not enough for me to get an adequate reading of this show and what exactly it hopes to be. I'm still a bit cautious about its overly precise nature in its stories, but it doesn’t work against the show, it’s just weird especially in the context of Kerry. This week [ ]’s gets even more interesting, and watching him coping with his return home and adapting to his family as expected as it is, still makes for good drama. His daughter continues to be annoying in her ridiculous teenage posturing, which isn’t exactly doing much for the show but then it works in the vein of only emphasising the strained nature of the family dynamic. The brief glimpse into more of Kerry’s family life is something I hope we get more acquainted with. The show is excellently organised, and it’s going to be something special watching the mystery unfold.
[Writing: B+; Directing: B+/A-]

The Good Wife: “Get a Room”; Season Three, Episode Three [B+]
There’s a scene at the end when the mediator tells Alicia that she played him well, and she’s clearly affronted even though the summation is accurate. It’s a moment I love because even as the show seems to be spending much too much time on the sexual tension of Alicia and Will, I'm appreciative of how this season is allowing Alicia to own up – however reluctantly – her darkness. On that note of owning up, then, it’s nice seeing Cary call Kalinda out (wrongly, perhaps) on her overwhelming use of sexuality. I trust that the writers didn’t just include that moment without hopes to fully address the issues raised later in the season. I tend to forget that Diane and Eli have their own history, so it’s nice seeing them have such good moments opposite each other. The show’s always underused Mary Beth Peil a bit, so it’s an additional reason why the Alicia/Peter switch is a bit unfortunate and there’s a striking sense that Peil’s included just for the hell of it in this episode. I don’t know what on earth to make of that bizarre tutor of Grace. It’s just weird and I find Grace much too shrill to be a satisfying character. It’s another solid episode, even though there’s a strange sort of calmness pervading through the entire season, thus far. Sparks have to start flying some time, right?
[Writing: B+/A-; Directing: B+]

Gossip Girl: “The Jewel of Denial”; Season Five, Episode Three [B]

This episode sort of reminds me of how diverting the silliness of the Upper East Side crew was. Even if the show doesn’t approach its subjects with the same wit of its first two seasons, it’s still supremely entertaining and this is a particularly solid episode. True, Serena continues to precipitate boredom but her and Charlie served to create two good moments, both surrounding Blair – the first Blair’s questioning of Charlie’s presence and the second Blair’s advice to her. I’ll ignore the Lily and Nate issues, not because they’re terrible but with one getting out of jail and the other embarking on criminal activities I'm much more interested in seeing how the two main arcs of the episode play out. Lord knows what is up with Dan’s terrible hair, but bigger things abound like the imminent publishing of his book which should be something interesting. The bombshell, of course, was Blair’s unborn child’s paternity. I'm almost certain she’s lying telling Louis he’s the father, and that scene with her Chuck was just excellence.
[Writing: B/B-; Directing: B-]

Parenthood: “Nora”; Season Three, Episode Five [B/B+]

And, so the baby is born. This episode was a strange one in a way for me, not because of any actual strangeness in its creation, but strange because I’ve been wondering about what keeps me watching this show. I’m never in suspense, but it’s so sweet in its easiness that I keep tuning in. Then, taking into context the arrival of Sarah’s ex-husband Seth to the show again bookending the episodes with what’s sure to become a season long arc only make me wonder where the third season will take us. I still feel that, despite his obvious shortcomings, Crosby is being given the short end of the stick and I especially hate that in the wake of good things everyone forgets about the things that are bothering them – but it’s a nice touch on the show’s part, because it’s not that it’s forgotten but that’s the way that families tend to go. Amber and Max’s odd moments of bonding were handled more impressively than I expected, and Lauren Graham and Jason Ritter continue to be ADORABLE.
[Writing: B/B+; Directing: B]

Modern Family: “Hit and Run”; Season Three, Episode Five [B]

It’s another fairly good week of The Dunphy/Pritchett clan. It’s clear that the episode’s strongest moments came in the bits towards the end where the entire cast went over to Jay’s house for that bit of family time and regardless of where the storylines take them, it’s nice that the show realises the value of its ensemble working with each other. The writers continue trying to make Claire into something akin to a harpy and Phil into something of a buffoon so once again the Dunhy’s arc is the least satisfying. Jay and Gloria don’t have a particular brilliant arc, either, but it’s sort of sweet the way Gloria is going around trying to give everyone the right answers that they don’t know. Cam and Mitchell’s cinema and then road occurrences were both excellent played out and it’s great how Jesse Tyler Ferguson has been turning in brilliant performance after brilliant performance this season.
[Writing: B; Directing: B]

Revenge: “Duplicity”; Season One, Episode Four [B+/A-]

And, voila, the show delivers a near perfect entry in its cannon. Revenge continues to develop as one of the smartest, yet frothiest, shows on television. But, what makes this episode so intriguing is the way it manages to keep eschewing the more obvious plot points and ending up with some legitimately interesting and surprising developments. Each moment where Stowe and VanCamp face is off is a thing of beauty, and the act of revenge this week was particularly interesting especially considering the collateral damage. I feel bad for mistrusting the show’s inclinations. Both Jack and Grayson, characters who seemed incredibly rote, have managed to take on shades of grey that make them seem more interesting. Grayson’s friend and what seems to be his diabolical plan end up being a nice contrast to Emily’s own inclinations. Is he taking revenge on Grayson? Is it a gay arc in the making? Is he just nutso? I suppose we’ll see. I'm anxious.
[Writing: B+; Directing: B+]

American Horror Story: “Home Invasion”; Season One, Episode Two [B]

