The Potential of Nashville

I am just going to come right out and say that if it wasn't for Connie Britton, I would have never given Nashville a second thought. When I first heard about the show, reading the synopsis and what we were to expect, I simply did not think that it would be a show for me. Especially the fact that it was to be heavy on the hee-haw country music. Oh, but Connie Britton is in the lead? Now you have my attention...

As ABC promoted Nashville, and as I watched the trailers and read reviews, I actually grew excited and curious about what this show would become. I generally enjoy a musical show. I watched the entire first season of Smash (mostly for Vulture's hilarious recaps, but also because sometimes, on a rare brief occasion, it was actually entertaining) and I stuck with Glee way past its peak. I am definitely not a country fan in any sense, but the promise that Nashville was more about the industry than about randomly breaking into twangy song and musical numbers meant I could feasibly put my personal tastes aside. The show also offers a sense of soap and camp which, again, is not necessarily something I respond to (unless done right). So Nashville had a lot going against it. And it is a testament to how much I admire Connie Britton that I gave the pilot a shot. And against all odds, I am really enjoying the show way more than I expected to.

Nashville presents an interesting insight on the music industry today, has fantastic lead performances from not only Connie Britton, but Hayden Panettiere as well, and it is particularly refreshing to see a show filmed in an American city that often gets overlooked. Heck, I'm even enjoying the political subplot because I am a sucker for politics and Powers Booth is just perfect in this role.

Again, I am by no means a country fan, but I genuinely liked the acoustic duet in the pilot. I'm also enjoying how the awful pop-country songs are juxtaposed with genuinely well-written refined Country music (with a capital C). It just adds another layer to the story. It is also refreshing that characters are not randomly breaking out into song. The music and the performances serve a purpose to the plot and character, but they also happen in a matter-of-fact way. These characters exist in the music industry so performances and music videos are bound to happen. And so far the musical performances are used in the same way football games were used on Friday Night Lights. It's a way to bring all the characters together at the same place while reflecting on what that moment means for each of them. And so far this has been executed quite well.

As for Hayden Panettiere, I think she is enjoying this seductress role of hers. Her character isn't just a villan. She is also presented with a desire to mature personally and professionally. The steps she takes towards this maturity is quite destructive, but she's a damaged character with lots of emotional baggage to sort through. And I believe Panettiere is doing a great job thus far. I have spoken to many people who are not Panettiere fans, but I have personally never had a problem with her. Claire on Heroes and Kirby in Scream 4 were two of the best characters in each respective project. And I'm looking forward to what else she does with Juliette Barnes (even if she is a main source of the show's soap). As for Connie Britton? I think we all already know how I feel about her and she is in top form as Rayna James.

Against all odds and expectation, I am thoroughly enjoying Nashville. However, it is currently walking the fine line between a genuinely good show and a soapy one. And I have a feeling they are going to one day fully embrace their camp. I will be very disappointed when that happens, but until then, I am considering Nashville my favorite new show this fall. On the other hand, I've made false assumptions about this show in the past, so hey...what do I really know?

A Long Post About: Glee

Oh Glee, where do I begin?

I watched Glee from the start. I watched a strong yet uneven first season. I stuck with it through its struggling second and even through most of its underperforming third. Along the way, the pattern of Glee had been revealed to us all. It gets ridiculous and hilariously campy--sometimes in a great way...but usually in a grating way--with overly produced pop songs, dance numbers, and sporadic theme episodes. But more often then not, it took the show a few too many steps too far. They would take it to the extreme, going off the rails in zaniness, character inconsistency, and jumbled plot lines. The majority of episodes were examples of writers biting off more then they could chew: telling too many stories at once while desperately trying to remain funny, fresh, and quirky. Even the breakout stars of Sue Sylvester and Brittany became tired caricatures.

However, among the jumbled mess of pop songs, wasted talent, and airborne slushies, Glee would turn out a couple of impressive performances, thrilling dance numbers, realistic story lines, and moments of such perfect poignant emotion that they brought tears to my eyes. And whenever an episode like that came along, it restored my faith in the show and its talented cast. It kept me watching through the grating nonsense because every now and then, it promised greatness. I could rattle off a list of performances I loved and regularly rewatched (from "Defying Gravity" to "Teenage Dream" and back). And I absolutely admire how the show has portrayed bullying, homophobia, physical and mental disabilities, unconventional beauty, teen pregnancy, and underprivileged youth. However, those moments were becoming few, flat, and flaccid as the seasons continued...and I was slowly getting too fed up to care.

