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Category Archives: Other Prestige Dramas
In Mrs. America’s Finale, Women Lose Even When They Win
The real Gloria Steinem recently criticized Mrs. America. She argued that the show misses the mark in its depiction of Phyllis Schlafly as the biggest obstacle to passing the ERA, rather than blaming the more pernicious and powerful forces at play. Steinem characterized this as part and parcel with a longstanding ploy to set women against one another, rather than address the real obstacles and causes behind the systemic hardships they face.
In a strange way, I think Mrs. America, or at least its finale, agrees with her. As the show’s done so often, “Reagan” contrasts the fictionalized Gloria Steinem, Bella Abzug, and the rest of the women’s liberation movement on the one hand, with Schlafly and her acolytes on the other. Both hold lavish events. Both continue the fight over the ERA. And both, most notably, vie for the ear of those gunning for the Oval Office.
But in the end, both sides collect nominal wins while ultimately losing, having only truly succeeded in thwarting one another.
After Its Season 3 Finale, Westworld May Be Unfixable
If I could make only one rule for Westworld, it would be this — no more twists. The series is addicted to pulling the rug out from under its audience, trying to make fans say “whoa”, or otherwise recontextualizing everything the audience has seen so far. That approach completely undermines the show’s attempts to tell stories, establish character, and convey meaning. As I discussed on the Serial Fanaticist Podcast, when everything the audience sees is merely a setup for some later subversion, none of it matters, and all the audience at home can do is wait for the punchline.
Watchmen Ticks All its Pieces into Place in “See How They Fly”
When I watched the first batch of episodes from Watchmen, I thought it tossed plenty of interesting balls into the air, but I questioned how and whether it would be able to catch all of them. As I discussed on The Serial Fanaticist podcast, showrunner Damon Lindelof (of Lost fame) is not necessarily known for delivering satisfying endings. His new series asked all sorts of intriguing questions about powerful institutions and those marginalized by them, and it threw in one eyebrow-raising plot point after another. But to answer all of the former and resolve all of the latter, seemed like too much for even the smartest [person] in the world to do in a satisfying way.
And yet, somehow, “See How They Fly” does it.
Posted in Other Prestige Dramas, Television
Tagged Damon Lindelof, Dr. Manhattan, Episode Reviews, HBO, Watchmen, Watchmen S01E09
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Watchmen and the Inscrutability of Love and Creation in “A God Walks into Abar”
The beauty of science fiction is that, in the right hands, it can tell stories that other genres can’t. Strip away the limitations of fact; tap into the power of imagination, and you can conjure scenes and situations the shabby metes and bounds of the real world couldn’t sustain. In the best hands, the absence of those limitations — the combination of fiction and abstraction — allows the author and their audience to reach truths that even the most poignant, most trenchant slice of reality cannot possibly match.
So when Alan Moore and Dave Gibbons imagined a god, a living embodiment of quantum entanglement, they used him to explore the bitter ironies of causality. They traced the lines of cause and effect, jumbled up in one man’s life, to find the knotted ends of detachment and transcendence and omniscience turned predestination. Jon Osterman had, like others before him, come unstuck in time. And his creators, like others before them, used that temporal hash to shine a light on the human condition in ways that linear storytelling wouldn’t allow for.
Jeff Jensen & Damon Lindelof use the same approach to tell a story about love and creation, and about how each produces a yearning for something destined to leave us.
Posted in Other Prestige Dramas, Television
Tagged Angela Abar, Damon Lindelof, Dr. Manhattan, Episode Reviews, HBO, Watchmen, Watchmen S01E08
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HBO’s Watchmen Watches Over Trump’s America
More than 30 years after the globe-shaping events of the original Watchmen comic, the ripple effects can still be felt. Adrian “Ozymandias” Veidt is in seclusion somewhere far away and presumed dead. A group of Rorschach-imitating, conspiracy-touting white supremicists threaten the peace and the police at every turn. And the law enforcement officers of Tulsa, Oklahoma have donned capes, cowls, and masks in response, with some even assuming the secret identities that can come with them.
Posted in Other Prestige Dramas, Television
Tagged Damon Lindelof, HBO, Season Reviews, Watchmen
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Breaking Bad’s 10 Most Brilliant Schemes
Andrew joins Michael Roffman and Alex Huntsberger to celebrate the ingenuity of Vince Gilligan’s series by revisiting its greatest schemes.
Posted in Other Prestige Dramas, Television
Tagged Breaking Bad, Jesse Pinkman, Vince Gilligan, Walter White
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The Forgotten Arc of Breaking Bad’s Jesse Pinkman
The mild-mannered, middle-aged dad becomes a cold, remorseless killer. The put-upon chemistry teacher evolves into a vicious drug lord. As series creator Vince Gilligan famously put it, Mr. Chips turns into Scarface.
That transformation is the backbone of Breaking Bad and one of the most convincing and compelling character shifts in television history. With that, Walter White understandably takes up a lot of oxygen in discussions of the show. And yet, focusing on the slow, disquieting arrival of Heisenberg within the broader trajectory of the show ignores how it’s only one half of the grand irony and reversal at the core of the series.
Posted in Other Prestige Dramas, Television
Tagged Aaron Paul, Breaking Bad, Essays, Jesse Pinkman, Vince Gilligan, Walter White
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Veronica Mars Shows No Rust on Its Mystery Machine in Season 4
Veronica Mars is back and up to her old tricks! Five years after the events of the movie, Veronica’s settled in and made a new life for herself in Neptune. She’s working with her dad, living with Logan, and as the season’s cold open firmly establishes, she still knows her way around a locked door and a listening device.
But those skills are put to the test when a bomb at a seaside motel takes out a unique mix of libertine Spring Breakers and the exasperated people who serve them. The explosion’s victims include a standard party girl and a humble hotel owner, a lecherous douchebro and a nerd with dangerous family ties, as well as a true crime-loving pizza delivery man and the younger brother of a US congressman. From there, the season spins out its clues, connections, and potential motives with more than enough possibilities to fuel its central mystery.
Deadwood: The Movie Returns and Finally Forms a Fucking Government
It’s 1889, and South Dakota is soon to become the nation’s newest state. With that, the onetime hardscrabble camp of prospectors and cutthroats in Deadwood is being ushered into the future, grumbling but prepared. Picking up ten years after the television series left off, Deadwood: The Movie sees local luminaries like the saloon-owning power broker Al Swearengen and the now-Marshall Seth Bullock having settled into their roles in the town on the cusp of the dreaded-but-long-awaited arrival of law, civilization, and progress.
20 Years Later, The Sopranos Is the New American Tragedy
Send ‘em home happy. If you spend season after season, year after year with a show and a cast of characters, you want their final notes to be pleasant ones. As viewers, we’ve also invested in them. We’ve committed to their journeys by that point. To have them end in pain or tears or frustration would be too much after all of that. And most series, no matter how dark or cynical they may be, oblige their audiences on that account.
In the 20 years since The Sopranos first took to the airwaves, scores of shows followed in its footsteps, imitating its dark-hearted approach, novelistic bent, and antihero bona fides. In the ensuing two decades, television’s level of moral complexity rose; the chances to see protagonists make ethically questionable choices soared, and examinations of the grim underbelly of everything that TV once made bright and clean became legion and fashionable. But for all the titans who emerged in Tony Soprano’s (James Gandolfini) wake, few if any have had the stick-to-your-guns conviction to finish their runs on a note so bleak, a loss so complete, or an ending of such unmitigated tragedy.
Posted in Other Prestige Dramas, Television
Tagged Essays, HBO, The Sopranos, Tony Soprano, Tragedy
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