Tuesday, January 6, 2015

Rewind: 24 S5

A typical response to a complaint about any TV show is that "you're looking too much into this.  Just sit back and enjoy it."  Usually, I think that's a bunch of bullshit.  That's usually code for "I have no actual legitimate counterpoint to your complaints, but I like this show so you should too."  If you thinking about a show destroys that show, the show probably isn't that good.

On the other hand, that's absolutely the case with 24.  Thinking about the show doesn't destroy the show, but it makes it less fun.  24 has really one purpose: pack as much action and edge-of-your seat moments as possible into 24 hours of television.  The trick is to somehow manage that while creating a competent story that doesn't fall apart, making sure there are characters you would hate to see die, and making sure the "personal" moments don't feel cheap.

The fifth season has two things that the rest of the seasons I've seen don't have: a story that is mostly plausible within the confines of what 24 has defined as plausible every step of the way and zero awful plotlines.  Somehow, none of the episodes feel like stalling for time.  And there's definitely no "Kim getting attacked by a cougar" in this season.

This season has probably the best acting of any season.  24 has never been a show with particularly great acting.  That changes this season.  The standout of the season is Gregory Itzin, playing Charles Logan.  I'm not sure anybody else could play a president who could seem so much like a weasel one minute and terrifying the next.  He also plays desperate beggar so well it's almost painful to watch.

Kim Raver is also terrific as Audrey Raines.  If I'm being honest, Mary Lynn Rajskub has never impressed me as an actress even if I like her character, but she definitely nails the scene where she watches Edgar Stiles die.  Similarly, Louis Lombardo makes us care about a character who is basically just exposition throughout his screentime.

The fifth season could also be called: "Who's guest starring in this episode?"  Because seemingly all the supporting characters get played by either good or recognizable actors.  Sean Astin, Peter Weller, Connie Britton (who is severely underused), Kate Mara, C. Thomas Howell (Ponyboy), Henry Ian Cusick (AKA Desmond from Lost), Ray Wise (whose name might not ring a bell, but the guy is in everything), and Mark Sheppard.  Good guest stars help elevate the writing, which is somewhat necessary in a show like 24 which is not too great at developing characters.

If there's one glaring thing that left me with a bad taste, it's that early Charles Logan and later Charles Logan don't quite make logical sense.  I can't think of a conceivable reason that Logan and Cummings aren't both in on the plan.  Logan's shock at Cummings' plans - and if I re-watched maybe Mike Novick was in the room whenever this was happening - doesn't make sense to me.  Why doesn't Cummings know Logan's in on the plan?  Either way, it's a small thing and it doesn't really matter to me anyway since I was already spoiled on Logan being a traitor.

Every list that I've search has the fifth season as the greatest season of 24.  To be honest, not all that much is different from other seasons.  It still relies on some of the same narrative tricks (detrimental family member leading to downfall, villain somehow escapes to further the plot of the show TWICE, etc.) and it's attempts at making us care about the characters' personal lives remain futile.  The personal lives almost completely depend upon the actor so thank god that Itzin and Jean Smart are so good in their roles or the presidential marriage would have been a drag.

But this just goes to show what tight plotting, good acting, and constant action can do for a season.  There's no repetitive storyline, no plot point seems irrelevant or annoying, and each episode seems important.  Also, the show was willing to kill off major characters.  They've killed off President Palmer, Michelle Dressler, Edgar Stiles, and Tony Almeida but not really. (I'm already spoiled that he comes back.)  So I have to agree with every list on the internet that the fifth season is the best.

Grade - A

Playlist
1. "Sober" - Childish Gambino
2. "10538 Overture" - Electric Light Orchestra
3. "Autumn Sweater" - Yo La Tengo
4. "Feel Right" - Mark Ronson feat. Mystikal
5. "Green Fields" - The Brothers Four

Monday, January 5, 2015

Rewind: Mad Men S2

With the final season of Mad Men returning at an undetermined date in April, I will re-watch the first four seasons and watch the following two-and-a-half seasons for the first time.  After each season, I will share my thoughts on the show.

