- Sometimes on Big Love, the plot machinations feel so improbable or indelicately deployed that they've kept me from enjoying the show (ahem, fourth season) but sometimes they represent such deliciously bad decision-making on the parts of the characters that it's my privilege as a viewer to sit back and gleefully yell "Bad idea!" at the television. I can't decide which Cara Lynn and her teacher or Ben and Rhonda is a worse couple. On the one hand, Cara Lynn's teacher is an adult who seems to recognize that he should know better, but also...can't stop himself from exploiting what Cara Lynn has pretty clearly explained as some epic Daddy issues? And in this corner, Rhonda Volmer, certifiable crazy person! Both seem like situations destined to deteriorate quickly and spectacularly and I can't wait.
- Speaking of certifiable crazy people, how much do I love Barb's sister Cindy and her particular brand of passive aggression? Sooo much. Obviously, I'm rooting for Barb in this situation, but over the course of the series Judith Hoag has made her own little art form out of Cindy's self-righteous condescension towards Barb, and I'm so glad that they found space for her in this last stretch of episodes.
Gossip Girl
- The pop culture references on Gossip Girl aren't always deployed with a whole lot of nuance, so it was nice to see that little snippet of Blair and Dan watching The Philadelphia Story without any extraneous commentary. It's not an obvious connection to make, but once the show gave that little nudge, it's practically impossible to not see Tracy and Mike as Blair and Dan's antecedents (and the great vibe between Meester and Badgely as an update of the repartee between Hepburn and Stewart).
- The actual specifics of the business dealings around Bass Industries are a little oblique to me, but I have to say that I'm digging Michael Boatman's work on the show. Something about the tone of his performance gives the whole storyline a very eighties-primetime-soap throwback feel. Very Dynasty. I hope someone ends up throwing a drink in his face.
- Digression! Why doesn't Gossip Girl have awesome old-school credits with a great theme? When you watch Dynasty or Dallas, they have such great theme songs and credits sequences that are, like, three minutes long and they create this great ambiance of fabulousness.
Okay, maybe it just seems like three minutes compared with those pathetic pale imitations of show themes they've got these days, but - Jewels! Brandy snifters! Joan Collins! (I love the Dynasty theme so much, you guys. I kind of want it to be the ringtone on my phone.) Doesn't it seem like there should be some sort of situation here that involves the various Gossip Girl actors swiveling dramatically towards the camera, or descending long staircases or gallivanting around in formalwear? Serious lost opportunity there.
No comments:
Post a Comment