Went to watch "Harry Potter and the Half-Blood Prince" earlier this week, and really enjoyed the movie. I've seen all the Potter movie adaptations and this has to rank up there as one of my favorites, alongside "Prisoner of Azkaban" and "Goblet of Fire". To someone who hasn't read any of the books, "Half-Blood Prince" came across to this non-reader to do a much better job than its immediate predecessor ("Order of the Phoenix") of streamlining JK Rowling's dense tome so that all the major plot points in the book are covered without seeming to rush from one event to the other, while leaving room for the movie to breathe in terms of letting the emotional moments sink in. Maybe part of this is because Steve Kloves, who adapted all of the previous novels to the screen except for "Order of the Phoenix", has returned to writing duties, and also perhaps that director David Yates (who directed "Phoenix"), has become more accustomed to his role.
Whatever the reason, "Half-Blood Prince" was an emotionally-rich movie that canters along at a good pace while having time for a few light humourous moments as well. The latter has been criticised by some critics and fans, but I felt the movie absolutely needed that, given the dark tone of the main plot in which Harry and Dumbledore seek out one of the horcruxes in which Voldemort has hidden part of his soul. The humor is mainly contained in Harry's and Ron's "adventures" in the romance department, and it not only serves to provide some much needed, and effective, light-hearted moments, but the subplot paid its dues in full when at the end, Harry's mourning of Dumbledore's death was made all the more effective because Ginny was there for him to have a shoulder to cry on. That final reel was a real gutwrencher, and made all the more so by all the students and teachers at Hogwarts raising their wands in honor of the fallen headmaster. I teared up all over and it was all I could do to prevent myself from crying out loud. As powerful, if not more, as Cedric's death at the end of "Goblet of Fire".
A minor quibble, and probably more because I haven't read the book, is the seeming throwaway reveal near the end that Snape was the titular Half-Blood Prince. Is this revelation meant to bear more significance?
"Half-Blood Prince" is a movie I thoroughly enjoyed, and this is one happy fan who'll most definitely be looking forward to the next movie in the series.
And I lagged in blog postings again. Someday, in an alternate universe, I will be more conscientious in updating the blog more regularly, but till then... :P
Anyhoo, I haven't been all that idle. I managed to rope in a friend of mine to contribute to the blog! Hopefully that'll mean less irregular intervals between posts :) Obviously, a lot has happened in TV-land since my last update. Probably I'll do a summary post on all the shows I've watched since January, especially those which have ended their run (*cries*), e.g. "Battlestar Galactica", "ER" and "Stargate: Atlantis".
Some brief notes on this week's episode of "How I Met Your Mother":
This was an episode that I really loved! As I mentioned in my post for the previous episode "Benefits", I never tire of Marshall and Lily as a happy couple, and there's more of what I love about them here. Their little rituals of showing their love for each other, e.g. telling each other what they had for lunch each day, listening to Auld Lang Syne together on New Year's Eve, bringing a six-pack for the other whenever one of them goes on a trip, etc was classic Marshall and Lily. I really liked the chronological twist, and how it ties up the A-story (Marshall and Lily deciding mutually (but eventually reneging individually) to stop the airport-sixpack ritual, along with the other rituals that they have seeming given up as (in their words) they mature), and the B-story (Ted and Barney given free rein over MacLaren's and finding themselves hosts to a college marching band). I cried a little at Lily and Marshall's scene in the airport waiting area with the keg of beer and the marching band playing Auld Lang Syne. It was so beautifully set up, and for my money, as romantic as Ted's 2-minute date with Stella in "Ten Sessions".
Another notable scene, and characteristic of "How I Met Your Mother's" insights into love and dating, is Marshall's conversation with Robin about love. Marshall, ever the romantic, who calls Robin out for putting down their rituals because she's never really knew love. And Robin, ever the cynic, rightly pointing out that love isn't just composed of these rituals, and that it can be possible to be in love without them. Marshall and Lily met in college, and have been in love ever since. They have known, and gone through, those rituals throughout their relationship. That they are in love is undeniable...these rituals are the manifestations of their love that is rooted in its collegiate origins. But as Robin pointed out, it doesn't apply to all couples. Just because a couple doesn't have all these cutesy rituals doesn't mean that they are not in love. Take Adam and Roslin in "Battlestar Galactica", two stalwarts who respect, and are attracted to each other. Their unspoken love is devoid of Marshall and Lily's rituals, but it's love nonetheless.
