About That How I Met Your Mother Ending

NOTE: The following post contains SPOILERS concerning Monday night's series finale of How I Met Your Mother.

Usually I think people put too much stake in endings. But when the ending is the title of your freaking show, then you should probably get it right.

Here's my issue with the How I Met Your Mother finale: none of it felt earned. The scene with Ted and his kids was filmed all the way back in season two. So the writers knew how they wanted HIMYM to end and orchestrated everything to get to it. And while I personally have nothing against Ted and Robin, that entire ending was a slap in the face. Show runners Craig Thomas and Carter Bays literally had years to build to the Ted/Robin ending in a satisfying way. But instead they wasted our time for the sake of misdirection and "classic" HIMYM hijinks.

Knowing since the pilot that Robin and Ted would not--and premise-wise, could not--be together, the show instead tried making Robin and Barney into a plausible couple. We spent a large part of the later seasons cultivating this relationship. The entire final season revolves around their wedding weekend. And whether you bought the pairing as realistic or not, it was pretty clear the show was committed to this coupling, so the audience had no choice but to accept it as fact. The wedding was literally seasons in the making, yet the finale tore it apart as quickly as you can say, "We got a divorce." I was dumbfounded at the audacity of it all.

Similarly, we spent this entire final season getting to know The Mother, Tracy. She became a character. She became a pretty great character. Someone perfect for Ted. And someone his friends and fans were happy to see him end up with. Everything involving Ted and Tracy were the best parts of the finale, particularly the titular meeting under the yellow umbrella (which cast a great, warm glow over the couple). Towards the end of the season it was implied The Mother would be sick in the future and we all began speculating that she might end up dying. Because why else would Ted be telling the story of how they met? But what was really concerning was how she was only in a ninth of the story Ted was telling his kids. If she was in fact dead in 2030, how horrible is it that Ted spent all that time talking about Robin and every other random woman he dated/loved/proposed to? When asked, Thomas and Bays, as well as the mother herself--actress Cristin Milioti--assured fans this was not the case. But it was the case.

I'm actually not upset that The Mother dies. And I'm not upset that post-divorce Robin and widow Ted get together. And I realize the show was really never about The Mother. But what does upset me is that we spent an entire season getting to know The Mother as a great character. And her death gets glossed over just like Robin and Barney's divorce. The Mother's death gets sidelined. And the tone immediately after in the scene between Ted and his kids, is just straight up weird. They gleefully encourage their father to call Aunt Robin and ask her out. I realize in the world of the show it has been six years since Tracy's death. But in the real world of me watching this show, her body is still warm. Hot even. The transition was abrupt. And the subsequent scene of older Ted recreating the blue French horn moment for older Robin felt cheap, shallow, and cold. And its not because Ted shouldn't be with Robin. It's because it all happened way too quickly and awkwardly.

No one told the writers they had to waste an entire season on Robin and Barney's wedding. I don't understand why that couldn't have been half the season. Because everything that happened in the hour-long finale could have easily filled the other half. Take your time. It's already been nine seasons, we're in no rush. Spend a couple of episodes on Robin and Barney's marital issues, on Barney's regressive man-boyhood and fatherhood, on Marshall and Lily having another baby and moving out of the apartment, on The Mother getting sick, and on saying goodbye to Tracy. One thing the finale did really well was make me believe in Ted's love for his wife. And I would have loved to see more of that. Because she deserved a goodbye and Ted's character deserved time to grieve. And we should have seen Ted care of her and later his melancholic widower years. And I would have even liked to see Robin reenter Ted's life to help him through his grief. So that the audience could see what Ted's kids see. Because Ted wasn't just telling this story to his kids, he was telling it to all of us. We might as well have been on the couch right along next to them. And so we might as well have been nodding along when they encouraged Ted to move on.