Season 1

Mad Men is one of the hardest shows for me to write about.  The other hardest show is The Simpsons.  In a way, it's hard to write about them for the same reason: it's pretty damn hard to write about a show specifically designed for episodic analysis.  Episodic analysis has become somewhat popular in recent years.  Any good show, regardless of the need, has a post from AV Club, HitFix, or any number of well-visited television-themed sites hours after the episode airs, analyzing and grading that specific episode.  Most of the shows don't need it.  I enjoy it if it's from a good writer, but really most of the time I'm just wanting to find the perspective of another person and compare it to my own.

Mad Men (and The Simpsons) benefits from post-episode analysis, assuming the writer is given a screener and allowed time to reflect on the episode.  (This is why it's hard for me.  I don't get screeners, thus I'll inevitably miss something.  Plus if I actually take the time necessary to uncover all the depths of an episode, it'll need to be posted the day later, thus removing the timeliness aspect.)  Mad Men is designed in such a way where each episode can stand alone with its own themes.  That's not to say that you can watch any old episode out of order.  But there's always this weird sense of finality when the episode is over that most serialized shows don't provide.  (While The Sopranos dabbled in this, I don't think I can say the same about it.)

I guess this is my way of saying Mad Men is growing on me.  I've made it clear in my previous post that I really enjoy Mad Men, but I can't elevate it to the best shows of all time.  I'm not sure I'll change my opinion, but the second season was just as good as the first, and arguably more impressive an achievement.  Since Mad Men is in essence a show about characters, the only way for me to look at this season is by revisiting all the characters and see their progression.

Don Draper doesn't exactly progress as a character.  It's more like Matt Weiner and the writers reveal more of the character.  Whatever happened in between the end of season one and the beginning of season two - probably Betty finding out Don has been calling her psychiatrist - the dynamics of the Draper marriage have changed significantly.  Don Draper appears to be very sincere and very intent on staying committed to Betty.  But of course that can't happen.  The very things that make Don Draper who he is prevent him from ever staying committed.  To his credit, it's not totally his fault.  Take a verifiable philanderer and give him a woman who might as well show up naked to his bed, he's just not going to say no.

Interestingly enough, this is a different affair from the first season.  He does not seem to enjoy it or even like Bobbie Barrett.  He just can't resist.  Don hasn't exactly grown this season, but he certainly makes a more concerted effort to remain faithful and be a good husband.  Too bad the timing could not have been worse.  Draper's actions in the second season would have gone unnoticed by Betty in the first season.  Hell, she probably would have appreciated him more because of them.  But Betty has changed.

Betty has infinitely more control than she ever had in season one.  But she's still basically a child at the start of the season like she was in season one.  She flirts with the idea of affairs, but does so in a way that a child would and immediately backs off whenever it seems to go anywhere.  And in her cruelest moment of the series thus far, she facilitates an affair between her two stable friends because she's too chicken to do it herself AND then she gets to feel morally superior by shaming her friend.  It's terrible.

Like I've stressed, I remember less about specific details in the third and fourth season and especially so for character progression, but I would guess Betty will be "grown up" in the third season.  Actually participating in affair was emotionally cathartic and allows her to finally start eating.  Couple that with her very mature talk with Sally about what her and Don are going through and I think she's becoming a responsible mother as well.  (I'll forgive her for her antiquated punishments which are probably a sign of the times more than her abilities as a mother.)  Thus, when she accepts Don back, it doesn't feel like a cheat like it could have.

Small note: I'm also looking for my opinion on January Jones, which upon first viewing was not positive.  I was much more impressed with Jones in the first season than I expected.  The second season? Eh.  The cracks are starting to show.  I continued to be genuinely surprised by her until the middle of the season.  I want to say "A Night to Remember."  The rest of the episodes were better, but I think that colored my opinion of her performance in a negative way to where I could never get back to that pleasant surprise.  Ah well.

