Chandler in 2015

Via BuzzFeed

Here’s an aspect of Chandler Bing’s character from Friends that I hadn’t considered, possibly because I really haven’t watched the show since the ’90s.

When it comes to women, Chandler turns out to be just as retrograde as Joey, but his lust comes with an undercurrent of the kind of bitter desperation that I now recognize as not only gross, but potentially menacing…If an actual friend behaved this way, I’d be tempted to slap him. After all, if we’ve learned anything in the last few years, it’s that nerds are not necessarily sweet and lovable; they can also be misogynist jerks, or worse.

Discuss.

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Why “The Knick” Seems So Disappointing

This review by Emily Nussbaum in The New Yorker hits on why I have found Cinemax’s new show The Knick to be a disappointment:

In recent interviews, Soderbergh has seemed disenchanted by movies, financially and culturally: TV audiences, he has argued, are more open to character complexity, to ambiguity and risk-taking. It’s all the more disappointing, then, to report that Soderbergh’s first post-“Candelabra” TV venture, the period hospital drama “The Knick,” colors inside the lines. Rather than innovate, the series, on Cinemax, leans hard on cable drama’s hoariest (and whoriest) antiheroic formulas, diluting potentially powerful themes. Set in New York at the turn of the twentieth century, “The Knick,” which was written by Jack Amiel and Michael Begler, is about the Knickerbocker, a hospital that treats the city’s poorest immigrants, with a board of directors made up of wealthy philanthropists. At the Knick, a brilliant, drug-addicted, brothel-frequenting doctor—John Thackery, played by a beetle-browed Clive Owen—is poised to push modern medicine forward, from C-sections to skin grafts. The surgical-history material is rich stuff, but the series itself is dour and hokey, full of stock characters and eye-rolling exposition. Designed to flatter rather than to challenge the viewer, it’s proof that even an ambitious director can’t overcome a blinkered script.

[Emphasis added.]

The Knick

Via techtimes.com

The show started off with a truly amazing opening sequence—gory without quite seeming exploitative, and evocative of an unfamiliar time. It seemed clear that these doctors (Matt Frewer and Clive Owen) knew what they were doing, but only up to a point. In performing a C-section on a woman in severe distress (a placental abruption, as I recall), they were conducting an experiment, and the experiment failed. That failure, we soon learned, had a serious cost. Continue reading

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The Producers of “Lost,” Which Turns 10 This year, Answer None of the Questions I Still Have about the Show

Copyright ABC, via LostpediaThis fall will mark the 10th anniversary of the premiere of Lost on ABC. The show holds some sort of iconic status, which is mostly deserved—particularly for whetting people’s appetite for long-form serial TV shows and stringing a mystery along for years. Shows like Game of Thrones owe a certain debt to Lost. (Spoilerish stuff ahead.)

All of that said, I don’t know of anyone who didn’t feel, at minimum, disappointed by Lost‘s conclusion. As series finales go, it was pretty low on the hierarchy of awesomeness. (Compare, for example, the moral closure of Breaking Bad or the world-changing subversion of destiny of Buffy the Vampire Slayer.)

The show also created some interesting and memorable characters, but only a few of them really got a good character arc. Sawyer in particular comes to mind. Most of the time, the characters existed solely in service of the plot, which is not a bad thing when the plot knows where it is going. John Locke, as portrayed by Terry O’Quinn, could have been a legendary television character, but wasn’t. To be fair, Lost was an ensemble show, rather than a character-driven show like Breaking Bad, which created numerous memorable characters in the service of telling one person’s story. Ensemble shows are capable of creating incredibly powerful character arcs, though, as evidenced by The Walking Dead‘s Carol Peletier (Melissa McBride). Continue reading

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How “How I Met Your Mother” Did a Multi-Season Story Arc Better than Most Shows

It took me a little while to figure out why people were so pissed about the finale of How I Met Your Mother, but I think I get it now, and I agree. Major spoilers ahead.

The entire nine-year run of the show, as it turns out, was misdirection. I rather like misdirection in a story up to a point, as do (I think) most people. I don’t know exactly where that point is, but it is more than safe to say that the point beyond which misdirection stops being enjoyable occurs well before the nine-year mark.

(If you are still reading, I will assume you are okay with spoilers, so here goes.) Continue reading

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The Twelfth Doctor (UPDATED)

Screen Shot 2012-09-30 at 12.44.35 PM

Image via Wikipedia

Eleven different actors have portrayed the character of the Doctor over the past forty-nine years on the BBC’s Doctor Who. I haven’t read anything to suggest that Matt Smith, who currently plays the eleventh Doctor, plans on leaving the show anytime soon, but last night’s episode got me thinking about other people who might play the role.