If we saw all that. If we took the time to build towards it. Then maybe when we realized what the last minutes of the finale were doing, we would have smirked rather than cringed. We wouldn't have felt like the love of Ted's life, the mother of his children, was being sidelined. Maybe we would have realized Ted's heart was big enough for two big loves. Tracy's was. And our hearts would have warmed because maybe we would have been rooting for this ending to happen. Because it would have felt earned. We would have been okay with it. And it would have been legen...wait for it...dary(ish). But we got none of that. The asinine structure failed us. We got awkward pacing, frustration, and disappointment. If things were more carefully structured we could have gotten an "I got off the plane" moment instead of HIMYM's version of a sad trombone: the blue French horn.

Calm Down About The True Detective Finale

First of all, the finale wasn't bad. Second of all, plot-wise, the show was never tight enough to imply some mind-blowing ending. It had a lot of things going for it, but it was never that good. Listen, I always appreciate a rich, complex show--something fans can pore over and dissect. And True Detective had lots of details to pore through, but what happened in its eight episodes that made you think it would be anything more than it let on? Because of the fact that there were so many details of the Dora Lang/Yellow King case? It was a case spanning seventeen years, it involved lots of people and lots of victims, of course there are going to be files upon files. But what made anyone think every single piece would be relevant? That doesn't happen in real life. And it certainly didn't happen on True Detective at any point to warrant this expectation. The show was only eight episodes but there was never once a moment where dozens of things came together to blow our minds at the sheer ambition and genius of it all. There was never a point where the show proved capable of bringing multiple details together to make us think everything was linked and important. That's not to say it wasn't a rich show. Every scene was important and heavy, leaving us with much to absorb...but it was never about the crime. It was always about the detectives.

Evidently, I really have no idea why everyone was raising the stakes of the final episode because the show was clearly about Rust and Marty all along. It was about Rust's despair as he filled his heart with nihilism and philosophical thought to make sense of the trauma in his life. But he never really had a unique philosophy of his own. I was always under the impression that when he went off on his spiral loops of pontification, that he was working something out for himself. That he was obviously well read and that he had made sense of these ideas, but that he was still applying them to his life, still trying to build a personal outlook of his own as he drowned in a half empty glass of pessimism. Like an eye exam, he was sliding one lens after the next over his eyes, comparing them and going back and forth until he found a flat circle suitable enough to perceive the cruel world around him. We all try to make sense of our lives, but Rust lived through a unique trauma of his own. And lacking the constitution for suicide, he had to learn to carry on living. Meanwhile Marty was living his life like most of us live our lives, delusional and hypocritical, but within a certain set of standards and expectations. Being a man meant boozing and banging, but being a family man meant loving your wife and children. We all contain multitudes, but sometimes those 'tudes aren't in sync. Marty thought he had a grasp on what his life was supposed to be, but his actions told a different story.

Thus, going into Sunday's episode I wasn't expecting an amazing Yellow King realization, I was expecting some character work. And I honestly didn't even care too much about the crime because the show never asked us to care. We didn't know anything about Dora Lang to provoke our sympathies or need for justice. The other victims were just names with some blurry circumstances tacked on. Terrible things were done to them, a monster was absolutely on the loose and needed to be caught, but from an emotional standpoint I wasn't too invested in justice for the victims (which some people have fairly consider a drawback of the show). I was invested in Rust getting his man, but not because of Justice. Because Rust needed it to happen so he could move on. And that was essentially what we got, only with a bit of the unexpected. Rust ended the show an optimist, something I honestly never saw coming. Which is a twist in itself, but also a realization and a character journey I absolutely believed. For anyone who thought the answers in the finale were weak and that there was no payoff, I argue that there was a payoff. You were just looking at the wrong clues.