In the first season, Peggy and Pete were arguably the most important characters behind Don Draper.  Peggy was making her transformation from meek secretary to devoted advertising copywriter.  Pete didn't exactly have as drastic of a transformation, but Mad Men spent a lot of time uncovering the complexities of his character.  This season, both characters' change between seasons, but not really throughout the season.

Peggy Olsen may as well have renamed herself Peggy Draper, because she takes the misguided advice of Don Draper and follows in his footsteps.  Much like Don forgot his past life as Dick Whitman, Peggy forgets her pregnancy and subsequent adoption.  She even takes the advice of a priest, albeit in a way he didn't intend, when she confesses to Pete that she had his baby.  At the end of the season, her actions of emulating Don Draper have led to her own office and she shows no signs of changing that either.

Pete meanwhile finds out his father died in an airplane crash.  Don Draper doesn't exactly care for Pete's feelings, but he at first gives him the counsel he needs to find out how humans react.  But after Duck tries to get Pete to use his father's death to land American Airlines, Don is in a much different mood and shakes him off.  Later on, when Draper disappears in California, Pete doesn't turn him in like he would have in the first season.  And he readily accepts his father-in-law dropping the Clearasil account, because the only reason he even got the account was under the pretext that the Campbells would have a baby.  When Don genuinely praises him for his work, he decides to side with Don over Duck, mostly because Don's praise means everything to Pete.

The Duck-Don rivalry was the crux of the second season.  Duck is envious of the amount of control Don seems to have over Sterling Cooper while Don is defensive of Duck's search for power.  They also seem to have ideological differences about how to approach advertising.  All of this leads to the desperate, yet nearly successful attempt by Duck to have Sterling Cooper sold to an overseas corporation.  In somewhat of an anticlimatic moment that nonetheless is as satisfying as anything on this show, Don simply says "I have no contract" to shut down Duck's plans.

Duck Phillips was a great addition to the cast.  He's a recovering alcoholic who is frustrated that his talent does not match his position.  Due to his alcoholism, he's not exactly a great foil to Don Draper (as it's pretty clear which one will win the impending battle), but he stands out as a character in his own right.  Plus, he's contrasted with Freddy Rumsen, a person whose alcoholism eventually gets him fired.  Actually, he's contrasted with just about everyone in the office, who by modern-day standards surely qualify as an alcoholic.  I'm guessing Duck just doesn't quite handle the alcohol as well as the others.

Lastly, in terms of characters who I'll spend a paragraph talking about, Joan Holloway unfortunately seems to develop in much the way that is expected, in hindsight at least (that's not a complaint.  It's unfortunate because it sucks).  In the first season, there's a hint that she wants more out of the office judging by her jealousy of Peggy's quick rise.  She's given a chance her and is excellent at it, but nobody even thinks she wants it.  What's sad is that if she spoke up, she might be able to get that job, but that's not the type of thing she would do.

Worse, she now has a fiancee who is completely uninterested in Joan being anything other than a housewife.  That was a forgivable sin, because at least you could blame the time period.  But then he rapes Joan in Don's office in one of the most harrowing scenes in television.  And then... she remains with her fiance.  I honestly don't remember anything about Joan past this season so I'm really hoping for more positive storylines for her.

Now, because Mad Men seems to spend time on each character, I'll have to bullet point the rest of the characters.

- Salvatore Romano gets married to a person he seems to truly love, although is completely uninterested in sexually due to his homosexuality.  He and his wife host dinner with Ken Cosgrove, which is the closest he can get to intimacy with a man.  (Masters of Sex also has a sexually repressed gay man married to a woman and a sexually repressed housewife.  In my opinion, MoS does both better, in one case due to better acting (housewife) and the other due to more time spent on it.)

- Ken Cosgrove seems like much less of a creep than when first presented.  Once again, he writes a short story, and while Sal's maybe not the most objective person, it seems genuinely good.

