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Friday, Nov 27, 2009
The teenagers of television are a limited breed at the best of times, usually pigeonholed to fit into the storylines of their parents or significant others. Where are the complex representations that the majority of writers can achieve with their adult characters?

All teenagers on TV at this current moment seem to fall into one of two very distinct categories. They are either the rebellious troublemakers who wreak havoc on their parents (see the Scavo twins in Desperate Housewives or Michael Hewes in Damages), or they are the intellectual, well-behaved children who act as foils to their immature and irresponsible parents (see Julie Mayer in Desperate Housewives or Becca in Californication).


Even shows that could once be relied upon to provide us with relatively normal young characters, such as Law and Order: SVU (see Detective Stabler’s recurring spawn), have fallen into this trap. Recently we were given “Swing”, an episode that detailed the life of Stabler’s daughter, Kathleen, and her fall into delinquency because of bipolar disorder. Even the once well-behaved children have been shown to have their moment of rebellion; consider Julie Stark’s (of the legal drama Shark) improbable pingponging between “sweet, smart heart of the show” and “criminal source of personal drama.” They just can’t make up their minds.


Julie Stark (Danielle Panabaker) and Sebastian Stark (James Woods) share a father/daughter moment.

Julie Stark (Danielle Panabaker) and Sebastian Stark
(James Woods) share a father/daughter moment.


My question is: why? Is it impossible to depict complex teenage characters? Writers seem to be almost seduced by the ‘easy drama’ that wayward teens provide, but spend precious little time developing them as people or exploring their motives for such actions. It is not the actions themselves that I resent, but the apparent laziness of the writers while creating such characters. We can have complicated hard drinkers and adulterers like the titular Grace of Saving Grace as the leads when they are adults, but when such qualities are present in the younger generation, they are reduced to mere cardboard cut outs, excuses for more drama in the lives of their frazzled parents.


Take the aforementioned Michael Hewes of Damages. Despite having everything he could possibly wish for given to him by his rich and successful mother and stepfather, he is—apparently—unhappy. He is portrayed as a budding sociopath in the first season of the legal drama, shown sending a bomb to his mother’s workplace and pretending to the school psychiatrist that his mother’s unsettling dreams are his own. Why? It is inferred that Michael longs to see his icy mother lose her cool, to “rock her world”, as Andrew van de Kamp did to long-suffering mother Bree through the second season of Desperate Housewives, yet nothing is confirmed or truly developed. Little of a maternal bond is shown between Patty and Michael, but nothing is shown to suggest that there would be anything else.


I am not saying that I wished for one of those spectacular, Lifetime-esque scenes in which Patty and Michael screamed and sobbed at one another, exorcising demons and unearthing skeletons, but I would have liked to see… something. This subplot was introduced and then rapidly dropped, as commonly happens with subplots that concern a show’s teenage characters. These teens are, mostly commonly, plot devices, but they are very rarely developed people. Why not? Just because adults are a show’s main focus, it doesn’t mean that their teenagers cannot be developed and well rounded.


Veronica Mars is an example of this. It may be aimed at teens, and primarily about teens, but each of these characters are superbly written, flawed, and detailed. Nobody is all good or all bad. For example, even ultimate villain and abusive father Aaron Echolls presents a genuine desire to reconnect with estranged son Logan and love for daughter Trina. Our heroine has her own faults, including a particular bull-headedness and tendency to judge far too quickly. The good guys have their quirks and complexities, while the bad guys are not nearly as two-dimensionally psychotic as they might once appear. I am not holding the Veronica Mars writers in a place above gods; they are not perfect, either, but this is one angle in which they excel. What is stopping their fellow powers that be from following their example?


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Wednesday, Nov 25, 2009
It would be nice if networks gave every show a chance to end properly, allowing them an opportunity to craft a satisfying finale.

Some of TV’s most unforgettable moments have come in the form of cliffhangers. Think of Buffy’s heroic death followed by the words on her tombstone, “She saved the world, a lot”; or the slow reveal of the body of Jeremy Bentham at the end of Season Three of Lost; or Veronica Mars opening her door at the end of Season One and saying to someone off camera, “I was hoping it was you”; or Sydney Bristow learning at the end of Season Two of Alias that she had lost two years of her life. Cliffhangers at their best have been celebrated from the moment we began to speculate about who shot JR Ewing to the shock and wonder at seeing the untoppled twin towers of the WTC in last year’s Fringe. There is, however, a flipside.


Cliffhangers have also led to some of the most irritating moments in the history of TV. The fourth and final season of Farscape ended with American astronaut John Crichton proposing marriage to his alien lover and former space Nazi Aeryn Sun, only to have a spaceship zap them with a ray gun, reducing them to a pile of glasslike pellets while they kiss and embrace. One of the finest finales of the 2008-2009 season was that of Terminator: The Sarah Connor Chronicles, a brilliant episode that changed everything we thought we knew about the show’s characters and created some intriguing situations for the following season. That would be a season that would never materialize thanks to its cancellation by FOX. The terrible taste that was left in our mouths by the end of Farscape was partially eliminated by the miniseries that wrapped up the series, but a similar fate seems unlikely for TSCC, meaning that the game-changing images of the last few minutes will be forever unresolved.