In terms of overall general impressions of True Detective, my biggest criticism would be that it meandered a lot in plot threads that seemed important but led nowhere. For example, I really loved the six minute tracking shot as much as the next person, but it really had nothing to do with anything. It had such a minuscule impact on the plot that putting that much effort into that scene is actually a bit of overkill. But the technique was absolutely impressive and it definitely succeeded in producing one hell of an astoundingly tense sequence. And in a similar vein, I loved the craft and quality of this show. I loved the direction by Cary Fukunaga, who directed a great and underrated adaptation of Jane Eyre in 2011. The lead performances were amazing and we'll definitely be seeing more of the Matthew/Woody bromance come award season. The set pieces, locations, and art direction were so lush that you felt immersed in this secluded world. And what really made it all was the cinematography--cinematographer Adam Arkapaw also worked on last year's Top of the Lake, which I loved for similar reasons but also because it was really good...like probably better than True Detective (depending on your taste, of course) and it's a damn shame it didn't get the same sort of attention. But I digress.

I realize there are a lot of issues with True Detective's portrayal of women. Some of it I agree with and some of it I don't. The lack of attention on women is actually why I lacked interest in the case itself. But there was also criticism concerning the scene where Maggie and the girls visit Marty in the hospital. Many saw this moment as redemption for a schmuck of a character. I didn't see it that way. I mean yeah, Marty is a schmuck, but Maggie didn't forgive him or offer him any sense of redemption. Maggie could have been more solid of a character, but I knew enough about her to know she's a decent human being. And the father of her children just nearly died quite brutally while doing a very brave thing. So yes, she's going to pay him a visit. But it by no means implied all was forgiven or that things would even change. Her wedding ring was so prominent in the scene for a reason. Instead, that moment was actually about Marty's facade and self-delusion fading. I agree with critics who feel True Detective's women are only used to inform the male characters. But I chose to see that moment as a supporting character informing a main character. Gender had nothing to do with it. But I agree women should/could have been used differently on True Detective. That instead of focusing so much on dead ends like the random prisoner who killed himself in his cell after an unknown phone call, maybe we could have flushed out those females a bit more.

But hey, nothing is perfect. Certainly no television show is. You have to accept things for what they are, flaws and all. And it may seem like I look at True Detective and see a whole lot of dark. But I actually choose to focus on its bright spots of brilliance. And what I really see is the light winning.

House of Cards: Season Two

So this time last year, I decided to write a "Continuous Blog" of Netflix's premier dramatic series, House of Cards. At the time, Netflix's decision to release the entire season all at once for people to watch at their leisure was a novel idea. A year later I still think this a fun and interesting way to release a series. And because of the fact that it easily lends itself to binge watching, I had decided to update one long post with my thoughts after each episode. This way, anyone who wished to watch the show, could do so along with me. Since then we've gotten a few series from Netflix released the same way, and for which I didn't continuously blog  my thoughts about. It was a project I really enjoyed doing. So while the first season of House of Cards wasn't my favorite (I couldn't get over my issues with the writing) it definitely had its quality moments in acting, directing, and style. And because I enjoyed doing my blog so much last year, I figured why the hell not get at it again for the show's second season?

So click through, and below you will find my thoughts of each chapter of the second season. I will update as I go along so yes, there will be SPOILERS. I hope no matter where you are or when you're watching this show, you join me. This day in age, just because we can watch things at our own pace, doesn't mean we can't still do it together.

Top TV: Honorable Mentions

Yesterday I offered just the tip of my Top TV of the year, but because there was so much fantastic programming, I will now present you with my... Honorable Mentions!
(Believe me, these are all worth mentioning).

Veep- The second season of Veep was a hoot and it might just be my favorite comedy currently on television. Julia Louis-Dreyfus deserves all the recognition she gets for this show as she hilariously leads a superb comedic cast. (HBO)

The Returned- When I was discussing Sundance Channel in my Top TV post, I quickly mentioned that I am currently engrossed in this French show. If it wasn't for the fact that we're mid-season, there was a very good chance this would have made the list. I love the concept of this program and the melancholy feel it evokes. I went into it expecting a horror show, but got so much more than I could have bargained for. (Sundance)

Girls- We all know how much I love Girls. I had some issues with this past season, but there were also some inspired stand outs. "Bad Friend" in which Hannah raves in a mesh top was a delight. And "One Man's Trash" would easily be in my top five episodes of the past year. (HBO)