For those not familiar with Doctor Who, the show has a brilliant way of explaining how multiple people can play the same character in succession over time, which is this: the Doctor’s species, the Time Lords, are effectively immortal, although they can sustain fatal injuries. In the event of a mortal wound, however, they have the power to “regenerate,” meaning they re-form themselves in a changed body. Since the show rebooted in 2005, three actors have played the role: Christopher Eccleston, David Tennant, and now Matt Smith. Each version of the Doctor tends to get his own story lines, but it is still the same character.

Last night’s episode had a considerable amount of build-up, as it was the last episode to include the Doctor’s companions Amy Pond and Rory Williams. Without giving any spoilers, let me just say it was heartbreaking, but not as heartbreaking as I feared it would be. The new companion, played by Jenna-Louise Coleman, has already appeared in one episode of the show, and will be returning around Christmas (possibly as a different character), when the show starts up again. Sources are saying that, once she joins the show full-time, the Doctor will be a “different man.” Considering the way Amy and Rory exited the show (again, no spoilers!), that would not be surprising.

Sooner or later, Matt Smith will leave the show. The longest-serving actor in the role was Tom Baker, who played the part from 1974 to 1981. Matt Smith has only been on the show for two full seasons, so far. Two things that all eleven actors have had in common is that they have all been, first of all, actors, and second, white British guys. I cannot fathom a Doctor who wasn’t British (seriously, America, if you try to re-make Doctor Who here, I will do something rash), but what if the Doctor regenerated as someone other than a white dude? After all, one of Matt Smith’s first lines as the newly-regenerated Doctor was to lament that he still wasn’t a ginger. Based on the past three actors, the Doctor needs a frenetic, occasionally goofy manner that belies a deep intelligence and an even deeper malaise, clearly born of more than 1,200 years of traveling both space and time. Here are a few ideas I just pulled out of somewhere, and you have to admit, any of these people would probably rock. Continue reading

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Television Magic Needs Rules, or, Why Russell Edgington Needs to F***ing Die, Already (True Blood spoilers within)

tumblr_m9algxAJAP1ru9c14o1_500The only thing worse than an annoying character is an all-powerful annoying character with no apparent weaknesses. In preparation for tonight’s True Blood season finale, I’m going to kvetch a bit.

In season 3 of True Blood, Sookie et al had to contend with the 3,000-year-old, entirely-psychotic vampire Russell Edgington. Basically, no character could do much of anything to hurt him, at least physically, on their own. The only explanation ever given for this, as best I can recall, was that he is over 3,000 years old. Evidently, vampires only get better with age. It was only through a collective effort that the main characters were able to weaken Russell by getting him into the sun, and then they proceeded to not kill him. I still don’t get that. I suspect that the producers wanted to keep his character on the back burner for the time when they decided to start phoning it in, e.g. season 5. (Seriously, how do you bring back Russell when Roman barely had a chance to do anything yet?)

Now, in season 5, a group of religious fanatic vampires who never seem to leave their conference room have brought Russell back to assist with their whatever-the-hell-they’re-doing, and Russell has entirely predictably gone off the deep end and freaked everybody way the fuck out. Setting aside the question of how the characters didn’t see that coming, were the producers expecting the viewers to be surprised? Once again, no one can stand against Russell because (cue inscrutable accent) he is over 3,000 years old!!! Continue reading

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I suppose this was inevitable

SyFy left quality original programming behind years ago, so I suppose a parody of a self-parody like Jersey Shore Shark Attack was bound to happen sooner or later.

It’s one thing for Gov. Chris Christie to urge people to “get the hell off the beach.” It’s another for Paulie Walnuts of “The Sopranos” to shout into a megaphone for everyone to flee the Jersey Shore before they’re eaten.

The movie “Jersey Shore Shark Attack,” premiering June 9 on the SyFy channel, is a mash-up parody of guido culture and summertime B-movie horror tropes. It features an odd assortment of actors: Paul Sorvino as the mayor, the aforementioned Tony Sirico as a boat captain, Joey Fatone as himself, and “Jersey Shore”‘s own Vinny Guadagnino as a reporter on the scene.

As for the plot, the title pretty much sums it up, but according to a news release, the film occurs during the Fourth of July weekend as “rare swarms of sharks are converging due to illegal underwater drilling.” The sharks begin to devour residents one by one. A group of Shore regulars open fire on the fishes while maintaining a healthy tanning regimen.

