How do you follow up an Emmy-winning hit like “Dick in a Box”? With a tribute to mothers everywhere, just in time for Mother’s Day.
Kudos to Susan Sarandon and Patricia Clarkson for signing on to play the “loved” mothers.
Month: May 2009 (Page 10 of 19)
Last night’s “American Idol” results show brought us down from three finalists to two, setting up the biggest and most important showdown of the season next Tuesday. We’ll get to that….after the break…..or scroll down if you didn’t watch.
So Ryan Seacrest announced that there were 88 million votes on Tuesday night. I half-expected Seacrest to put a pinky to the corner of his mouth like Dr. Evil when he said that. Anyway, he also said that it was the closest voting ever, with 1 million votes separating the top two.
This season of “Lost” has been one of the best (if not the best) in the history of the series. The season finale? Not so much. While we’ve been hearing for weeks that the finale would prove to be a game changer – prompting many to even wonder how the show could go on – I just don’t see how anyone could come to that conclusion. Was tonight’s finale really better than the flash-forward of Season Three? Hardly, and though it may have changed the series more than we think, we still won’t know anything until Season Six starts up in 2010. After all, the show may have ended with a literal bang, but it felt more like a whimper with that fade to white.
Tonight’s episode also had way too much going on for me to even attempt my usual format, so instead, I’ve decided to break my recap down into more general ideas so that I can discuss each one in a little more depth. Hopefully it’s not too difficult to follow along and will make it easier for commenters to address certain topics without having to go into too much detail. I apologize in advance if it does the complete opposite.
1. Jacob – He certainly wasn’t at the top of my list of questions I was eager to see answered, but I’d be lying if I said I wasn’t a little disappointed by the lack of explanation we received for Jacob. Apart from the fact that we know he has some kind of magical power (including Richard Alpert-like immortality and the ability heal), Jacob remains shrouded in mystery. Oh yeah, and now that Locke’s convinced Ben to kill him, we may never find out who he really is, where he’s from, and how he was able to leave the island so frequently throughout the last 30 years. Which brings me to…
2. Jacob’s Flashbacks – Carlton Cuse and Damon Lindelof have always had fun trying to connect each character to one another, so it was cool to see Jacob pop up throughout the Losties’ history. Even more important, however, was that he seemed to always do so during a crucial moment in their lives. Okay, so I’m not exactly sure what significance paying for a stolen New Kids on the Block lunchbox has for Kate, but the others all made perfect sense. The funeral of Sawyer’s parents; the death of Sayid’s true love; Sun and Jin’s wedding; and the list goes on and on. The most important of the bunch, however, is Locke’s crippling fall from the apartment building. Many people called in to question how someone could possibly survive such a fall around the time that original episode aired, and now we know the answer – Jacob revived him. Which brings me back to my first point: just who the hell is Jacob?
3. Rose, Bernard and Vincent – The writers have been promising all season that we’d eventually get to see what happened to the beloved secondary characters, and as it turns out, they’ve been time jumping with the rest of the survivors all this time. That was pretty much a given, but the fact that they were able to do so without anyone the wiser is pretty impressive. Apparently, they’ve not only decided to retire in a nice beach house since the “flaming arrows three years ago,” but they’ve also become hippies in the process. I could have done without the whole “All We Need Is Love” speech that Bernard delivered, but seeing as this is probably the last time we’ll ever see him or Rose again, it was an admirable send-off for a couple that could have easily been excised from the series after Season Three.
First off, my apologies for the delay in getting this week’s interview onto the site, though in my defense, today is the earliest it possibly could have gotten up. Saturday night’s victim was out of town on Monday, which is now my new day to do the Victim of the Week interviews, so our conversation had to be bumped to Wednesday instead.
On a related note, please be aware that there will be no interview next week. Why? Because there’s no episode of “Harper’s Island” this Saturday. And why isn’t there one? Because CBS is opting instead to show a rerun of “The Mentalist.” As for why they’re doing such a thing, your guess is as good as mine. I can’t imagine I’m the only person mystified by the maneuver. I mean, presumably, it’s a way to gauge if the “Harper’s Island” fans who’ve followed the show to Saturdays and aren’t watching it on DVR or TiVo will come back if they skip a week, but, damn, come on, CBS, you’ve already annoyed us by shifting it to the weekend. Can’t you at least just run the remaining episodes uninterrupted? Surely we deserve that much.
And just one last thing before we get to our interview: when the show does return, the Victim of the Week interview won’t happen on the following Monday, because that’s Memorial Day Weekend. It will instead take place on Tuesday…and since I’ll be out of town on Tuesday, it remains to be seen if I’ll even be able to do it.
Damn. “Harper’s Island” fans just can’t catch a break…
Brian Lowry of Variety lauds the fact that the writers of “The Office” have kept the Jim/Pam dynamic from going stale.
Much of the credit goes to the writers and performers involved, and it’s a testament to their talents that Pam and Jim have recently enjoyed a relatively stable, even happy relationship — despite her impulsive decision to join boss Michael (Steve Carell) in his stand-alone business endeavor — without sending that key aspect of the show toppling into disarray.
In most instances — and “The Office” hasn’t been immune to this — taking the romantic plunge has subsequently required erecting some arbitrary impediment to again pull the same characters apart, usually with varying degrees of credibility. Mindful of the fact that happy couples are hardly the fixings for good drama (and can be equally challenging in comedy), writers thus find themselves dismantling romances that they have meticulously labored to inspire the audience to root for — as evidenced by the visceral thrill of the “Office” second-season finale, when Jim finally let Pam know how he felt about her.
Lowry mentions “Moonlighting” and “Cheers” as shows that suffered after the two leads finally got together, but doesn’t go into much detail about how “The Office” has been able to avoid the usually inevitable staleness.
To me, “The Office” is much more than Jim and Pam. I don’t know that you can say the same thing about “Cheers” (Sam/Diane) and certainly not “Moonlighting” (David/Maddie). “Cheers” featured a strong supporting cast, but Sam and Diane were still the central figures. On “The Office,” one could argue that Michael Scott is the main lead. Jim and Pam are up there, but the whole show doesn’t revolve around them. Once they got together, the writers deftly transitioned the more romantic storylines over to Michael, who continues to struggle to find companionship in his life. By doing this, the writers are able to check back with Jim and Pam from time to time and highlight the best (and funniest) things about being in a secure, committed relationship, while continuing to mine Michael’s love life — as well as the whole Dwight-Angela-Andy love triangle — for consistent laughs.
The bottom line is that, at heart, “The Office” is an ensemble comedy, and by spreading around the wealth, the writers can spread around the risk. If handled correctly, this characteristic can make a show “jump the shark”-proof (or at least “jump the shark”-resistant), which is one reason “The Office” has been so strong for so long.
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