- Paul Kinsey is Mad Men's gateway to civil rights and... well his interests seem less about actual interest and more about showing off how progressive he is.  Joan calls him out for exactly why he's dating a black woman, which is somewhat painful to watch because her speech is pretty racist, but she is completely correct.

- Harry Crane becomes head of television, apparently has resolved his issues with his wife, and is set to become a father.  His disapproval with the civil rights march and his opinion on homosexuality plummet his character down from the seemingly good guy in season one.

- Roger meanwhile leaves his wife for Don's secretary.  His looming divorce leads him to be eager to sell Sterling Cooper.  It's pretty clear Jane Siegel is simply a replacement Joan Holloway since he can't have Joan.  John Slattery continues to steal scenes even when he doesn't have anything significant to do.

- The young talent Duck brings in doesn't make a huge impression, but their arrival is completely worth it solely for the scene when everybody finds out Kurt is gay.  That's one of the funniest scenes the show has ever done.

Looking back at the second season, it's actually kind of impressive how Draper-focused it was.  The three main recurring storylines throughout were the Draper marriage, the Duck-Don rivalry, and Don Draper's past.  Peggy's ascension was more background than at the forefront and Pete was majorly featured in just two or three episodes.  But basically, the second season is all Don Draper.

The past life into Dick Whitman not only provides a chance for Jon Hamm to flex his acting talent, but it's also interesting just because here's a person he's totally comfortable being Dick Whitman around.  Dick Whitman seems a hell of a lot more healthy about who he is - I'm not sure he could rise to where he is in the advertising world, but I do feel like he'd be happier.  Either way, I think the show makes it pretty clear that Don's path to success - forget the past - hurts him.  That doesn't seem like good news for Peggy at this point.

Playlist
1. "Let's Twist Again" - Chubby Checker
2. "Temptation is Hard to Fight" - George McGregor & The Bronzettes
3. "Lollipops and Roses" - Jack Jones
4. "Blue Room" - Perry Como
5. "Theme from a Summer Place" - Percy Faith
6. "Infanta" - The Decemberists
7. "Break it to Me Gently" - Brenda Lee
8. "I'm in Love" - The Pentagons
9. "Early in the Morning" - Peter, Paul, & Mary
10. "Telstar" - The Tornados
11. "Misirlou" - Martin Denny
12. "Cup of Loneliness" - George Jones
13. "Stranger on the Shore" - Acker Bilk

Sunday, January 4, 2015

Hill Street Blues: Can WWIII Be an Attitude?/Double Jeopardy

I swear each time I complain or comment about something the show isn't doing, the following episode does exactly what I said it wasn't.  In the case of the third episode, it covered more characters than the pilot. (Actually, the fact that the first two episodes were so Furillo-centric supports that both were functioning as the pilot episode overall.)  In the case of the fourth episode, Lucille Bates gets a story right after she was invisible in the first three episodes.  So remember whatever I say, I say without having seen further in the series.

Can WWIII be an Attitude?
This title confused me when I first clicked on it, but it makes a lot more sense after watching it.  The president cancels on walking on Hill Street and the gangs revolt thinking they've been played.  The lights go out on the precinct, every cop gears up right to start a firefight, and it seems like a war between the gangs and police will break out.  I didn't think that would happen, but the stakes got raised tenfold in about ten seconds.

My memory is a little hazy, but I'm pretty sure this was foreshadowed earlier.  I think that the president has canceled before, which given the hassle it takes to prepare for the president, explains why Captain Furillo is so frustrated with needing to deal with this.  And the gangs threatening the cops was chaotic and frantic.  When the lights went out, it genuinely seemed horrifying and scary.

Surprisingly, despite the onset of a battle occurring at a precinct, that wasn't as prominent of a storyline as you'd imagine.  Halfway through the episode the president announces he isn't coming, and the lights go out with 10 minutes left.  Exacerbated by the precinct melting down is that Captain Furillo is busy at a hearing for JD LaRue and later trying to help him get free of charges.

