My two main preoccupations for the post-Thanksgiving week of television were the latest episode of Revolution, and the show’s evolution (or not?) over the season, and getting caught up on the Fox sitcoms.
The Evolution of Revolution
This week Revolution aired its final episode before going off to hibernate for the winter. (The show will be off air until late March.) As other shows start their winter breaks in the coming weeks, the so-called fall/winter/mid-season finales of these shows mark a good time to reflect on where they’ve been and where they’re going. I’m not sure I have a harder time thinking about any show than I do about Revolution.
When I watched the pilot for Revolution, I thought it was terrible. I couldn’t imagine it would survive more than a few weeks, and I didn’t even think I’d watch a second episode. The plotting was all over the place, with six or eight or maybe even 12 episodes’ worth of action crammed into a single hour, after we’d already been jolted 15 year ahead of what would have been the most interesting aspect of the show. Rather than getting the story of people like ourselves coming with the sudden loss of man-made power sources, we were ultimately handed a rescue mission in a world that had already coped so well with what they’d lost that it hardly seemed to matter that they’d lost it. It became just another story about people who we weren’t given the chance to know before we were asked to care about them. Much of the acting was laughable, and the flashbacks only served to illuminate that apparently, in a world without power, all the visible signs of aging in adults cease to progress.
How then have I come to be so invested in the continuing dramas of Miles, Rachel, Nora, Aaron and, yes, even Charlie, as they go about their various missions? There are moments I watch of the show in the most recent episodes and think how much its grown, that character development has become important and the pacing makes sense and the flashback information we’re getting is interesting rather than obligatory or filler. But I can’t help but wonder if many of these improvements were even intentional, whether getting to know the characters is for its own sake, or simply as a means to stretch the plot because so much of it was expended so quickly in the early episodes? In the episode where we learned Maggie’s backstory, it is casually mentioned that she walked, alone, in a world where people were looting their neighbors’ homes and holding children hostage for a wagon of food, from Seattle to Buffalo. A couple of weeks ago, Neville’s wife Julia went to great lengths to make sure that their son wasn’t send to California from Philadelphia, because of how dangerous a trek it would be, even in a military troop. I see these kinds of discrepancies, and it’s hard to know whether the writers have gained a better sense of this world they’ve created or it’s all just to serve the greater plot.
These questions will start to be answered, I’m sure, as the second half of the season presents itself in the spring. The fall finale left us at an interesting place, and how the show handles things going forward will be very telling. For me, though, nothing is more important than the backstory of how the power was lost. We’ve gotten the beginnings of it, and I was pleasantly surprised that the story so far seems neither lame nor idiotic. But it is much easier to throw out a glimpse of something and make it seem interesting than to craft something that is actually interesting and makes sense. So the jury is still out on whether Revolution is transforming itself into a respectable drama actually worthy of being one of the season’s biggest hits. We’ll have to wait another three months to see if Revolution becomes something more than the show that’s good to make fun of around the water cooler.
Funny Like A Fox
Tuesday has become a wonderfully conflicted night of television for those of us who enjoy “smart” sitcoms, with a DVR-busting lineup that includes Happy Endings, Don’t Trust the B- in Apt. 23, Go On, The New Normal, New Girl, and The Mindy Project all airing within the span of an hour. I’m an old-fashioned viewer who lives to rely on just recording two things at once on the DVR, but Tuesdays has forced me to explore other options to watch all these shows. This past weekend, I found myself signed up to Hulu Plus to catch up on the episodes of New Girl, Mindy, and Ben and Kate (I’d also missed a few episodes because of power outages and inclement weather) and had a few of those realizations that only come from watching several episodes of things in close proximity.
For one thing, while I like the show well enough to catch one episode per week, i don’t enjoy Ben and Kate enough to watch more than one episode of the show in a row. I got to the end of the Emergency Kit episode and felt like I’d had enough for a month. I’m going to have to reconsider giving the time I spend watching this show to something else, like reading or taking a nap.
I more enjoyed watching and contrasting New Girl and The Mindy Project. My favorite revelation of the weekend was that I’ve actually met Tommy Dewey, the dashingly handsome and charming actor playing Mindy’s love interest Josh on The Mindy Project. (We went to college together, though I can only claim to have met him during my unsuccessful audition to join the improv troupe of which he was the star. The saying holds true: Those who can do; those who can’t blog.) Aside from that, I like the fact that Mindy Project isn’t just doubling down on ensemble hijinks but digging a little deeper into the supporting players. I didn’t need a reason to invest in Chris Messina’s Danny other than Chris Messina, but I left my mini-marathon caring more about Betsy, Jeremy and even the underutilized Gwen. Unfortunately, the same could not be said for Shauna, played by the talented Amanda Setton, of whom I’ve been a fan since Gossip Girl. I guess the show is going with what works, but I’m sad that she’ll soon be departing.
New Girl continues to march along at its New Girl pace, with its awkward and funny dynamics in the main cast with that hint of the show being not quite as cool as they think they are. For all Jess’s flaws, I will say it seems uncharacteristically juvenile for her to be pulling the so-called Parent Trap-type shenanigans to reunite her parents who have been divorced since forever. This by no means ruins the episode, it just detracts from the show’s credibility, which it needs to sell some of the more ambitious episodes it puts out. But no, what most stands out to me is that almost halfway through the second season, New Girl still seems not to have recovered from having replaced the pilot character Coach with Winston (because of Damon Wayans, Jr.’s unavailability when Happy Endings was picked up). I can only imagine what the character and the subsequent dynamics would have been like had Coach stuck around, either with Wayans or maybe with Lamorne Morris as a recast instead of a new character, but it is impossible to get past the idea that Winston is just a placeholder or a foil, someone who exists almost exclusively to take a side when two of the other roommates are arguing or act as a foil to Nick’s or Schmidt’s peculiarities. Toward the end of last season, New Girl really seemed to make an effort to develop Winston, building up his relationship with Shelby and having him search for a career. But through all of that, and despite a few shining moments (working with Jess’s bell choir kids and singing along to Wicked while driving Schmidt’s van come to mind), Winston has failed to register as an actual person in the New Girl world. I don’t even mean that he’s just less developed that Jess, Schmidt, Nick and Cece. Characters have come on for an episode or two and existed more on their own than he does. I like New Girl a lot, but the show would be much better off if they could find a way to use Winston beyond just filling whatever space the other characters leave for him in every episode and start considering him with somewhat comparable importance to the other characters. If not, they should get rid of him and replace him with a character who the powers that be do feel is real and worthy of existing beyond propping up the other four.
Top Ten Shows
- 30 Rock
- American Horror Story: Asylum
- Happy Endings
- Hart of Dixie
- The Mindy Project
- Parks and Recreation
- Pretty Little Liars
Current (or Nearly Current)
Revenge, Gossip Girl, How I Met Your Mother, 2 Broke Girls, Revolution, Go On, The New Normal, Happy Endings, Don’t Trust the B- in Apt. 23, New Girl, The Mindy Project, Hart of Dixie, Nashville, American Horror Story, Survivor, Suburgatory, Modern Family, 30 Rock, Up All Night, The Office, Parks and Recreation, Glee, Saturday Night Live, The Soup
On The Backburner
666 Park Avenue, Ben and Kate, Guys With Kids, Last Resort, Fringe