Finally, Barney really wanted to name his pub Puzzles?
"How I Met Your Mother" has been on a roll lately. The next episode can't come soon enough!
My viewings of HIMYM have been intermittent this season, partly because of work and partly because my TV plate is so full these days. However, catching up on this episode made me remember why I love this show so much in the first place. Barney trying to hide his true feelings, as Robin and Ted mentioned to the rest of the group that they were back to hooking up, was funny and affecting at the same time. I especially liked the low key way they tied the A story with the B story (Marshall, erm, taking long washroom breaks at work) to have Barney finally summoning up the courage to tell Robin his feelings, only for Robin to first misinterpret it, and then for Barney's momentary burst of bravado taken away by Robin saying it was a bad idea for friends to date (referring to her and Ted). The back-to-status-quo nature of the conclusion is nothing we haven't seen in other shows before, but it's so nicely set up and played out here that I totally loved it, especially the knowing glance between Ted and Barney.
Miscellaneous notes:
- Loved the continuity with Ted and Robin's Private Thing joke...the Major Buzzkill scene in "Slapsgiving" is one of my favorite scenes in the series' history.
- Totally misinterpreted the Marshall storyline line as him really reading a magazine at work (ha!). I'd like to blame it on the long day I had, but I'm obtuse at the best of times. I got what they were actually going for by reading about it elsewhere online.
- Maybe it helped that we were introduced to Lily and Marshall as being totally in love with one another, but I never tire of them as a happy couple. I always thought I would like Jim and Pam of "The Office" as a happy couple, but unfortunately, that's not happening right now for me. Yes, I do miss Jim and Pam when they were apart. Please don't throw garbage at me.
- The quick sequence of shots going from Ted and Robin deciding they needed to "relapse" into having sex to avoid fighting again, to Marshall (and therefore Lily) finding out again, and finally Barney venting his frustration, yet again, on CRT TVs was the laugh-out-loud moment of the episode.
"24" is back! Goodness, it's been about 18 months since the show was off the air. Season 7 was in the middle of production when the writers' strike happened last year, and rather than air a potentially interrupted season, Fox decided to save the episodes that were filmed until the entire season could be completed.
So, it's a popularly held view (and one that I share) that season 6 has been the weakest of "24's" seasons to date. For me, though, it's not because of the plotholes, twists that make no sense, characters whose motivations and actions are non sequitur to what they have previously done, etc. These traits have been present in all the seasons, and might I add, in all TV shows as well. "24" is a thrill ride, and in my opinion, should only be judged by that yardstick. How good a season of "24" is should depend only on how excited you get during the rollercoaster, and how successful the show is in getting you jazzed up for the next episode. Somewhere during the middle of the 6th season, I realized, for maybe the first time in "24's" run, that I didn't feel the "need" to watch the show anymore...that it wasn't appointment TV. It just wasn't exciting enough. A good finale and a great ending scene with Jack looking out to the sea, devastated at losing Audrey, couldn't make up for a season where the thrills were sparse and the roller-coaster ride was stop-start at best.
Fast-forward 18 months to the beginning of a new season, and I'm naturally approaching "24" with more than a little sense of trepidation. Could the show recover its lost touch? Thankfully, the answer, at least based on the first 4 episodes, is a resounding "Yes!". Jack got pulled from a Senate hearing of his past activities with CTU because the FBI needs his help in tracking down his former colleague Tony Almeida, who's now working for rogue mercenaries who have come into possession of this season's MacGuffin, namely a device that controls CIP firewalls, and which in the wrong hands could compromise major infrastructural systems like transport, power and water supplies.
The action moves at a nice clip, especially the third episode, which involves Jack finding out Tony is actually working deep undercover with former CTU boss Buchanan and Chloe. So Jack, who had helped the FBI, notably Agent Walker (are all spies on TV named Walker these days? See: Agent Walker on "Chuck") capture Tony at his hideout at the end of episode two, now has to break Tony out of FBI custody. The scene where Jack is cornered by enclosing FBI agents and he has to drive a car off the parking garage parapet to escape was some major impressive stuntwork, and just the badass sort of thing that you can count on ol' Jack to pull.