The JD LaRue story is well-handled here and I mean from how others treat LaRue.  LaRue goes to the captain, and from what we know of the captain, it's not all that surprising when he treats LaRue like he's guilty.  It's not so much that he's convinced, but that he doesn't immediately start defending him.  It was previously mentioned that Hill Street used to be corrupt, and it was implied Furillo came there to clean it up.  So if there's an allegation that his cop is dirty, he's not going to start blindly defending him.

I cannot say how well that scene when they interrogate Detective Macafee was played by all involved.  If you know LaRue is innocent, it's really easy to detect that he's lying, but you can also see how you might be convinced that LaRue actually did it if you had no context.  Given what LaRue told the captain earlier, the way Macafee lies and the words he says make it somewhat obvious he's lying.  So what we have here is a very confusing situation where we're privy to everything LaRue did, Furillo is privy to only what LaRue told him, and the other board members are only aware of Macafee's testimony.  So the writers needed to find that very tough line between making it evident how Furillo could detect he was lying while still making it plausible that the other board members would believe him.  And damn if they didn't nail it perfectly.

Furillo though isn't the only character whose scenes with LaRue were seemingly perfectly written.  His partner, Neal Washington, seems betrayed by what LaRue has done.  Somewhat because he can't believe he never noticed, but also because LaRue may have screwed him here.  It's probably usually both partners that are dirty or neither.

On the light-hearted side, Officers Bobby Hill and Renko captured a car thief who goes by the name Malibu.  Renko and Hill appear to be completely resolved and back to being happy partners.  I'll refrain from complaining about the quick nature of this, but I hope this isn't the last we see of the two partners needing to get over their shootings.  Malibu on the other hand provides some comic relief as he keeps expertly fixing things in the precinct.   This pays off when he falls from the ceiling when things have gone to shit and Captain Furillo finally arrives.

Meanwhile, Grace Gardner is back to help redesign the precinct with the same begrudging help from Phil Esterhaus.  This time though, she notices him comforting Bates about what Howard Hunter said to her (more on that later).  It's sort of weird that she's attracted to him for saying he'd definitely date her if he hadn't met a teenager.  But hey, who am I to judge?  It does make more sense when she jumps into his arms during the police lockdown.  Basically, what I'm saying is that I kind of buy it.

Previously, I had complained that Lucille Bates had nothing to do and I very rarely mean that literally, but in the case she was not even in the previous two episodes so far as I could tell.  Hunter, on the other hand, hadn't worked because he was too portrayed as too incompetent for the sake of laughs.  This week remedies both situations to an extent.  Having him compliment Bates on her muscular physique and inadvertently offend her is the perfect balance.  On the one hand, you have to admire his acceptance of a female into his squad, which I can only imagine is alpha male.  So he's sort of progressive in not looking at gender.  On the other, it's usually not a good thing to tell a girl how much like a man she seems.

Other Notes
- Ray Calletano gets a little more meat in his screentime this episode as he volunteers to go outside when the police is in lockdown mode.  Still for as much lines and screentime he gets, he's largely just exposition.

- No Mick Belker.  Wonder how his date went?

Double Jeapordy
This cast is HUGE.  I already knew that, but here's an episode that seemingly involves the most characters so far in this show's run - as far as significant storylines go - and it still leaves out Howard Hunter completely.  At the beginning, it seems like Operation Duckling will be a major part of the episode, but it ends up being in the background.  No less than seven characters have at least a minor plot.

For most of the episode, it appears LaRue is screwed.  In fact, I actually thought they would somehow delay his trial.  Furillo and Washington would then spend time trying to collect evidence against Detective Macafee.  But instead, it appears it's mostly wrapped up in this episode with the potential for later consequences.