Orphan Black- Orphan Black is sci-fi in spades. And Tatiana Maslany IS Orphan Black. If it wasn't for her I don't know if this show would be nearly as good as it is. Playing up to four different characters in one episode (including characters impersonating other characters) is impressive enough, but doing it so convincingly that I straight up forget that it's the same actress and actually believe that these characters are all different people is a feat worthy of all the awards television has to offer. And lets not forget to mention the comedic beats, shocking turns, fun accents, and scientific mysteries we get along the way. (BBC America)

New Girl- If I had to give out a Most Improved Show Award I'd give it to New Girl. It found its groove in its second season and it was fun to see it work through the kinks, figure out its characters, and deliver a very funny program with its own brand of humor. Plus Coach is back! (Fox)

Broadchurch- I thoroughly enjoyed this British drama starring David Tennant in another series that does The Killing better than The Killing (the other being Top of the Lake). Broadchurch was beautifully shot, tragically plotted, truly engrossing, and expertly acted. Word on the street is that we will be getting an American version soon--also starring David Tennant (but with an American accent which will be bloody strange if you ask me)--and I fully intend on watching even if I already know who did it. (BBC America)

House of Cards- I may have had a lot of issues with the writing on House of Cards--which really is a deal breaker for me--but everything else about this show deserves a mention. The directing and acting are undeniable. David Fincher set an exquisite tone for the show and Kevin Spacey was amazing, as always. But the breakthrough performance from Corey Stoll was probably my favorite thing about the series (you could say he stoll the show). And I have to admit, the promos for the upcoming second season have me pretty pumped for a continuation of the story. Lets just hope they don't do anything stupid. Again. (Netflix)

Parks and Recreation- Do you guys seriously think I'd leave the most consistent comedy on television out of my year end recap? I love Parks and Rec. Yes it may be getting stale in its later seasons, but it still manages to move me and make me laugh. And for that, it will always get a shout out. (NBC)

Arrested Development- AD gets a nod for pure ambition alone. Overall I didn't love the season, but it sure had a lot of fun with its structure. (Netflix)

D's Top TV of 2013

Its about that time of year when you will see many Top Ten lists of The Best TV or Films or Books or Whatnot of the year. I am personally ambivalent when it comes to such lists. Maybe blame it on Buzzfeed fatigue but I just find ranking and comparing series that are so different from one another to be slightly arbitrary and meaningless. But I find value in dissecting what I've responded to in the past year, as it helps me to further understand my personal taste. And I like doing these year end recaps as a way to recommend programming to anyone who may trust my judgement or share my preferences.

So I'm not ranking these programs. I'm just spotlighting ones that I found to be the best of the year. But please take all of this with a grain of salt as I have clearly not watched everything on television. I gravitate towards certain types of programming and so it is from those heavenly bodies that I judge the landscape before me.

Enlightened (HBO)
I wrote about Enlightened earlier this year when its fate was still uncertain. Now we know that this excellent program was not picked up for another season. There is nothing else like Enlightened on television. It was earnest, existential, spiritually provocative, and refreshing in ways no other program is. I am beyond disappointed that such a fantastic program has been denied the chance to continue to grow and bloom. But I am grateful for the few beautiful episodes we were afforded this past year. And I hope creator Mike White is given the opportunity to run a similar show in the future.
Season Highlights: Episode 2.5 "The Ghost is Seen" was one of my favorite episodes of any show this past year. It opened with such melancholy and closed so quietly hopeful that you'd have to be heartless not to emotionally respond to such superb storytelling.

