Monsters of Television

“How I know is inconsequential. That I know is significant.”

Dear Zack Whedon,

Allow me to thank you for “Look to the Ant,” the most recent episode of Rubicon. While I’ve been enjoying the show from episode 1, I’ve felt a little like Will in conversations about it. I’m convinced that Rubicon is a very good show, but I’ve had trouble of really convincing people of that, in much in the same way that I’m sure Will feels he can’t convince anyone of the conspiracy he’s currently trying to solve.

While I’ve pointed to the past couple of episodes, particularly “Keep the Ends Out” and “Connect the Dots,” as signs of life in the series, as hints of why people who are in the fence should keep watching, I think I’ll start using “Look to the Ant” as the episode that tells people why Rubicon works. Read more »

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“Soon there will be anarchy. And then there will be me.”

Recovering from last week’s Faerygate, True Blood reminded us of evils of non-supernatural origins. In a show featuring vampires and werewolves and (fuckin’) faeries, there are still many real and terrible demons of other kinds that people have to face.

And Sam’s are coming out of the woodwork.

After a look back at Sawyer Sam’s past last week it seems it is catching up to him in a hurry. His anger issues getting the best of him, he goes on a drunken tirade, kicking all patrons out of Merlotte’s and insulting Terry, Arlene, Tommy and Holly.

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“It’s all I have. That, and my ideas.”

Sorry everyone, but with Nick moving to Los Angeles tomorrow (perhaps to see his cancer-stricken ex-wife or have a Fellini-inspired romp with a girl), it means I get to review this week’s Mad Men. Happily, I’ve been enjoying this current season far more than I did the seasons leading up to it. The season thus far has given me exactly what I wanted: more ad agency goodness and Don Draper coming apart at the seams. But no pears yet.

However, that hot streak was doomed to die at some point, and it drank itself to death with “Waldorf Stories.” If anything, it gave me too much of what I wanted from the show, as Don’s descent in being a useless jackass is ever closer to rock bottom, and I find myself almost feeling sorry for Don.

But not as sorry as I do feel for Peggy. Read more »

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“You do not get to lie to me anymore!“

Burn Notice comes to a summer close, with new episodes back in November, including the couple of extra episodes USA tacked into the show this season. But those are in November, so we have to wait a bit, I’m afraid. However, this break will give us (or at least me) time to decide about how I should be thinking about Burn Notice. As things stand right now, I find myself where I tend to myself at the halfway point of every season: not caring a lick about the show.

I suppose, at this point, I should probably get over myself and just accept the fact that Burn Notice isn’t going to alter its formula one iota. It save me from writing the same thing over and over again and probably enjoy the show more. But “Guilty as Charged” pretty much sent me over the edge on Thursday, and I have only just now recovered. Read more »

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Who’d a thunk it? Fox’s Gordon Ramsay-hosted cheeseball collection of recycled reality tropes, Master Chef, is ringing more authentic than Bravo’s Top Chef. Diagnosing the trouble with Top Chef this season has been a preoccupation of mine. But now they are moving into dangerous territory—where I dislike so many of the chefs that I no longer want any of them to win. Save one. More on my horse in this race after the jump…

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“Aha! So it’s not just a guy thing.”

Pete’s planning on having a romantic, sex filled weekend with Kelly. Myka is attending her high school reunion. But a run in with an artifact (griffin bookends owned by Robert Louis Stevenson) has them switching bodies and switching lives. With the premise that Warehouse 13 has it was only a matter of time until a body switching episode showed up. The possibilities of such an episode are endlessly amusing but, while fun, “Merge with Caution” played it relatively easy.

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“I’m a faery? How fucking lame.”

My thoughts exactly, Sookie.

The faery’s out of the bag. The mystery behind “What is Sookie Stackhouse?” has been revealed and I’ve gotta say it’s pretty fucking stupid. I mean like “Who’s on the list?” and “Who’s Claire’s dad?” and every other Heroes mystery reveal stupid. A telepath with some sweet powers was enough of an explanation for me but when they started teasing there was more to Sookie than that I was pretty pumped for what the true source of her power was. All I was left thinking after this episode was “What the Puck?”.

That’s why her blood tastes so good. That’s why she has the powers that she does. That’s why everyone finds her so irresistible. Blah blah faery fuckin’ blah. I don’t know why the introduction of faeries to a show that includes vampires, werewolves, shifters, maenads, etc. upsets me so much but it does. It really does.

And it’s that terribly disappointing intro that set the tone for a somewhat meh overall episode. Even putting the faery business aside (which was very hard to do) “I Smell a Rat” sure smelled a lot worse than just a sewer dwelling rodent.

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” … because you broke your own rules.”

Speeding motorcycle.

Maybe it’s just because I watched the entire Extras series again recently but this episode kind of reminded me of a dramatic version of that episode of When the Whistle Blows when the Japanese corporate representative came into the factory. It was a bunch of white people cramming to figure out how to woo a high-powered, very traditional Japanese contingent while “the entertainment” did nothing but awkwardly offend said contingent.

Was Roger ‘aving a laugh?

Of course not. This is Mad Men afterall, where no one with a large part in the episode is allowed to smile, laugh, or enjoy themselves. For that, you have to become background (see Peggy riding a motorcycle in circles). Not only is that true of the series but it’s especially true of this episode, one the draws almost exclusively on concepts of shame and embarrassment as well as honor and loyalty. There were scenes this week that were so awkward, I was reminded heavily of a Ricky Gervais work where I constantly yell “shut up just shut up now!” at the television.

In related news, somehow, Betty has been upgraded from horrible mother to absolute fiend.

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“You missed a button.”

If you’ve been struggling with Rubicon then last week’s episode was probably a breath of fresh of air for you. The pacing picked up a little bit, and some of the characters surrounding Will were developed more. With “Connect the Dots,” it seems like the change in showrunners has taken a firm root within the show now, as the past two episodes are only vaguely like the first three in terms of aesthetics and pacing.

I’m not entirely sure how I feel about the changes that are in play with the show. Most, I suspect, will say they are for the better, but I feel a bit sad that it’s been two episodes now and I’ve barely had any of Will staring at a wall for 3 minutes straight. I miss it already. Read more »

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We’ll discuss it later.

It’s been a busy week at Monsters of Television. This whole “summer-is-just-another-season/no-rest-for-the-weary” thing the networks are doing is wearing me out. But we can’t really complain about some of the great television we’re getting. Well, mostly great television. Hopefully Melissa & Joey doesn’t create a great abyss that sucks the life out of everything we hold dear. Forget the atomic collider in Switzerland: that show might obliterate the universe on its own, unraveling the fabric of time and space with ill-timed canned laughter and overacting that would make the cast of SNL blush.

Sorry. I digress.

We have some really great reviews for you to take a look at this week, from Mad Men to True Blood to Sherlock to, gods help us, that aforementioned pit of despair. If you missed any, it’s new to you!

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