In a nice twist, Macafee has two wives that he somehow has kept separate from each other.  I like this because it somehow makes Macafee a piece of shit while also humanizing him a bit.  He's dirty because he has to provide for two families.  Now, that whole matter that he has two families isn't exactly a good thing.  Or the fact that he framed LaRue for no good reason. (Actually, he probably thought LaRue was going to turn him in)  But it's certainly something more interesting than a cop who just likes the extra cash.

Plus, long-term wise, he's on probation for six months and has it on his record.  He's also apparently an alcoholic, which is something that might get him into trouble in the future.  Taken separately, both of those things are manageable, but if you're an alcoholic who can't make a mistake, you've got issues.  As Joyce Davenport says at the end of the episode, he's a ticking time bomb.

As a nice counterpoint to Macafee, Esterhaus suddenly has two women in his life.  It's a bit presumptuous and arrogant to assume both women love him as he says, but nonetheless both are interested.  (I like him as a character, but that teenager must be seriously fucked up)  If I read the scene right, he at least appears to not have had sex with the teenager yet making that whole relationship seem less creepy (but still creepy).  He's already had sex with Grace Gardner so it's pretty clear who he should and will end up choosing.  It doesn't appear to have made up his mind yet though.

There's a wonderfully random and truncated Goldblume story.  Joe Spano is one of my favorite actors so far on this show and this is his best performance yet.  He has to talk to the sister of a 20-year-old who committed suicide.  I cannot emphasize enough how great his performance is in that scene.  Then he gets a flat tire and almost gets mugged by a group of petty criminals.  There's something I love about the fact that he seems utterly unconcerned about the group who seems sort of sketchy.  He's a man who wants to see the good side in people and not assume the worst.

When things turn, he eventually pulls out his gun and barely gets away.  We later find out he's never taken the gun out of the holster and previously didn't even put any bullets in it.  I got to say I wish more cops were like him. (refrains from explaining further)  Like all bad days, he's really put off by a minor thing when his orange juice is finished.  The talk between him and Alf was well done, especially since I don't think we've met Alf.  I guess they needed him to talk to a black character.

In Operation Duckling, all the cops need to disguise themselves as women.  This was largely funny with Bobby Hill being the funniest in both outfit and his defensive reactions about his appearance.  There was also Mick Belker, who did NOT have his date yet evidently.  Of course, today is the day he has a date so naturally, he'll be dressed as a woman when she comes.  Not much going on here, but I do like that Belker, so far portrayed as batshit insane, is well-served as more tempered when trying to look good in front of girls.

Other Notes
- I like the rapport between Daniel Travanti and Veronica Hamel at the end of the episode.  They really do feel like a real couple and make it seem as natural as possible.

- Kind of odd that Lucille Bates gets attacked off-screen seriously enough to go to the hospital.  Sort of weird that it was just thrown in at the last minute and not more of a major point.  I'm guessing this may pay-off later, but right now it just seems rushed for such a serious thing.

Character Rankings
1. Henry Goldblume - Fuck it, got to go with my heart
2. Captain Furillo - Still like him, but he's up here more because I don't love everyone else
3. Joyce Davenport - That ending scene in Double Jeopardy sealed it
4. Neal Washington - I have no explanations, I just really like how he's handled the LaRue situation
5-6. Officers Hill and Renko - I wonder if either will distinguish themselves from the other?
7. Phil Esterhaus - Michael Conrad deserves all the credit
8. Mick Belker - I think I like Bruce Weitz better than I like Kiel Martin
9. JD LaRue - He's still a huge slimeball so I think he'll fall down when lower characters get more to do
10. Fay Furillo - She gets a nice scene with Esterhaus that made her rise in my head if not the rankings
11. Lucille Bates - Her only plot point: she's concerned with her looks.  Not promising.
12. Ray Calletano - I like that he aggressively volunteered in lockdown.  Otherwise, he's done nothing else
13. Howard Hunter - He had a worthwhile scene and no appearance in other; going to need to do more than that