A natural knee-jerk reaction—it is certainly mine—is to blame the studios for these dangling cliffhangers. After all, if the Sci Fi Channel had renewed Farscape, the shocking end of Season Four would have led to an exciting Season Five premiere. Likewise, had FOX renewed TSCC all of the brilliant plot twists in the Season Two finale could have led to something truly exciting in Season Three. I certainly share the frustration that others feel with the inability of the networks to find a formula that enables them to keep first-rate but low-rated shows on the air. My growing belief, however, is that much of the blame has been misdirected, that the real culprits are not the networks—or at least not primarily the networks—but the writers, producers, and studios that produce these shows.


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Tuesday, Nov 24, 2009
Project Runway's lackluster season ends. Can the show get back to making it work?

Project Runway’s widely derided Season 6 is finally over and—as expected—it ended with a whimper instead of a bang. “Mean-a” Irina Shabayeva and her be-hatted, dominatrix inspired collection won the day to a resounding meh. Michael Kors was unusually restrained during judging. Nina Garcia looked downright pissed off for being forced to sit through the runway show. Even Tim Gunn’s highly promoted epic freak out turned out to be little more than a few moments of intense brow-furrowing over the backstage chaos.


All along I’d been rooting for cute Carol Hannah Whitfield, whose lovely, wearable dresses and buoyant personality provided a bright spot in an undeniably draggy season. But, c’est la vie. The real question now is how much of the show’s creative plunge can be blamed on Lifetime Network tinkering, and can PR get its mojo back for Season 7?


At the beginning of the season, long suffering fans breathed a collective sigh of relief. The Project Runway we knew and loved seemed to have survived both a location shift from New York to Los Angeles, and the move from hip Bravo TV to mom-favored Lifetime, relatively intact. There was Heidi Klum, impossibly chic and perennially pregnant. There was dapper Tim Gunn, dispensing advice and proclamations (Don’t Bore Nina!) with typical aplomb. The new crop of aspiring designers settled into the Fashion Institute of Design and Merchandising in Downtown L.A. and even continued to buy their fabric at a West Coast outpost of Mood.


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Monday, Nov 23, 2009
Tired of boring reunion shows? Angry at disappointing series finales? Larry David and his Curb Your Enthusiasm/Seinfeld mash-up provide all the answers.

As the seventh season of Curb Your Enthusiasm draws to a close with the much hyped and reasonably satisfying Seinfeld reunion, Larry David has succeeded in redeeming himself for writing a lousy Seinfeld finale and in the process reinvented the reunion show.


The reunion show was once a staple of desperate TV executives looking to rekindle old love affairs between the fickle viewing public and once beloved shows. People would tune in to see the Brady girls all grown up and getting married. We wanted to know if Captain Stubing could still pull off wearing those Love Boat shorts 10 or 20 years later. The reunion shows themselves were across-the-board awful, but nostalgia lured millions to tune in despite knowing that they were being manipulated by a gimmick. The reunion show, like a visit home for the holidays, necessary but sometimes painful, was the only way to see favorite characters again.


Now, with infinite choices available, nothing disappears long enough for nostalgia to set in. If you want to watch old episodes of your favorite shows, they are almost guaranteed to be rerun on some cable channel and easily added to your DVR. If that’s not immediate enough gratification, try one of the countless websites streaming TV shows. You could always rent or buy the DVD box sets. Or maybe you’ll be satisfied with the remake, the reimagination or the reinvention. Hello V and The Prisoner, my old friends! 


Then again, if you were one of the people who watched reunion shows purely for the rubbernecking, there are plenty of options for you too. You don’t need a reunion show to find out which child stars have grown up to become junkies or which actors had major reconstructive surgery. Celebreality shows cover that ground just fine, thank you. It has never been easier to keep up with the likes of Willie Aames and Danny Bonaduce. Or just slum it with some paparazzi pictures of the Olsen twins.


So R.I.P to the reunion show. Or so it seemed.


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Friday, Nov 20, 2009
Former New York Giants superstar (and current in-demand sports commentator) Michael Strahan speaks with PopMatters.

For years, Michael Strahan was one of the single most feared forces in the NFL; quite a feat for a guy known off the field as something of a big softy. In his fourteen year career as a defensive end for the New York Giants, Strahan was selected to seven Pro Bowls, named NFL Defensive Player of the Year in 2001, and captured the NFL single season sack record.


After a stellar career on the gridiron, Strahan seems set to be as dominant on TV as he was on the field. He’s a host for Pros vs Joes and the star of the new sitcom Brothers, where he plays a retired NFL star named Michael. It’s all a little bit postmodern, yes. And like any retired football player worth his salt, Strahan is offering his thoughts on the current NFL season on TV every Sunday.


I caught up with Michael Strahan earlier this week to talk about his Super Bowl picks, his former team, the business end of running an NFL franchise, whether or not getting hit in the head for a living can ever be a safe occupation and of course, how he stays pretty for his new career in TV land.



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