Then, in the third season there was one particular episode that was the final straw for me. It started with a suicide attempt (a promising hint of raw emotion that Glee has presented so well in the past) but then quickly moved on to engagements, then regionals, and finally an absurd texting-and-driving cliffhanger. All within the same installment. Separate things that entire episodes once revolved around were all thrown together in cacophonous hour of television. And I realized that for three years, through all the awfulness, I was still defending this show, saying how good and sweet and heartfelt it could be. I was like a battered spouse defending her choices. But after that atrocious episode, I just couldn't take the abuse any longer. I swore off the show. I knew in the back of my mind that the things I once loved about Glee were likely to turn up. And it pained me to cut ties. But as weeks passed and the season wrapped up, I didn't miss it. At all. And I took comfort knowing that trusted sources would let me know when it was worth turning in for that one-off episode of promise.

And it just so happens that the fourth season's fourth episode was one of those times.

"The Break-Up" delivered on everything Glee has ever promised its audience. It perfectly captures growing up, leaving high school, disillusionment with life and relationships, betrayal, letting go, aimlessness, maturity, and heartbreak all with a restrained rawness that has been absent from the show for so long. All of this was paired with near perfect musical numbers (including an incredible, stripped down "Teenage Dream" reprise that in context shredded my heart to pieces). Acting skills have been honed and characters we followed for four seasons were given time to shine and sort through the experience of adolescent transition. A reason Glee can be great is its unique ability to capture certain growing pains that many other teen shows neglect. And "The Break-Up" offered them all, letting us focus and reflect without trying to juggle three other nonsense plot lines. Its an example of the show taking a time to pause, stretch, and flex before continuing forward.

Even though Glee loved living up to its name in being over-the-top-smiley™ in a cringy manic fashion, there has always been a darker tone to it. An inherent sadness that I frankly believe, when embraced, were the times the show has been its best. I accepted a long time ago (long before I stopped watching) that these moments are rare. I am by no means going to fall for the same old trick by tuning in weekly in hopes of glimpsing it again. But I'm not any less relieved and gleeful that they can still bring it on. This is what the show has always been. And for any casual viewer or hater, I highly recommend giving "The Break-Up" a go. It's a great hour of television and hits all the right notes in all the ways a great pop-song does. So watch it, maybe.

Homeland: "Beirut is Back"

SPOILER ALERT: This post is about the most recent episode of Homeland. Obviously, spoilers are sure to follow. Enter at your own risk.

Can we just work in reverse and talk about that ending real quick? I had a suspicion that what Saul was digging for may be the Brody video, but I also could not let myself believe the writers would play that card so soon. I wanted it to be the video, but oftentimes shows like Homeland prefer a slow burn of twists and turns. So I was expecting a fake out similar to the Abu Nazir assassination attempt five minutes earlier. But instead I got exactly what I wanted at the same precise moment I realized I wanted it. And its an example of what makes the show so good. Here is one thing I love about Homeland, the writers know exactly when to follow through. What happened at the end of this episode easily could have been the season finale of a lesser show. But instead, the writers decided to throw us this curve ball early on. And we know its going to shape the entire rest of the season. Whether for good or bad, we cannot say.

To put that ending in perspective, lets look at the whole episode. Carrie is still clearly recovering from the Brodie debacle of last season. She even says so herself whilst on the brink of a serious psychotic episode (and possible withdrawal). She's so used to following her gut and being right. And the fact that she could be so incredibly wrong about something she felt so sure about is leading her to question not only her abilities as a professional, but the very fiber of who she is. This is something we all expect Carrie to deal with for quite some time. The scene on the roof was so strong, we could easily see multiple episodes ahead of Carrie still dealing with the fallout. Instead we have her redemption handed over to us within the same hour of television. Its not only satisfying, but incredibly bold. This show has been impressing me nonstop since its debut and this is a perfect example of what made season one award worthy television.

