Sons of Anarchy, 4.1: "Out"
- The few reviews I've read of this premiere emphasize this season returning the focus to the club as it functions in Charming as opposed to the more wide-ranging search for Abel last year. While I'm looking forward to the return to that scope of storytelling, in this episode I was most excited to see the show introduce new antagonists (and, at least based on their first appearances here, specifically non-crazy antagonists) for SAMCRO. By the end of last season, Stahl became too manic and desperate, to the point that, while it didn't rob the triple-cross in "NS" of its dramatic weight, it felt inevitable that her all-consuming desire to entrap the club would come back to bite her in the ass. And Hale's death left the show with a void regarding a practical, reasoned perspective on the club and their role in Charming. I also come in already liking Rockmond Dunbar and Ray McKinnon, so I'm really looking forward to seeing how the show uses them across the season's arc.
- Not only was Ryan Hurst great in infusing the wedding scene with just a hint of sadness, but the show demonstrated a lot of respect for the audience's ability to retain information in letting that subtle undercurrent of grief be the episode's most direct reference to Donna. Semi-Related: I also love Lyla's tacky wedding platforms.
- They're awfully fond of musical montages on this show, with this episode bookended by them, so this EW gallery with Kurt Sutter and Paris Barclay breaking down the one that closed out "Out" was an interesting glimpse into that particular creative process.
The Hour, "Episode Four"
- I've enjoyed this show from the beginning, but I think this was the episode where the tone really clicked and the disparate storylines felt like they were all of a piece, joining comments on suppression and repression to construct a portrait of people striving together to challenge a status quo that leaves too many things unquestioned and unsaid.
- How great is Jessica Hynes? Her terse, matter-of-fact tone in her scene at the beginning of the episode beautifully established the tension that drove the remainder of the hour. In recent weeks, I've also seen her appear as an oversharing hippie on Skins and as an Edwardian-era boys' school matron on Doctor Who, so I'm sort of in awe of her range. (I also watched Paul over the weekend, and it's really interesting to see the more drama-focused track she seems to have taken post-Spaced as opposed to the genre work for which Simon Pegg and Nick Frost have gained international attention.)
- I've gone down a slight rabbit hole of British television recently, and it's really highlighted why comparisons between this show and Mad Men are simplistic and unfair. It's not just that the only thing they really have in common is the era, and even then not really. There's the difference in years, but more importantly, there's the different trajectories in global identity that the United Kingdom and the United States take during those years, which necessarily and dramatically inform the goings-on on both shows. But the striking thing you notice after watching more than a few British productions? Quite simply, they've been owning us at period pieces for decades, and have a deep pool of acting talent to back up that continuing engagement with the past.
- Just because it's not really like Mad Men in any way doesn't mean I can't still obsess over the fashion. I love everything about Bel's wardrobe, especially the scarves-as-headbands. And this show really makes me want to try to work some red lipstick into my repertoire.
Doctor Who, 6.10: "The Girl Who Waited"
- A great episode, with one of Karen Gillan's best performances in the series - I was particularly, and somewhat unexpectedly, pleased to see the return of Amy's bitterness towards the Doctor, which has largely dissipated in the episodes since "The Eleventh Hour."
- I again felt like I was waiting for a direct reference to what happened with Melody - you'd think that that's a thought that would come up in thirty-six years of stewing. In interviews I've read with Steven Moffat, Karen Gillan and Arthur Darvill, it seems like they've got a handle on what keeps Amy and Rory traveling with the Doctor after that kind of traumatic experience, but I'm not sure that that's coming through on screen. There's an argument to be made that it would make sense for them to decide that being on the TARDIS is better than staying in Leadworth alone with their thoughts, but I think they need to specifically say so out loud, instead of leaving it to conjecture. I'm not sure how long the issue can go under-addressed without the arc (or lack thereof) starts undermining the quality of individual episodes.
Revenge, "Pilot"
I was really intrigued by the specific promotion offered for an early viewing of this pilot - ABC offered the pilot script as a free Kindle download on Amazon, which concluded with a link to watch the episode online. The changes from the script to the screen made for an unexpectedly interesting glimpse into the creative process of setting up a show's world to start off a drama series, particularly one like this where a good chunk of the story is dependent on past events. I love a good primetime soap, so I hope this one sticks around long enough to dig into its central mysteries. The pilot shows a lot of potential without seeming too high-concept to be sustainable past thirteen episodes.
The New Girl, "Pilot"
- Took advantage of this one showing up free on iTunes. I liked it, though I felt like I'd already seen about 90% of the pilot in the ads that have been running all summer for the show. I also feel like this pilot is difficult to use as an indicator of how the show will be going forward, since they had to replace Damon Wayans, Jr. and the pilot is so focused on the four roommates. Still, I like Zooey Deschanel (and Max Greenfield - Deputy Leo!), and as a nerdy, crafty twenty-something, I'm excited to see how they develop her character in further episodes.
- I found this profile of Zooey Deschanel from New York Magazine really interesting, especially in its take on both positive and negative reception of her star persona.
Miscellaneous Links:
- I love a good Mad Men dissection, so this Daily Beast post with Matthew Weiner and Jon Hamm breaking down "The Suitcase" was right up my alley.
- An interesting AOLTV piece (shared by Katie) by Mo Ryan about declining numbers of women writers on television staffs.
- More Downton Abbey! (The pieces coming out about the show right now must drive PBS's marketing people crazy.) This time, a New York Times article profiling Julian Fellowes. I love that he defends Thomas to the interviewer.
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