It was also a treat to see the old gang of Jack, Tony, Buchanan and Chloe together again. Especially Chloe. Goodness, she's too awesome for words. So cranky and lovable at the same time. Jack would be nowhere without her tech support. The scene in episode 3 where she and FBI techie Janice try to out-hack each other in acquiring control of the Bureau's surveillance systems is just an enthralling geek war. Of course our girl came out on tops :)
I'm obtuse enough not to have telegraphed the Tony reveal, which many would probably already have guessed way beforehand; I really believed he was the bad guy there, right up till he gave Jack the Deep Sky code and Jack found out it led to Buchanan. And while I'm happy that Jack and Tony are working together again like the old days, I'm also glad that the reveal wasn't a complete negation, i.e. that Tony had indeed gone rogue for some time until he realized associate Emerson was going too far with this plan. This was a guy whose wife was killed, and whose life was wrecked, by the actions of the nefarious President Logan (Season 5)...surely he would harbor some deep resentment, resentment that would turn him against the government that he used to work for? At the same time, Tony's a good enough guy deep down to be jolted to the right side when the situation becomes extreme, which the show is trying to portray here. Kudos to the show for making the twist at least conceivably believable.
It was cool to see former "Once & Again" co-stars Jeff Nordling and Ever Carradine together again in the same show (though they don't share a scene), and Agent Walker had a good chemistry with Jack whilst they were working together, until Jack turned on her to free Tony. I'm sure that there will be more of them on the same side in the later episodes. Nice touch to have the Kurtwood Smith (aka Red Forman in "That 70's Show") senator tell Jack that he'd have to be at the hearing at the same time tomorrow, giving us a dire reminder of what's lying in wait for Jack at the end of what's sure to be another hectic 24 hours. Poor Jack...he can't catch a break. Other than that, I don't really have much to say about Cherry Jones as the new President or her husband's subplot at the moment. Finally, isn't this the millionth time a sniper takes out an informant (in this case Scheckter), just as he's about to tell Jack something? There should be a drinking game for this. I'm sure there already is :)
Anyway, just really pleased about the first four episodes of "24". Really looking forward to the next installment, and hoping that the rest of the season can live up to this early promise. The next episode can't come soon enough!
As with the Golden (Couch) Potato Awards, this is not a “Best TV Episodes” list…rather what episodes have been the most memorable for me in the 2008 calendar year. In alphabetical order of episode title, kudos to the following shows:
“Allison from Palmdale” (Terminator: The Sarah Connor Chronicles) Season 2 Episode 4
Written by Toni Graphia
Directed by Charles Beeson
As Cameron, John Connor’s Terminator-protector, Summer Glau has that great robotic-style of acting that suggests that there’s an underlying humanity to Cameron, whilst never letting the audience forget what she (or more correctly, it) truly is. However, in this episode, she lets fly and shows her versatility acting-wise, as Cameron’s malfunction causes the Terminator to have flashes of what seems to be her human origins from the future, from where she was sent (the eponymous Allison). The twist at the end that reveals the true nature of the flash-forwards is both chilling and heart-breaking at the same time.
“Chair Model” (The Office) Season 4 Episode 10
Written by BJ Novak
Directed by Jeffrey Blitz
Michael has to order a new chair, so Pam can get his old one, and Creed can get Pam’s old chair. However, he has trouble deciding, and expectedly gets sidetracked when he falls for the model in the advert for the new chair. Typically innocuous-seeming scenario set in office minutiae has hilarious consequences, as Michael decides he’s too good a catch to be the one who got away, and commands the rest of the office to get him hitched, and Dwight proceeds to find the chair model for Michael. There’s a sweet Jim/Pam moment for the ‘shippers, while “American Pie” has never been sung with as much gusto (and so off-tune) as when Dwight and Michael belted it out in the tag. Comedy gold.
“Chuck vs. Santa Claus” (Chuck) Season 2, Episode 11
Written by Scott Rosenbaum
Directed by Robert Duncan McNeill
Christmas at the Buy More is interrupted by a gunman who crashes into the store after a high-speed car chase with the police. The hostage scenario that ensues seems to take the deliriously comedic lilt that the show is so good at, replete with the goofy hostage-taker who has no idea what he's doing and only wants to return home for the holidays, and a cameo by Die Hard’s Sergeant Al Powell! However, the plot twist mid-episode that it was all a nefarious Fulcrum ruse raises the personal stakes considerably for Chuck, leading to the fateful, dark turn of events at episode’s end. Set amidst the eerie ambiance of a deserted Christmas tree lot, Chuck looks on in horror as Sarah kills the unarmed, already-surrendered Fulcrum agent, seemingly in cold blood. "Chuck" is so amiable so much of the time that this really hits home, especially given the sharp tonal shift from the start of the episode. What will this mean for Chuck and Sarah’s relationship? “Silent Night” has never sounded as haunting as it is used here.
