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Author Archives: Andrew Bloom
Castle Rock’s First Season Offers the Same Old Tiresome Excesses of High Class Genre Fare
CAUTION: This article contains major spoilers for Castle Rock.
When the first season of Netflix’s Daredevil came out, it felt like the series fulfilled an unmet need. The show had its problems, even in its promising first year, but it did things differently than other live action superhero shows at the time. The series had something on its mind. It had production values and grimy visuals and creatively-staged fights. It was far from flawless, but its quick success made it seem like the herald of a new phase of genre television, one that aimed for something a little deeper, a little darker, and a little realer than what we’d had before.
Well maybe it’s time to send that herald back from whence it came. As I discussed on The Serial Fanatacist podcast, Castle Rock doesn’t directly borrow much, if anything, from Daredevil, but it’s part of the same wave of prestige-aping, navel-gazing genre shows whose reach far exceeds their grasp. While briefly novel, this sort of take on geek-approved material has worn out its welcome amid the onslaught of shows that know enough to gesticulate toward deeper themes and move the camera around in faux-portentous montages, but never really master the trade, let alone the depth of character or storytelling that could make those badges of seriousness legitimately meaningful.
Posted in Other Prestige Dramas, Television
Tagged Castle Rock, Genre Television, Horror, Season Reviews, Stephen King
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Better Call Saul Sets Jimmy and Kim on Different Paths in “Piñata”
Jimmy and Kim are on different paths; that’s been clear for a while now. But the cold open in “Piñata” makes it literal. The episode starts with a flashback to the halls of HHM, at a time when Jimmy is a gregarious mailroom clerk and Kim’s a precocious law student. Even then, the two share a rapport, but also have obvious differences.
The Walking Dead Ponders Divine Intervention and Kindness in “Dead or Alive Or”
I like The Walking Dead when its episodes give us a series of vignettes much more than when it’s trying to pull off a single story that has umpteen tangled tentacles. That’s why Season 4 was such a high point for the show. Rather than weaving and unraveling scores of different characters, episode after episode, the show took time to let each of them have their own stories and gave their individual narratives the space to really breathe. That allowed the audience to get to know those characters and better appreciate their individual struggles and perspectives, rather than letting them be rolled up into the morass of dinge and lopsided plots that otherwise rumble through the series.
So my favorite parts of “Dead or Alive Or” are the interludes with Father Gabriel and Dr. Carson, because they feel like a throwback to those semi-standalone adventures from earlier in the series’s run. That duo’s portion of the episode doesn’t move the overarching plot forward much, but it serves as an illuminating short story in the midst of the larger, ever more tiresome narrative machinations of the Negan/Saviors arc.
Better Call Saul Veers Ever Closer to Breaking Bad in “Quite a Ride”
Better Call Saul has never been closer to Breaking Bad. That’s not just because this episode opens with this show’s first glimpse of our hero during the Walter White era. It’s not just because Gus Fring seems to nail down his plans for the facility that will one day become Heisenberg’s lab. And it’s not just because Jimmy visits The Dog House, the fast food restaurant and seedy hangout where Jesse Pinkman once sold his drug of choice.
It’s because “Quite a Ride” is about people who are almost peerless at what they do, unable to walk away from it, and the different directions those superlative skills take them. That was the larger story of Breaking Bad, a show devoted to a man who had an undeniable talent, but who could not let it go in the face of the money and long-awaited recognition he thought he was due, even when it came with a side of peril and human misery. Breaking Bad lived on the conflicted thrills of watching someone as talented as Walter White operate at the top of his game in a terrible industry, and earned its emotional resonance from the uncertain but foreboding sense of where those talents would lead him.
It’s Always Sunny in Philadelphia Finds Its Unsuspecting Heart with Kids
The most shocking thing from the season 12 finale of It’s Always Sunny in Philadelphia wasn’t that Dennis Reynolds, the venerable instigator of The Gang, seemed poised to leave Paddy’s Pub, and with it the show, forever. It was why he left.