In terms of the Abu Nazir operation, everyone expected him to get away. Once capture was no longer an option, I am pretty sure every viewer was confident in expecting Nazir to elude the ops mission. Because we all know there's more for him to bring to the show. He is what all the main characters have in common, giving each of them a separate purpose. So clearly there was going to be a near miss and a fake out. It wasn't any less satisfying when it happened, but it was definitely expected and formulaic. The Nazir appearance validated Carrie and strengthened Brody's loyalty. Having served its purpose, Nazir was quickly escorted out of the viewer's mind.

Now consider the end of the episode again. Here another fake out was sure to occur. We all think we know what is on that hidden chip. At least we all know what we were hoping for. But there's just no way that the Brody video would pop up so soon. More has to play out before a bomb like that goes off, right? Especially not after we just heard Carrie Mathison admit her self doubt and most significant professional misstep. A main character's redemption just doesn't come that easy. But instead we were given exactly what we wanted. And we were faked out of a fake out. The writers are jerking us around and its amazingly satisfying.

The tape being introduced so early is definitely going to shape most of the season. Whether its simply used as an excuse to give Carrie her job back, or if Saul chooses to sit on the tape, or if the CIA actually acknowledges this video as credible evidence worth investigating, anything that happens is going to be an interesting ride. At the very least we know Carrie will probably be back with her old swagger. She can start trusting herself again. And that is definitely something I am looking forward to.

Homeland: Season Two

This is basically a quick post to express my excitement that Homeland's second season starts tomorrow. I may have just ripped the Emmys to shreds, but that was in terms of comedy. In drama, they often get it right. In my opinion, Claire Danes won that award a year ago in the season's penultimate episode. Her performance was so powerful that before the episode even ended I knew it was hers. And if that episode belonged to Danes, the finale belonged to Damian Lewis, no question.

The fact that Homeland won best drama and best writing is also very much deserved. I was pleasantly surprised by both wins. I was honestly expecting either Mad Men or Breaking Bad to take home an Emmy in either respective category (as well as Bryan Cranston or Jon Hamm for acting), but Homeland also earned recognition. It deserves to be held to the same standard and it very much belongs in the same breath. Since it aired, I've been talking about this show to anyone who will listen. So its nice to be validated.

And I'm so glad it won for its first season. I'm honestly not sure if they can keep the quality up further down the road, so I'm pleased it nabbed an award when it could. Some part of me wished it was a one season show that ended slightly differently than it did. (Especially because the show runners, who previously worked on 24, aren't necessarily the best at long-term suspense.) But any doubts I had were quickly forgotten when I saw the season two trailer. So lets get pumped, people!

The Emmy's Comedy Problem

I realize the Emmys were six days ago. And I realize that awards don't really matter (although, to paraphrase Ron Swanson, it would be pretty swell if they went to the right people). But there are some things I just need to get out of my system.

The Emmys have a huge, unbelievably awful comedy blindspot. There are dozens of hilarious, clever, quirky, heartwarming shows out there. We are at an unprecedented level of quality comedy. Yet many of them are not getting the recognition they deserve. Listen, I am infinitely glad Louis CK was awarded for his work on Louie. That show is amazing. Every episode is its own indie short film of amazingly well-crafted dark comedy. And he has some stellar guest stars to boot. I'm equally as glad that Girls was nominated in various categories. Same goes for many other shows and performances. Those are things the Emmys got right. But this Modern Family business has got to stop.

Yes, Modern Family is a funny show. It regularly gets laughs out of me. It is its own brand of layered humor, and never feels the need to condescend. And I'm so glad that it is a good show that families can enjoy together. It's better than a lot of other sitcoms out there. But in the wide spectrum of quality comedy, it falls somewhere in the middle. There are shows so far beyond Modern Family. We are now entering the show's fourth season. And I honestly can't name a single character that has developed whatsoever. Normally this would be an overly critical and elitist comment to make about a network comedy. But when I can rattle off a list of programs that believably develop their characters/plot while still making me laugh so hard I cry (or just make me cry in general), then that critique doesn't seem so harsh. Heck, even Friends had better character/plot development while still remaining funny and heartfelt. And that is what makes a show like Friends a classic.

The people voting at the Emmy's are really missing out on some quality humor out there. And amazing performances as well. Even Julia Louis-Dreyfus winning best actress for Veep (on which she is amazing and hilarious, don't get me wrong) felt like voters gave it to her because of her name and body of work rather than the performance itself. I adore JLD, especially on Veep. And I'm not upset she won. But that Emmy belonged to Amy Poehler and to argue otherwise is a real shame.