“The Constant” (Lost) Season 4 Episode 5
Written by Carlton Cuse and Damon Lindelof
Directed by Jack Bender
Time-traveling chaos as Desmond experiences blackouts during his chopper trip from the island to the freighter, and flashes back to his time in the Scottish Army. Things get worse as the past self seems to juxtapose himself in the present, and he can’t recall anything that happened in the interim. Daniel the physicist tries the salvage the situation by telling Desmond to look him up in Oxford the next time he jumps back in time, where Desmond learns from past-Daniel that this constant time-flipping is very bad for the brain, and he’d better have a “constant”, something or someone to anchor his mind in reality or he risks losing it totally. Desmond naturally chooses Penny as his constant, and with Sayid’s help, calls her right as time’s running out for him. Oh, and the phone call between Desmond and Penny…totally tear-inducing, as the long-separated love-birds finally re-unite (in a manner of speaking). Last scene with Daniel flipping through the pages of his journal, and finding a page saying “If anything goes wrong, Desmond Hume will be my constant” closes this tightly-coiled and eminently satisfying episode on a perfectly enigmatic note.
“Family Meeting” (The Shield) Season 7 Episode 13
Written by Shawn Ryan
Directed by Clark Johnson
Series finale to “The Shield” sees the members of the corrupt police squad led by Vic Mackey get their comeuppance. Almost Shakespearean in its tragedy, as Mackey dodges the bullet by making a deal, but finds he’s been chained to a desk job for the next three years, and long-time associate Ronnie discovers Vic’s deal consigns him to jail. The real stomach-churner, though, is the fate that Vic’s one-time sidekick Shane chose for himself and his family. Is what happened to Vic worse than death? You decide, but this bleak, uncompromising final episode definitely pulls no punches.
“House’s Head / Wilson’s Heart” (House, MD) Season 4 Episode 15 – 16
Episode 15 written by Russel Friend, Garrett Lerner, Doris Egan, David Foster, and Peter Blake
Directed by Greg Yaitanes
Episode 16 written by Peter Blake, David Foster, Garrett Lerner and Russel Friend
Directed by Katie Jacobs
Even without this crackling two-parter, “House, MD” has already done much in its fourth year to wipe out what had been a disappointing third season, but “House’s Head / Wilson’s Heart” just puts the icing on top of the cake. The first part is a searing mind-boggler (hence the title) of an episode as House tries to piece together what happened to him in the wake of his short-term memory loss from an accident…the second is an absolute heart-breaker (again, ergo the title), as the folks of Princeton Plainsborough Hospital try to come to grips with the aftermath of the events stemming from House’s revelations, as he finally remembered he was with Amber during the accident. If you’re not a fan of “House, MD” before this, you will be now.
“Oversight” (Jericho) Season 2 Episode 4
Written by Robert Levine
Directed by Steve Gomer
Tension between the townsfolk and the overbearing control of the Ravenwood mercenaries hired by Jennings and Rall reaches a head, as Mimi discovers incriminating evidence of embezzlement by Goetz, the leader of Ravenwood. As Goetz tries to recover the documents, tragedy ensues as the consequent shootout results in Bonnie’s death. No, that kick in the gut you’re feeling is not imagined…I’m feeling it too. Powerful end to the installment, set to Damien Rice’s “9 Crimes”, sets up the all-out confrontation in the next episode.
“Prey” (Smallville) Season 8 Episode 6
Written by Kelly Souders and Brian Peterson
Directed by Mike Rohl
Atmospheric episode with an almost overbearing sense of foreboding centers on paramedic Davis, who somehow turns up first at a number of crime scenes. Clark believes he’s responsible for the killings, which generates tension between him and long-time friend Chloe, who stands by Davis’ innocence. Clark’s “Spider-man 2” complex of needing to save everyone in the city is, for me, a tiresome rethread of what has been done better elsewhere, but the central plot is so good, it doesn’t matter. Sam Witwer’s conflicted and menacing performance as Davis drives the episode from the start all through to the twist at the end, when he’s revealed as Superman’s nemesis Doomsday. I can’t wait for this battle.