The Americans (FX)
I straight up loved the first season of this show. I don't know what I was expecting going into it, but The Americans ended up being the best freshman season of a program since Homeland. I don't understand how it could get overlooked by both the Emmys and the Golden Globes, but good riddance. As much as it deserves recognition, I don't need award pressure and blowback surrounding this program. I mentioned The Americans a couple of times this year but all you need to know is that the performances are great, the writing is great, the directing is great, the spy games are fun, the characters are dimensional and sympathetic, and the costumes/wigs are awesome. And above all, it easily has the best soundtrack on television. Forget Glee. Forget American Horror Story (as much as I love all the Fleetwood Mac this season). The Americans uses pop music like no other. Just ask The AV Club.
Season Highlights: ALL OF IT Episodes 1.3 and 1.10 "Gregory" and "Only You" are essentially companion episodes revolving around the introduction and fate of a compelling supporting character.

Top of the Lake (Sundance)
Before I get into Top of the Lake, may I mention how Sundance has been killing it? The Sundance Channel introduced its own scripted programming only this year and every single show has been right up my alley. Top of the Lake happens to be the first of these scripted programs to air and its quite a hard act to follow. Directed by Jane Campion, this miniseries was confident, beautifully shot, deliberately paced, fantastically acted, and reached Twin Peaks level of quirky. Elisabeth Moss led the cast and put in a spot-on performance. Keeping in mind her work on Mad Men along with her work on this miniseries (not to mention her fake New Zealand accent), its easy to recognize the immensity of Elisabeth Moss's talent. The rest of the cast also did top notch work as Top of the Lake delivered in all the ways AMC's The Killing never could. Sundance followed up Top of the Lake with Rectify and then the excellent French series The Returned (which I am currently engrossed in). Each show has the same feel proving that with only three series, Sundance Channel already has its own style of programming and I can't wait to see what else it has in store.
Season Highlights: As it is a miniseries it is hard to pin point one episode over another, but the final two installments are suspenseful, heartbreaking, and revelatory. Which essentially makes the whole series worth watching.

Game of Thrones (HBO)
Listen, I just love me some fantasy/sci-fi. And Game of Thrones is an epic fantasy whose grandiosity increasingly entertains as it continues. But what makes the show so good has nothing to do with its fantasy elements and everything to do with its ballsy, earned, and robust storytelling. This past season was the first time I watched the show after having already read the books and it certainly didn't take any of the enjoyment away. Yes, on some level I robbed myself of a doozy of a television experience, but knowing it was coming didn't diminish the shock in any way. (Just ask anyone who hasn't read the books but has rewatched the season). My only real criticism is probably the very cheesy, kind of racist, over-the-top scene that closed the season finale (but this amazing gif-set, which is cheesy in its own right, made it all better).
Season Highlights: Episode 3.9 "The Rains of Castamere," duh. It was quite possibly one of the most talked about television events in recent history and a huge game changer.

Mad Men (AMC)
When it comes to Mad Men, either you love it or you don't. The latest season definitely wasn't the best of the series, but when it comes to such a rich show, does that really even matter? This past June I wrote an impassioned post about Mad Men's most recent season and I honestly don't have much else to add except that regardless of season, Mad Men is one of the most engrossing and well-crafted series on television. Period.
Season Highlights: As I've said in the past, an entire season of Mad Men is like a good novel and so choosing a favorite episode is sometimes like choosing a favorite chapter of a book (which is kind of an awkward thing to do). It'd be easier to pick out various moments. But Episode 6.6 "For Immediate Release" was absolutely a highlight as it captured a sense of exhilaration reminiscent of the show's classic third season finale.

Orange is the New Black (Netflix)
Basically all summer all anyone talked about was this show, and with good reason. Because holy cow, what a fantastic program. As I mentioned in July, it was incredibly hard for me to shake Orange from my system (not that I wanted to). Something about Orange stuck with me. Beyond its tight structure, great writing, and celebrity directing (Jodie Foster, people!), it was the dimensional characters that made this show what it was. And I admire Orange for its large and diverse female cast, the likes of which we rarely seen on television--especially not in such an enriching format. I'm counting down the days until we get more.
Season Highlights: When you binge-watch a show, episodes tend to bleed together. But episode 1.5 "The Chickening" was a particular stand out in its zaniness. And the end of Episode 1.11 "Tall Men With Feelings" with its fantastic nod to NPR, the montage that it involves, and the circumstances after, is another favorite.

