I realize that what I expect from most shows is not what I should expect from “Glee.” That doesn’t mean that I will stop trying to expect it, but I understand on a rational level that I set myself up for disappointment for expecting things like “general cohesion” and “relatively consistent characterization” to enter into my nightly television entertainment. In no way do I think (or want) the show to operate under the principles of “Terriers” or “Sons of Anarchy,” two shows that I love but operate under separate rules (even from each other). But not expecting those in particular doesn’t mean I expect nothing from the show at all, either.
“Everything Will Change,” tonight’s episode of “The Event,” left me more frustrated with this show than I’ve been in a good while. That may seem unwarranted: the episode isn’t terrible--not nearly as terrible as “The Event” has been in the past, in any case--and the plot twists weren’t even groan-inducing (as they so often are). But going into the mid-season hiatus, now was the time for the show to justify its own existence and respond to the critics (like me) who have been asking, “Is this really all you’ve got?”
Considering this episode has actually been on the nightly news more than once, and actually trumped the current Korean crisis for coverage (say that ten times fast), I’m worried that there might be picketing or small scale rioting, though I can’t imagine what that might look like. Maybe “DWTS” fans will knock over Capezio stores, or they’ll picket outside Arthur Murray studios.
There are times when I get asked about a certain show the following question: "What episode should I watch to get what it’s all about?" That’s usually a hard question to answer, because most of the shows I tend to love are highly serialized and jumping into a particular episode might leave a newbie lost at sea. Recommending "The Constant" to someone looking to get what the fuss about "Lost" is all about wouldn’t help said person know if the show was for them: they would just stare strangely at the screen and secretly hate me. But for people that want to understand the sum total of "Glee," the extreme highs as well as the frustrating lows, then I would point them directly towards tonight’s installment, "Furt." It’s the Rosetta Stone of the show.
[Full recap of Tuesday (Nov. 23) "Glee" after the break...]
After two truly terrible episodes, “The Event” really needed a win tonight. This will never be a great show, but we can still hope that it makes some measure of improvement and avoids its debut season becoming an outright fiasco, right? In that respect, “Your World to Take” does just enough for the series to limp on.
[More on Monday's (Nov. 22) "The Event" after the break...]
I hate to say it, but I’m almost relieved that this season of “DWTS” is about over. I still can’t believe an enjoyably silly little dance competition reality show has somehow become a flashpoint for American politics, the 2012 presidential race and a debate over why middle America hates the West Coast, but it has, sucking the fun out of what should be prime time fluff. Of course, this has also resulted in big ratings and even bigger buzz, so we might as well prepare ourselves for “DWTS: The Awkward Politico Spawn Edition.” Yay.
Chances are that unless you're at least an amateur film scholar, you've never heard of Edwin Stanton Porter. When it comes to legendary early silent film pioneers, George Melies or the Lumiere Brothers seem to steal all of the love.
Happy Almost Thanksgiving, faithful HitFix readers. It’s Turkey Time for “Saturday Night Live,” with returning host Anne Hathaway and musical guest Florence + The Machine. Hathaway’s appearance two years ago was a surprising highlight of the season, showing off her musical and comedy chops in a way that, for instance, “Bride Wars” did not. She’s here to promote her upcoming nudity (I mean, nuanced performance) in “Love And Other Drugs,” so look for fellow “Drugs” star and “SNL” favorite Jake Gyllenhaal to stop by the show tonight. Will Hathaway’s return performance exceed her first? Will I rage against Florence’s Machine? Only one way to find out.
On with the recap!
“Fringe” is currently one of the strongest shows on television, with its multidimensional plotline having provided a surprisingly strong shot in the narrative and mythological arm. But the decision to play out back-and-forth episodes, while effective, also has a finite shelf life as currently constructed. The writers have luckily recognized that having an entire season as constituted would have been creative death. With “The Abducted,” we saw the beginning of the end of that structure, and while I’ve been a huge fan of the season thus far, I applaud the decision to end it in the near future. That’s not to say that we’ll see be done Over There. We’ll just get to see new dynamics at play there.
[Full recap of Thursday's (Nov. 19) "Fringe" after the break...]