“Ten Sessions” (How I Met Your Mother) Season 3 Episode 13
Written by Chris Harris, CarterBays and Craig Thomas
Directed by Pamela Fryman
Probably best-known for Britney Spears’ appearance, in which she’s surprisingly good as the receptionist at the clinic where Ted goes to get his tattoo removed. However, the true guest-starring turn of the episode is Sarah Chalke’s Stella, the doctor of the clinic with whom Ted has the titular ten sessions of tattoo removal (folks…think twice before getting a tattoo). The instant rapport and on-screen chemistry between Stella and Ted during these ten sessions are irresistible (a real surprise given how irritating I find Chalke’s character Elliot on “Scrubs”), and she presents a real case that Stella could be The One for Ted (though it turns out she isn’t). The two-minute date that Ted set up for Stella to accommodate her busy schedule, set to Big Star’s “Thirteen”, is probably the most romantic TV moment of the year.
“The Ties that Bind” (Battlestar Galactica) Season 4 Episode 3
Written by Michael Taylor
Directed by Michael Nankin
Brother Cavil, resurrected after being killed by fellow Cylon Natalie in the last episode, turns the conflict into a full-blown civil war by luring the rival faction’s Base-star to a resurrection ship-less part of the galaxy, before opening fire on them. That’s right, the Cylons are killing each other, and there’s no do-over for those killed in this battle. Mutinous feelings stir up in the Demetrius as Starbuck distances herself increasingly from her crew (and let’s face it, Starbuck doesn’t exactly make for an awe-inspiring captain), while back at the Colonial Fleet, Lee exposes President Roslyn’s shady Big Brother plans for the government. And saving the best for last, Callie unwittingly uncovers that Tori, Anders, Tigh and her hubby Tyrol are four of the final five Cylons. The very foundations of her existence rocked, she attempts suicide by trying to blast both her and her baby Nicky out of Galactica’s airlock, only for Tori to talk her down. End of story? Not quite, as Tori, after getting Nicky from Callie, shuts the airlock down on Callie and blows her out into space. Secret is safe. Shocking, disturbing, gutwrenching….I’m running out of adjectives here to describe this turn of events, which still gives me the shivers even as I'm writing them now. Poor, poor Callie. Even for "Battlestar Galactica", I never thought they could go to such a deep, dark place.
Honorable mentions: Double Booked (Burn Notice, Season 2 Episode 8); Heal Thyself (ER, Season 15, Episode 7); The Prodigal (Stargate Atlantis, Season 5 Episode 14)
It's time for year-end awards! I've been really remiss in updating the blog over the past year, but I would just like to acknowledge the shows that have made my TV viewing all that much enjoyable during 2008. It's not exactly a "Best..." awards list, more "Most memorable...", i.e. what has been the most memorable in each category, for me personally, over the past year (from December 2007 through December 2008). So here's throwing some golden potatoes in the direction of the following shows! (again, categories sorted roughly in increasing order of importance)
Having a big budget to work with is one thing, but when you’re working for a basic cable channel like SciFi, the money’s a lot less. Yet the effects whizzes at BSG keep churning out the impossible with staggering, sweeping visual vistas week after week, their work sometimes even putting big summer action blockbusters to shame. The astounding, elegiac shot of the Cylon resurrection hub, right before its destruction by the Colonial Fleet, is just the crown jewel of an amazing season, FX-wise.
The following YouTube video isn't exactly related to the special effects on "Battlestar Galactica"; rather, it's on the cast's appearance on Letterman earlier this year to do his Top 10 List on "Reasons to Watch the New Season of Battlestar Galactica". It's pretty awesome :)
Tagline:
“A forensic fairytale” – Pushing Daisies (ABC)
Succinctly sums up the premise of what is probably the most innovative show of the past year, a cross between “Tru Calling”, “CSI” and “Wonderfalls”. Unfortunately, innovation counts for naught in a network TV landscape where ratings only matter, and ABC has since announced the cancellation of the show.
Opening Title Sequence:
Stargate: Atlantis (SciFi)
I just love the rousing Joel Goldsmith theme paired with the turquoise-tinted visuals. And that shot of the sunrise over Atlantis? Beautiful.
Song in a TV Series:
“Silent Night”– Chuck (NBC)
The traditional Christmas hymn has never sounded as haunting as it was used in the “Chuck” midseason Christmas finale, as Agent Walker and the Fulcrum agent Mauser hunted each other down in the final act of the episode. It made the sequence of events that transpired next even more chilling and tragic than they already were. Oh "Chuck", you sure know how to stick a knife in your audience's hearts.