Breaking Bad (AMC)
What is there to say about Breaking Bad? I never wrote a post regarding this series last season as I found it hard to parse out my thoughts on the finale. Months later I find that the final episode doesn't necessarily hold up as well as I would like, but thats fine because everything that came before it was absolutely amazing and expertly executed on every single level. And as for the finale I can't fault it for tying things up so neatly after the explosive episodes we got before it. Walt basically moving like a ghost throughout the final episode, entering and leaving scenes without notice as he calmly tied up lose ends, offered a moment to catch our breaths right before the end. I loved the creepy aspect of Walt prowling about with such ease and confidence as compared to the clumsy fool we met years ago. And how we got there was a crazy wild journey, so far beyond anything else on television. I always said no one does intensity like Breaking Bad, and that was absolutely true from the get-go in this final half of season five. This was one of the best series of television to ever grace our screens. Every season somehow improved on the one before it leaving us with this gem of a final season.
Season Highlights: Forget everything I just said about the finale. Because that was the epilogue. Episode 5.14, the explosive "Ozymandias," was the true ending to this show. Not only was "Ozymandias" arguably the best episode of Breaking Bad, but it was one of the best episodes of television I have ever seen. Everything great about Breaking Bad was expertly exhibited in this one hour of television and everyone watching was left with their jaws on the floor, their hearts pounding, and their minds reeling. The emotion, the performances, the pace, the writing, the directing...every single thing was spot on. And its why Breaking Bad was arguably the best thing on television in 2013.


But wait! That not all....

Homeland: Twist and Shout

As previously stated, Homeland has a few problems. One of which, The Brody Problem, I briefly explored in a previous post. Below I'm going to detail yet another issue I have with the current season of Homeland. For the record, this all comes out of a place of love and admiration. SPOILERS to follow.

Season three's big reveal may have been the cheapest thrill this side of a drawer full of positive pregnancy tests. In real time, here's how I felt about the "twist" that Saul and Carrie intentionally had Carrie committed to a mental institution: relief that Saul wasn't actually throwing Carrie under the bus, annoyed that my emotions for the past three episodes were so blatantly manipulated, critical of the moments we saw Carrie alone, skeptical of the actual timeline, and confused as to why that twist was even necessary. It was clearly a twist for the sake of a twist and it was a poor one at that. It cheapened nearly everything that happened before. The main problem is that Homeland has never used Carrie like this. The only time we knew something Carrie didn't know was in regards to Brody and that reveal was a slow burn that drove the entire first season. Its very nature was entirely different. From the get go, we went into the first season wondering about Brody as we studied his circumstances and tried making sense of his behavior. With Carrie in the mental institution, there was no inherent suspicion that what we were seeing was anything but genuine. It wasn't a fun speculation game in which moments were picked apart and theories formulated. We took this season at face value because we had no reason not to. When the twist happened it actually felt more like a betrayal than a thrill. In the moment my reaction went something like, "Oh, interesting! ...wait, what?" And honestly, thats a disappointing anti-climactic reaction to a show that used to have me holding my breath in suspenseful anticipation.

I simply don't understand why any of Carrie and Saul's plot had to be kept secret from the audience. I actually think if we were in on it the whole time, it would have been a fantastic storyline. We didn't necessarily need every detail, but just enough to keep us aware that something was afoot. Imagine seeing Carrie allow herself to be committed and drugged and subdued and terrified in that hospital knowing all along that she willingly put herself there. Imagine how much richer Claire Danes' acting would have read as she watched Saul's committee hearing on national television. Imagine seeing her break down alone in a hospital bathroom, and not because she's personally struggling with mental illness, but because she's sacrificed every single part of herself to the CIA including her mental illness. We could have had three fantastic episodes rather than one anticlimactic moment of a cheap twist being revealed.