I hope that the show doesn’t lose track of coherent plotting for visceral thrills, because something that always irks me about the horror genre is the abounding of loose plot arcs. The cold opening was strange, and it’s just a bit silly how the arc of this episode includes a reconstruction of it but in a way it works. Farmiga is a fine young actor, and Evan Peter is truly interesting to watch. The scene where he, Lange and Conroy converge to dispose of those bodies is something interesting because, of course, it’s making me rather curious to find out what exactly this house seems to be holding. I’m hoping that in lieu of an actually emotionally resonating arc the writers don’t go crazy with Ben’s past with infidelity, and I do hope Violet lets up on the harshness to her parents.
[Writing: B/B+; Directing: B+]

Community: “Remedial Chaos Theory”; Season Three, Episode Four [B+/A-]

There’s a miniscule part of me that’s a bit reticent about the positive review I'm about to give this episode, if only because the goodness of the episode – for me – is less about the admittedly cool concept of the varying timelines and more about the concept of seeing the group in different registers, all in one place. Abed and Troy have moved into together, and the group turns up to their housewarming and it leads to a slew of potential situations. The way things work out isn’t particularly important, but it’s great watching the way that all the jokes come so organically (unlike Pierce’s airplane story). I will admit that the show sometimes does tend to not address issues like character development (how long will Shirley go on being ignored by the group) but in the context of the show it’s a not a crutch and just another in a long line of idiosyncrasies the show works with so often. And, this showing is an excellent episode.
[Writing: A-; Directing: A-]

The Office: “Garden Party”; Season Seven, Episode Four [B+]

And the show find’s its groove post-Michael Scott in this, the fourth episode. The show really has decided that Andy is Michael’s succession not only in terms of the job, but in terms of him being the de facto lead. I'm not ecstatic about the concept since Jim is my favourite player, but this episode as Andy throws a garden party to impress his parents which in the natural manner of this show is a bust. Yes, I'm the slightest bit peeved that the episodes this season have been constant character development for Andy and none else, but it’s still a nice developed episode and old good things like the Jim/Dwight rivalry as the minor arc was excellent. Jim’s book on “how to throw a garden party” was excellent and even with just the most wan of glances Krasinski is just hilarious. It’s an especially solid episode and it’s great seeing the show falling into such a good groove.
[Writing: B+; Directing: B+]

Parks and Recreation: “Pawnee Rangers”; Season Four, Episode Four [A]

And, la de da we get what I consider a perfect episode of television. Readers would know how much of a curmudgeon I am – I don’t give out A’s in any medium easily but this offering of the Pawnee group is just beautifully orchestrated. The main arc of Leslie and Ron’s battling club was a nice precipitant for ridiculously brilliant humour. Everything works excellently, from Ron with children to the mini-Leslie’s, from Andy’s kookiness to Ann’s awkwardness and even April’s minor moments – they all work brilliantly in creating what on its own could have been lovely but we get two more great arcs. True, the Chris/Jerry arc is the slightest bit awkward but there’s something glorious in seeing Jerry as uncomfortable around someone as he makes everyone. And, then, there is the absolute genius idea of having Donna and Tom’s “Treat yourself Day” becoming a chance for them to invite Ben on their trip. It leads to absolute loveliness and caps the episode off with greatness. This show continues to excel, and that ending was just beautiful.
[Writing: A/A-; Directing: A-]

Grey’s Anatomy: “Love, Loss, Legacy”; Season Eight, Episode Five [B/B+]

I hope Debbie Allen gets a Guest Emmy nomination for her work on the show next year. I'm still trying to surrender to the two stowaway Mercy Westers – April and Jackson – the latter in particular and I have to get it off my chest how much he annoys me. So, it’s a bit annoying digging into his past – but it’s a strong episode, questionable in a few instances but not enough to destroy the overall goodness. It’s nice seeing the little bits of character development, like Alex leaving the competition when he gets a page about Zola or Cristina being very comfortable with the baby as Owen looks on obviously conflicted. Derek Shepherd continues to be a terribly annoying presence and I do wonder if his and Meredith’s relationship will truly be able to mend. It’s just a bit weird how from one episode Mark moves from loathing Jackson to being his “mentor” – only further proof of how stodgy the last episode was. And, I hate that Miranda is giving in to the show’s occasional tendencies to allow all the leading men to be jerks wherein she dumps Eli for the annoying Pete. But, I suppose, that that’s Shonda Rhimes for you.
[Writing: B/B+; Directing: B/B+]

Random Notes

• I feel as if that Cary/Kalinda moment was orchestrated just for me. Naturally, I loved it.
• A significant delayed reaction, indeed, but I’ve come to like Harrington’s Quinn.
• “What’s up with your hair, Humphrey? You look like a Muppet.” Aah, Blair and her witticisms.
• Not to be a nitpicker, of course, but it’s still unfortunate that at its moments of highest tension Anna Gunn is so shut out. But, I suppose, it’s not her story.
• Joke after brilliant joke, I have to give the top prize to Ron’s tale: “My first wedding ceremony took 2 hours because after the reverend said ‘repeat after me’, I fell silent.” A classic.

Standout Performers

Adam Scott in Parks and Recreation B+/A-
Amy Poehler in Parks and Recreation B+/A-
Nick Offerman in Parks and Recreation B+
Damian Lewis in Homeland B+
Michael Pitt in Boardwalk Empire B+
Madeleine Stowe in Revenge B+

Joel McHale in Community B+
Alan Cumming The Good Wife B+
Claire Danes in Homeland B+
Kelly MacDonald in Boardwalk Empire B+
Christine Baranski in The Good Wife B+
Michael C. Hall in Dexter B+
Retta in Parks and Recreation B+
Ed Helms in The Office B+
John Krasinski in The Office B+
Bryan Cranston in Breaking Bad B+
Leighton Meester in Gossip Girl B+

How did this week in TV go for you?