Sidenote: Your Vegas’ “Christmas and Me Are Through” that played over the final scene of the episode (a crane shot of the Buy-More in the aftermath) is another perfect song selection in a season where the show’s music choices have been unfailingly excellent.
Comedic Performance:
Stephen Colbert – The Colbert Report (Comedy Central)
And the pupil becomes the master. For the past year at least, spin-off“The Colbert Report” has been consistently funnier than the mothership “The Daily Show with Jon Stewart”. Stephen Colbert’s no-holds barred, fully-committed embodiment of a conservative-leaning host drives this sharp parody of personality-driven news programs. In this case, fake news is definitely good news.
Sidekick:
Sam Axe – Burn Notice (USA Network)
“Burn Notice”, the old-school spy drama that’s so rollicking good fun to watch, has the one great element that makes it all the more enjoyable: the awesome side-kick. Sam Axe provides the background information that Michael needs to do his job, cracks all the jokes, is willing to put his own nose on the line for his buddy, and most importantly of all, looks like he’s having the time of his life all the time. Now that’s a wingman.
Team:
Green, Lupo, Van Buren, Cutter, Rubirosa and McCoy – Law & Order (NBC)
The addition of gritty cop Lupo to “Law” and resolute ADA Cutter to “Order” added much needed edge to the frontline and a new dynamic to the back of the court, and means that L&O has its best ensemble since Jerry Orbach left. The team is living up to the monologue that opens each episode: “…the police who investigate crime, and the district attorneys who prosecute the offenders…” like a well-oiled machine.
Couple:
Jim and Pam – The Office (NBC)
Surely no other couple currently on TV resonates so deeply and truly with audiences? Jim and Pam are the modern-day fairy tale told in eminently empathetic terms – everyone knows, or wants to be, a Jim or a Pam. They’re undeniable soulmates to each other, their banter is irresistible, they’re nice to others, and they’re attractive in an everyman kind of way…they’re the couple that everyone wants to root for, because in a way, it’s like we might someday find our happy ending too.
Cromartie – Terminator: The Sarah Connor Chronicles (Fox)
Played by Garret Dillahunt in that stylish way that's both threatening and creepily funny, Cromartie carries the flag proudly for all unrelenting, unstoppable Terminators as exemplified in the movies, as he single-mindedly tracks down John Connor (or tries to, anyway), culminating in that awesome showdown in “Mr. Ferguson is Ill Today”, when he’s finally eliminated. And in true Terminator-style, just when you thought he’s gone, he’s back! (Must...resist...quoting....Arnie's "I'll be back"...line).
Actress:
Mary McDonnell “Laura Roslyn” – Battlestar Galactica (SciFi)
Woefully overlooked by the Emmys, Mary McDonnell’s imposing performance as the President of the Colonial Fleet lends ambiguity, cruelty, courage and, with Roslyn’s illness relapse over the past season, a touch of vulnerability, to the embattled leader.
Actor:
Michael Emerson “Benjamin Linus” – Lost (ABC)
Emerson has, almost unnoticeably, graduated from bit player to what is arguably the central character, even in an ensemble as big and as diverse as “Lost”. It’s unthinkable to fathom the show without its chief antagonist. His trademark piercing eyes only adds to the magnetic appeal of his character…he’s the bad guy you want to root for.
Ensemble Cast:
How I Met Your Mother (CBS)
Adorable couple Lily and Marshall; love-lorn Ted; cynical Robin; and swaggering Barney. They’re the cool new yuppies who’re so fun to hang out with. Its incomparable cast, including “Buffy” alum Alyson Hannigan, “Forgetting Sarah Marshall”’s Jason Segal, and former “Doogie Howser” star Neil Patrick Harris, have such perfect onscreen chemistry, and fit their roles so well, you forget they’re just acting.