I just keep thinking back to Carrie's slurred, pathetic, heartbreaking, "Fuck you, Saul" and how sorry I felt for her in that moment. And then how angry I felt about that very same moment after the twist set in. That could have been such an incredible scene if the writers simply chose to let the audience in on the plan. Carrie's "fuck you" would have been sad but for entirely different reasons. We would be worried she'd gotten in over her head. Knowing she willingly put herself in that situation--that she's drugged and slurring her words, that she's pissed at Saul for even asking this of her all while looking so pathetic that Saul is compelled to embrace her--is such an incredible moment that we were essentially robbed of for the sake of a twisty plot. Because the show was busy playing a trick on its audience rather than telling a layered story with nuanced character work. Yes you can go back and rewatch the scene and still feel some sense of that, but really the whole moment has been cheapened. It's not going to be nearly as strong as if we knew all this the first time around. You don't get a second chance at making a first impression. And just because you call something a "twist"--and imply that if you go back and rewatch the episodes, your experience will be enriched--simply doesn't make it so. Thats not how a successful twist works.

That being said, all of this was only a third of the current season. We've quickly moved past it and entered into some very interesting storytelling on Homeland. (So quickly that I suspect the writers realize they made a dumb decision). I'm enjoying where we are at this moment and what the show is trying to say about clandestine strategy, national security, and the sacrifices agents make for intelligence. Obviously there are other problems I'm trying not to get into at the moment*, but compared to the cheap twist a few weeks ago, these drawbacks pale in comparison.

Through all this mess, the remainder of this season is still compelling. The acting is superb, the characters are interesting, and this show was at one time pretty awesome. I believe it has some awesome left in it. But perhaps I'm in just as much denial as Carrie. Maybe I have a drawer filling up with evidence to the contrary. And maybe I'm refusing to accept the truth just yet. But I can't help but think if I give it some time, if I check back in again tomorrow, I'll finally get the results I want.


*Like the pregnancy...which...seriously? We're supposed to believe that Carrie was committed to a HOSPITAL without them discovering she's pregnant?! And if it's Brody's she would be showing by now. If not, then why would Carrie even hesitate to do something about it? This bitch is on lithium! That can't be good for a fetus!
*And Senator Lockhart? More like Senator Blowhardt.

Homeland: The Brody Problem

[My apologies for the four month hiatus. I'm not exactly sure how updating got away from me as I was definitely still watching plenty of television and forming all sorts of opinions. I actually drafted a few posts, but never got around to finalizing them. I felt like they weren't good enough and the longer I hesitated the less timely the posts became. And it ultimately kept me from writing. So in the future I'm going to have to let perfectionism slide just a tad. Otherwise I'll never get around to posting anything.

But until then, I have here for you Part I of a post concerning the current season of Homeland. Beware, SPOILERS abound.]

Homeland has a Brody problem. Actually, Homeland has a few problems, but I'm going to start with the Brody problem. Because for some reason the show can't get away from him. The first season of Homeland is amazing television. One of the best seasons of anything I've ever seen. Watching it live week-to-week and having no idea where it was headed or who Nicholas Brody really was elevated the show to an incredibly suspenseful level that it will likely never achieve again. At the time I believed--and still believe--that the first season of Homeland should have been its only season. Clearly that didn't happen. Either way I still can't help but think that the first season should have ended with Brody successfully detonating a bomb. Because not only would it have been an explosive ending of an incredible season of television, but Homeland wouldn't be tempted to constantly bring everything back to Sergeant Nicholas Brody.