Posted in Other Sitcoms, Television
Tagged Dennis Reynolds, Essays, It's Always Sunny in Philadelphia
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Better Call Saul Uses its Timeline to Show Us What’s Bothering Mike in “Talk”
Despite a few similarities (trunk shots for example), Better Call Saul rarely goes for the non-linear storytelling tricks that you might see in a Quentin Tarantino movie. Sure, you may get the periodic flash forward to Cinnabon Gene, or the occasional flashback to some illuminating incident from Jimmy McGill’s old life, but it’s rare that the show depicts the events of the present in something other than chronological order.
It’s noteworthy, then, that in this is episode, we see the end of Mike’s speech in group therapy before we see its beginning. The episode opens with a scene from his past, where Mike is meticulously laying down a slab of concrete and letting his son write his name in the wet cement. It’s a sweet moment, but one tinged with melancholy, and a dissonance when the episode then quickly cuts to Mike in the present, looking out at a stunned room and gruffly remarking that, hey, they wanted him to talk.
Better Call Saul: Nacho and Kim Are in Too Deep in “Something Beautiful”
The end of “Something Beautiful” makes me think of a scene from “Nailed”, the penultimate episode of Better Call Saul’s second season. In that episode, Chuck McGill confronted Kim and Jimmy about the suspected switcheroo with the Mesa Verde files. He impugned his brother’s character and told Kim to open her eyes, saying that Jimmy committed these misdeeds for her as part of a “twisted romantic gesture.”
But Kim defended Jimmy. She admitted that he’s not perfect, but argued that he was still a good person and someone she pitied in light of how much he ached for his brother’s love, a love that he would never get. She chastised Chuck for denying Jimmy that and for judging him, for threatening to inflict such consequences on him, and denied Chuck’s theory as crackpot. But then, when she was alone with Jimmy, she betrayed her true feelings. She punched Jimmy in the arm. She expressed her frustration, because she’s no fool; she knew he did it, and she thought that Chuck was right — that he did it for her.
Moana Is a Cheery Throwback to the Heights of the Disney Renaissance
There is a little bit of magic in Disney films of a certain stripe, when the music swells and the counterpoint kicks in and the protagonist hears the call to adventure and your cold, icy heart can’t help but melt just a little as you feel the hero’s same pull toward the horizon and mix of excitement and trepidation over the sheer possibilities. Moana is filled to the brim with these moments, the kind that make the most of the hero’s journey the films sets its eponymous protagonist on. And it capitalizes on Moana’s unique combination of self-confidence, internal conflict, and gnawing uncertainty, that give her layers and make her a compelling figure.
Posted in Animated Films, Movies
Tagged Animation, Computer Animation, Disney, Duane Johnson, Movie Reviews, Musicals, Walt Disney Animation Studios
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Better Call Saul and the Choices We Don’t Have to Make in “Breathe”
One of the most interesting questions to ask — for both real people and characters on television — is why someone chooses to do things they don’t have to. The realities of life can push people toward certain choices, and circumstances often dictate actions. But there are situations in which there’s no external force, no rules or sticks or carrots to poke or prod, just a raw choice to be made. It’s these sorts of choices that can reveal who someone really is and what they’re going through, in a way that’s clearer than with choices that are muddied by pressure and inertia and need.
These are the types of questions that “Breathe” is interested in. Why is Gus Fring not only trying to keep Hector Salamanca alive, but also moving against those who tried to kill him? Why is Kim Wexler attending a meeting to determine Jimmy’s share of Chuck’s estate when Jimmy himself is blowing it off? Why is Mike Ehrmantraut determined to perform his “security consultant” routine on all of Madrigal’s outposts despite Lydia’s objections? And why is Jimmy McGill ready to talk himself out of a job, one he’d just hustled like crazy to earn?
Can Matt Groening Strike Gold for a Third Time with Disenchantment?
If all Matt Groening had ever done was create The Simpsons, one of the greatest television shows of all time, it would still have earned him a place in the pantheon of TV’s legendary creators. If all he had ever done was give life to Futurama, the cult classic sci-fi comedy that simply refuses to die, he would still have a claim to fame and have left an indelible mark on the small screen. But now Groening is about to unleash his newest creation, Disenchantment, another adult animated comedy, whose success or failure will determine whether Groening can carve out a place for this new series, distinguish it from its predecessors, and complete the TV show hat trick.
Posted in Other Animated Shows, Television
Tagged Disenchantment, Essays, Futurama, Matt Groening, The Simpsons
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