Farewell:
“Patriots and Tyrants” – Jericho (CBS)
Joining “Cagney & Lacey” and “Roswell” as the only handful of shows that’s been brought back from cancellation by a fan-led campaign, “Jericho” raced out of the blocks with its season 2 narrative with a breakneck pace that puts even “24” to shame, and never paused to take a breath. While year 1 was more languid in its telling of how a small Midwest town dealt with the after effects of nuclear detonation on US soil, the sophomore year packed enough material for an entire season into its schedule of only 6 (!) episodes. Unfortunately, the ratings remained middling, and there would be no rescuing “Jericho” from cancellation this time. Though the season finale wasn’t the best episode by a stretch (that would be the gutwrencher where Bonnie was killed by the mercenaries who had taken over the town), “Patriots and Tyrants” tied up all the loose ends of the series as well as it could, most notably the uncovering of the nefarious Cheyenne government as the true masterminds behind the nuclear conspiracy. The producers of “Jericho” actually filmed two endings; a more “open-ended” one in case the show was renewed, and the one we saw on TV, if the show was cancelled (which it was). Leaving fans with an unresolved cliffhanger when you’ve been cancelled is inexcusable; “Jericho” admirably took all possible steps to avoid that pitfall.
New Show (tie):
Terminator: The Sarah Connor Chronicles (Fox)
Journeyman (NBC)
Just look at NBC’s “Bionic Woman” and the awful “Knight Rider” pilot to see how recent remakes can go wrong. But “Terminator” admirably manages the juggling act of paying homage to the series (most notably the T1 and T2 movies), expanding upon the Terminator premise and continuing the story of John and Sarah Connor on a consistent weekly narrative. The addition of “90210” alum Brian Austin Green as John’s lieutenant from the future solidified the cast and added a much-needed link to the post-Judgment Day apocalypse. Season 2 has built upon the foundations laid by Season 1, and has put several interesting plot points into play (notably the Weaver and Jesse arcs). One quibble though, is that the show has posed more questions that it has answered so far, and with cancellation always a threat given the low viewing numbers, hopefully at least some of these open threads will be resolved in the back end of this season.
Okay, so NBC hasn’t had the best of the freshman picks (see “Bionic Woman” and “Knight Rider” above), but it did have “Chuck”, “Life” and little-seen “Journeyman”. This touted “Quantum Leap” remake didn’t have the best of starts, but most assuredly found its footing as the series went on. With elements of mystery (how did Dan get his sudden ability to time travel?) and adventure (the person-of-the-week who Dan has to save) mixed in with the toll all this is taking on his personal life (Dan’s strained relationship with his family together with his encounters with former lover Libby as he finds she’s a fellow time-traveler too), “Journeyman” makes for compelling viewing week-in, week-out, for all of its 13 episodes (yup, it’s been cancelled).
Television Series:
Chuck (NBC)
“Chuck” hit the ground running with a good, if a little uneven, first season, where they explored so many plot points (within only 13 episodes) that were possible within the show’s universe that one couldn’t help but fear that the show has written itself out of storylines. However, all fears of a dreaded sophomore slump were quickly dispelled with a terrific opening episode (“Chuck vs. the First Date”), and the show hasn’t looked back since. Season 2 did a better job of integrating Chuck’s Buy-More world with his spy world, expanded upon each of the major characters’ backstories, upped the eye-popping stuntwork and fight scenes, and as an added bonus, fills each episode to the brim with delightfully geeky 80’s and 90’s pop-cultural references. “Chuck” has been consistently hilarious and exciting this season (see “Chuck vs. Tom Sawyer” as a great example), and its signature mix of comedy and action has been anchored most assuredly by the deepening relationship between Chuck and his handler Agent Walker (“Chuck vs. the Breakup”, the great three-episode Jill arc, and “Chuck vs. the Delorean”), a relationship which has been downright heart-rending this season (move aside, Jim and Pam). The excellent midseason Christmas finale raised the stakes between Chuck and Sarah considerably, and has real potential not just for the duo, but for taking the show in a new direction as well. “Chuck” is infectiously self-deprecating and thankfully never takes itself seriously, but its dramatic elements hit all the right notes, and it knows how to give its viewers a great time. About as perfect a half-season of any show I’ve ever seen (with perhaps "Chuck vs. the Sensei" being the only slightly subpar episode, but that's quibbling), season 2 of “Chuck” will break your heart, make you laugh, and you’ll always have fun watching it.
orluak is a Singaporean dude based in the US who loves American scripted TV. He has worked in the paper industry on both sides of the Atlantic, at Wernham-Hogg at Slough, and Dunder-Mifflin at Scranton, PA. He commutes to work from Stars Hollow, buys supplies from the local Buy-More, and hangs out at McLaren's pub. He is currently angling for a transfer to the Caprica branch of Dunder-Mifflin.
