“I Am Unicorn” is a statement about “Glee” itself as much as the characters involved in tonight’s central plots. The hour concerns identity, and how people often view themselves in terms of how they are viewed by others. That’s not a radical way to structure an episode of television, but know what? “Glee” excels when it keeps things simple. At the same time, the multifaceted ways in which that theme played out amongst Kurt, Brittany, Quinn, and others also represents the multifaceted show that is “Glee.” Sometimes, that combination is an ugly mess, slapping disparate elements together to form a horrific Frankenstein of a television program. But as character after character rediscovered things about themselves tonight, perhaps the show rediscovered a few things about itself as well.
The strongest elements of this rediscovery centered around the show actually remembering its own history. “Glee” has this horrible way of rewriting motivations and situations in order to fit whatever they want to accomplish in a particular scene , never mind a particular episode. Reintroducing Shelby Corcoran (guest star Idina Menzel) seemed like a stunt at first, akin perhaps to bringing back Gwyneth Paltrow’s Holly Holiday. But each scene with her reignited a long-dormant storyline, ones that I forgot because the show had forgotten them as well. Whether bringing Shelby back at this point was intentional or accidentally is besides the point, because either was it is pretty much a masterstroke. Why? Because it forces a multitude of characters to re-evaluate themselves at a critical point in their lives. She functions like Gus Fring from “Breaking Bad”, but with a pitch pipe in lieu of a box cutter.
Few shows debuting this Fall have gotten more ink than “Terra Nova.” Its production problems? Legendary. Its proposed scale? Immense. The impulse towards schadenfreude? Even greater. But now, the time for analysis shifts away from everything behind the scenes towards what’s actually onscreen. And what’s there is…well, it’s more simplistic than many would like, yet offers some glimmers of potential promise underneath the Spielbergian gloss.
“Saturday Night Live” is back, ladies and gentleman. And so am I, for my second year of “SNL” coverage here at HitFix. On tap for tonight’s premiere: one of the show’s favorite hosts and one of my favorite bands: Alec Baldwin and Radiohead, together at last. It is Baldwin’s 16th time hosting, which breaks Steve Martin’s all-time record. Look for Martin to show up in tonight’s broadcast, and look for a slew of “SNL” alums and big-named stars to drop by as well. No new faces in the cast this year, and no one was fired. Meet the new cast. Same as the old cast. This year, maybe they’ll remember Jay Pharaoh is actually IN said cast.
Let’s keep that continuity going here on Monkeys as Critics as well. I’ll assign relatively arbitrary grades to each sketch, you will get arbitrarily mad at those grades, and then we do it all again next week. Sound good? Good. Onto the 37th season of “SNL”!
When last we met, “Fringe” fans, a lot of you were unhappy with me. Whereas the Season 3 worked like gangbusters for most of you, to me it felt hollow, cheap, and too clever by half. Staging a future that will no longer exist thanks to Peter’s intervention and a time-travel twist stolen from “Bill and Ted’s Excellent Adventure” simply didn’t do it for me. (“Doomsday Device…remember a Doomsday Device!” I can hear Walter Bishop, Esquire, saying.) Did that undo all of my good feelings towards the show? Of course not! It’s a stellar show that got away from its strengths in the final hour. Having the show back on my television now makes me happy. But I’m still wary.
Here’s the problem: it’s not as if the show ever planned on keeping Peter off the show for good. It didn’t make a bold, fundamental change to the show’s structure when it erased Peter from existence. In a way, I’m glad, since the interplay between Olivia and The Bishop Boys sits at the heart of what makes this show work. On the other hand, we now have in the show’s present the same problem we had in its potential future: the people that we’ve followed for three seasons are gone, replaced by variants that possess the same DNA but slightly different personalities, behaviors, demeanors, and histories.
Now that what’s-her-name has been sent home (goodbye, young lady, we literally hardly knew ye), it’s time for Angelea to celebrate. Her soul feeds on the misery of other skinny girls, and that’s according to real live scientists. Martin Lindstrom, a “brand strategist,” and his client, Tyra, arrive at the house to tell the girls how to sell themselves. (To the modeling industry, silly!)
The big question heading into this third season of “Glee”: would having more than three writers contributing to the show make a noticeable difference? Would it still be a schizophrenic mess that could occasionally pull itself up from the mire of mediocrity and produce powerful television? Would it gain strength through the influx of new voices? Or would it get pulled in even more disparate directions than ever before? The answer, after tonight’s premiere episode, seems to lie behind Door #1. It’s still “Glee,” for better or worse. Tonight? Mostly worse.
Well, here we are, “Big Brother” fans, at the end of a long journey. A long, long journey. We’ve seen the good, we’ve seen the bad, we’ve seen the Zingbot 3000…we’ve seen it all. And now we all new eyeglass prescriptions. As a newbie to the franchise this year, I have little by which to compare this iteration to previous seasons. From reading your comments all summer, it seems like most of you disliked the pairs’ competition that started the summer, disliked the newbies, and didn’t particular clamor for the return of these veterans. Other than those small little details, hey, you seemed to love it.
Since it’s the finale, and I’m not sure how things will all play out, I’m going to adopt Fienberg’s timestamp approach to recapping. So once more unto the house, the silicon implants, and the unbelievable chance that Adam might actually walk of this competition as the winner.
And so it has come to this: Andy Bellefleur has a more interesting sex life than anybody else on "True Blood" this season, and now the season is ending. Now that Marnie is dead, it’s about time to chisel Russell Edgington out of the cement and start killing off the ancillary characters that keep piling up like plastic Mardi Gras beads.