Remember, this is the same network, more or less, that ran Battlestar Galactica for four seasons, so you’d think it would know better. The network then proceeded to never really give Stargate: Universe a chance, so maybe this latest farce is part of a natural downward progression to oblivion.

Of course, this is also the network that foisted Shark Attack 3: Megalodon on us.

The lack of pictures in this post is deliberate, by the way.

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Thoughts on Game of Thrones: Blackwater Keep on Rollin’

"Tyrion Battlecry" by ~Kanish, on deviantART

"Tyrion Battlecry" by ~Kanish, on deviantART

To all who lament television’s sharp descent into unscripted hell, “Blackwater” reminded us of what the television medium can do. This was epic storytelling at its finest. Any deficiencies in settings or backdrop, such as the facts that the magnificent city of Qarth appears to be little more than a series of rooms, and Jon Snow’s trek in beyond the Wall seems to involve walking back and forth across a single span of glacier, have led to the spectacle of the Battle of the Blackwater.

Who is the “good guy” in this battle? The lack of an easy answer to that question is at the heart of the story’s genius. We like Tyrion and want him to succeed, but his success most likely means the Lannisters’ success. We don’t much care for Stannis Baratheon, but we like Davos Seaworth. Same problem. The closest thing to a “protagonist” army that we have are those of Robb Stark and Daenerys Targaryen, and we’re beginning to see that they aren’t much better than anyone else.

This episode focused exclusively on the events of a single night in King’s Landing, so we got to see much more development of individual characters than usual. Tyrion got one of the best Braveheart speeches in television history, and finally served as a heroic character rather than a comic one (see last season’s battle fought while Tyrion was unconscious, the only time the show has ever overtly resorted to “dwarf humor.”)

Sansa demonstrated her own strength and leadership when Cersei fled their hiding place with Tommen. Unfortunately, she may have lost the only two people who ever truly protected her in King’s Landing: Tyrion, who is now wounded, and the Hound, who is running away. Cersei at least understands the importance of keeping Sansa alive, but we know that she will not step up to protect Sansa if Joffrey threatens her. Continue reading

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Thoughts on Game of Thrones: “I hope it’s a very beautiful bridge”

This episode was really nothing but battle prep. The theme seemed to be “doing what must be done.”

Qhorin Halfhand, captive of the wildlings along with Jon Snow, told Jon explicitly that he must do what needs to be done. We don’t know exactly what that is yet (well, I think I do, but I’m not telling.)

Daenerys must go to the House of the Undying to save her dragons. This scene in the book was a twenty-page acid trip. I can’t wait.

Tyrion must mount a defense of King’s Landing, basically by himself. Everyone else is caught up in their own petty crap. Tyrion enjoys the “Game,” as does Tywin. Cersei and Jaime hate it. All three of Tywin’s children have relied on their family’s wealth all their lives, but Tyrion has had to develop the most skills in order to survive. Both Cersei and Jaime showed remarkable clumsiness–Jaime by haphazardly killing Stark men, and Cersei by threatening and hurting the wrong woman while trying to get at Tyrion. Tyrion’s only weakness is Shae. Continue reading

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Thoughts on Game of Thrones: You Know Nothing, Jon Snow

NOTE: This is about the episode “A Man Without Honor,” which aired May 13. I’m just behind on my blogging.

I’m happy because Ygritte said her catchphrase.

As for spoilers, yes, there probably will be some.

I took my own advice from last week and put the books as far out of my mind as posible during this week’s episode. As I was watching the episode, I realized that, for the first time since the shpw premiered last year, I felt real dramatic tension. Previously, I felt tension from knowing what was going to happen but not knowing exactly how the producers would show it, or how the actors would convey it. Now, all bets are off, and it is awesome.

In that vein, I’m going to look at last night’s events in light of how they relate to other aspects of the show.

Arya/Tywin –> Arya/Ned

I am fascinated by the quasi father-daughter relationship building between Arya Stark and Tywin Lannister. Tywin is, in his own way, showing her a remarkable amount of warmth and kindness. I suspect he is playing his own game, as he clearly knows she is not who she claims to be. Perhaps he is keeping his enemies closer, but then again he is allowing her access to quite a bit of intel. Arya, of course, has no means to do anything with this intel (that she knows of.) Tywin, I think it is fair to say, values strength above all else. His own children, Cersei, Jaime, and Tyrion, have their own kinds of strength. Tyrion is by far the most like his father, but neither of them would ever admit that. Arya is very much like Tyrion, a person born with traits that greatly disadvantage them in their world, but that also hide great reserves of strength and cunning. I wonder if Tywin Lannister sees in Arya the traits he does not want to see in Tyrion. Continue reading

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