Basically filling up an entire supporting category with actors from Modern Family, year after year, is just plain excessive. This year there was amazing supporting work done by Danny Pudi, Donald Glover, Nick Offerman, Adam Driver, Damon Wayans, Jr, Gary Walsh, and yes Max Greenfield and Bill Hader. All performances that could garner a nomination without backlash or disappointment. These people and the shows they work on deserve to be recognized so much more than the stale and stagnant Modern Family.

Modern Family's past Emmy's, particularly for its first season, were well deserved. But now it's just getting ridiculous. This show has gotten enough validation. Lets give another comedy and its cast the attention it deserves. Not that the Emmys, or really any award ceremony, matters very much. But please. I'm begging you.

Last Resort

I have mixed feelings regarding the pilot episode of ABC's Last Resort (cleverly entitled "Captain" rather than "Pilot).

I felt the episode itself was awfully paced, constantly throwing information at the viewer at breakneck speed. I understand the urgency in trying to set up a plot as tightly knotted as this into approximately 45 minutes (not to mention the network pressure to attain viewers and ratings), but I felt I had almost no time to absorb one thing before moving on to the next. I repeatedly had to shake my head and process information as more was thrown at me...and not in a good way. I don't mind working for my entertainment. I prefer taking a bite out of a smart, challenging program. But if that bite is underripe, it takes you out of the moment. It leaves a sour taste in your mouth. And you are going to question whether it is worth continuing or not.

That being said, I find myself admiring this pilot episode. Its felt as if the writers had so many ideas that they couldn't contain themselves. The ambition and set-up is enough to get a viewer excited. You understand the stakes and how they not only affect the main characters, but also the entire world in which the show exists. That is awfully hard to do well in under an hour. The attempt alone is admirable and exhilarating.

In terms of a general impression, I couldn't help but compare the show to Battlestar Galactica. For anyone who has seen BSG, this is a natural comparison to make. Genre aside, the two shows are cut from the same cloth. However, BSG did it with so much more confidence, grace, and restraint that Last Resort's effort seems cheap in comparison. But as the episode continued, I also found myself thinking of shows like Lost, Alias, 24, and even Homeland. And any pilot that can do THAT is definitely worth my time. I don't care if I have a sour taste in my mouth because I'm pretty sure I've tasted something like this before. And I'm pretty sure it has traces of awesome in it.

Ideally, I would have liked the episode to be longer only so we could have built more tension and suspense throughout. Because the potential here deserved a much more confident and nuanced coming-out. I'd hate to see it dumbed down (which is a very real, unfortunate, and likely possibility for a network program). I just hope they take a moment to breathe and gather themselves before trekking forward. I'd love to see this show do well. I'd love to see where it leads. And I'd also love to see them lose the cheesy action-staple cliches...because this could be a legitimate smart show about militarism, politics, strategy, and humanity.

Its probably the best new drama pilot I've seen on network television in quite some time (since Lone Star at least). For what its worth, I'm personally giving it another shot. And I'm looking forward to it.

Tabula Rasa

I have been trying to motivate myself to blog for quite some time now. There was always some new excuse.
That my computer was too old.
(But I bought a new one a year ago).
That I could not think of a proper blog title.
(Still cannot think of one, but these things aren't set in stone).
That no one cares about my opinions on television, film, or the like.
(Probably true).
That the timing wasn't right.
(This happens to be Emmy weekend).
That I have absolutely no qualifications to be offering my thoughts on media.
(Aside from my media degree....and the ton of television/movies I watch).

But then I got sick of holding myself back. Forget my insecurities. Forget whether anyone even cares or not. I'm really doing it for myself anyway (although readers/commenters would be greatly appreciated).

Basically, I don't want to regret never doing it, trying it out, seeing what develops, seeing if I even keep up with it. I am tired of telling people that "I want to start blogging" and then never following through (its like that tattoo I've been talking about for years). Eventually you have to bite the bullet and just do it.

And they say the hardest part is getting started. Staring at a blank page, agonizing over that first sentence, is daunting. Getting the train of thought to pull out of the station is slow-going. But once you gain some speed and start chugging along, you will get to where you want to be.

So please excuse this rambling post. It's really just me blowing the whistle and pulling out of the station. This train has been delayed long enough.