Yes keeping Brody alive led to some pretty great episodes in the second season. The Emmy award winning episode "Q&A" in particular was a GREAT episode (all caps, which is greater than great). But was that episode, and the few quality ones before it, worth keeping Brody alive for? Perhaps. I still think the potential strength of an alternate season one finale far outweighs the actual suspense of the early second season. Regardless, the second season, as implausible as it was, exists and played out as it did. And while I took issue with many things, I didn't hate the season by any means. Mostly because the first half was so strong. But when quality notably took a turn midway through I quickly realized what the problem was: Brody had overstayed his welcome. Don't get me wrong, I think Brody is a fantastic character, but the show was doing cartwheels trying to top itself while keep him involved with the story and involved with Carrie. So when the second season ended with Brody sneaking out of the country, I was ready to say goodbye to the character. And I was left hoping the show would refocus and re-inject some much needed Washington intrigue into its next season. To get back to basics. To reign it in and tone it down a little. To pace itself...

But nope. Brody still looms large. We are getting plotlines involving the family he left behind. Which, for the record, I don't hate. They're just given way too much importance and story time. I actually think there's something intriguing about the Brody family in the wake of last season (minus Dana's stupid and completely pointless boyfriend, of course), but spending too much time with them has led to some wheel-spinning and really pointless plot points (unless Leo turns out to be Majid Javadi's gay lover or something). The only Brody family story that really worked for me this season was Dana changing her name and Jessica's tearful goodbye. Other than that this was all some over the top orchestration to get Jessica and Carrie face-to-face for the flashest of flashes which led to The Yoga Play which led to Saul accusing Carrie of putting the whole operation in jeopardy which we ultimately find out she didn't (by "ultimately" I mean we found out five minutes later), so really the whole thing was cheap and completely pointless.

The Brody family aside we also got an entire episode checking in on Brody himself. It opens when he arrives in Caracas riddled with bullets and ends with him strung out on heroin. Which was not only overkill but one of the most ridiculous things on a show chock full of ridiculous things. So the writers expect us to accept that in the stretch of this series (AKA within 27 episodes AKA a little over one season of network television) Brody goes from returned POW with PTSD, to a Muslim terrorist, to a Congressman, to a viable candidate for Vice President, to a double agent, to an assassin, to a framed terrorist, to a fugitive, to an imprisoned heroin addict in Venezuela?!!? Are you fucking kidding me. I'm not asking. Because seriously, you have got to be fucking kidding me. It's in these moments of realization that I can't help but think back to what this show was in its first season. To how GOOD it was (all caps, which is gooder than good) mostly because Brody was such a compelling enigma. Now he's a parody, an almost fan-fictionlized version of himself. Remember when all it took to get an intense moment was Carrie offering Brody his favorite tea? Now the guy is shooting himself up with heroin. How did we get here? Why did we get here? It's so unnecessary and over the top I'm getting steamed just thinking about it.

Caracas aside, we're still getting some decent storytelling out of the Brody well, but nothing that warrants physically keeping him around or hijacking the plot for. This season has its own story going on that only vaguely involves Brody's name being mentioned. But of course the latest episode, which made great strides in moving this season's plot forward, couldn't help but bring Brody back into the picture. I appreciate the show for trying to tie everything together. And I have to admit I leaned in a little closer to the television when Carrie and Javadi were discussing the bomb in Brody's car. Admittedly there's some intrigue there, but that has less to do with Brody and more to do with the terrorist attack driving this current season (and Carrie's emotional stake in it all). But come on. We all know where this is headed. It's as if the writers are strong-arming the story and steering it back towards Brody. Everything on this show seems to orbit around him. We were on the dark side of the moon there for a second, but never fear, I see Brody's freshly shaved melon looming over the horizon. It's as if the show doesn't know how to exist without Brody. As if Brody is the bottom of the pool and the writers are toeing it, terrified of wandering too far into the deep end. As if this show has no other identity or capability to be anything different. If Brody can be a half-dozen things in a dozen episodes, I think Homeland can be a show without Brody looming so large. But maybe I'm expecting too much from this show. I would half expect the writers to stow Brody away, keep him off-screen and keep his name unmentioned for as long as possible before letting a figurative (or literal) bomb drop. But thats assuming Homeland knows how a successful twist works. Which, for the record, it doesn't.