Showing posts with label People. Show all posts
Showing posts with label People. Show all posts

Downton Abbey Review: How to Lose Friends and Alienate People (We're Looking at You, Robert)

Downton Abbey S03E06: "Episode 6" (or S03E05/"Episode 5," according to PBS)

UGH. FUNERAL TIME. Kinda glad Julian Fellowes didn't make us sit through that. This episode already felt like a wake, complete with the family drama and the awkward lunch spread of resentment. I don't mean that in a negative way at all; we're all still reeling from losing Sybil (WHYYYY?) and to simply skip a few months ahead would have been a slap in the face to her memory. However, we didn't really need the full-blown funeral treatment that Lavinia got because unlike Lavinia—who was very awesome in her own right—Sybil's absence is a void that won't be easily filled. Funerals are a means for the living to theoretically find closure after a loss, but with Tom widowed, his child motherless, Cora and Robert on the verge of the closest thing to divorce that isn't actually divorce, and the household as a whole continuing to feel Sybil's absence on a daily basis, closure isn't something that can be attained simply by sticking a box in the ground.

Robert was still exiled to sleeping in the dressing room when we tuned in this week and you'd think that he would have at least paused to think about how the ego trip he's been on all season long has alienated his family and even kinda sorta killed one of its members, but no. Tom decided to name the wee baby Branson after her mother, and Robert freaked out because he found it "ghoulish." Tom said he was looking for work, Robert seemed down with the idea until Tom mentioned taking the fruit of his loins with him and OMG I thought Robert was going to have a stroke when Tom said Baby Sybil would be raised Catholic. THE HORROR.

Robert, of course, only had his grandchild's best interest at heart. Or something. "The only chance that child will have at achieving anything in life is because of the blood of her mother." In a cynical way, sure, it was a brutally honest assessment of class divides, but given the Earl's tone and the fact that the outburst was largely in response to Tom's stance on Catholicism, it was more likely meant as yet more classist blather. Tell us how you REALLY feel, Bob.

While the destructive consequences of Robert's rigid stances on, well, pretty much everything these days, came to a head last week with Sybil's death, the most frustrating aspect of him actually, for me, concerns the prelude and the aftermath of what happened to Sybil. Robert wasn't always like this, was he? In the past, I always found him generally likeable. The characters of Downton Abbey are all products of their period, and we have to cut them a little slack from time to time. It's unfair to and unrealistic to expect their social mores to mesh perfectly with ours here in 2013 because they just don't—and if we're being sticklers for realism, they shouldn't! Still, in the context of the world as it was, the Crawleys are a pretty freaking progressive family. Robert has always been traditional, but he hasn't always been unreasonable. When—and why—did he become a dick this season? I think it's a combination of several things.

His over-the-top response to anything that even slightly threatens the social structure that has allowed him and his family to enjoy their lavish lifestyle is the result of a lifelong fight against failure that Robert has repeatedly lost. The first time the fortune was lost, Cora saved it. "Cursed" with three daughters and no son, the family title—the one thing that Robert can unquestionably call his own—was never going to stay in his direct line unless Mary wed conveniently... a situation that, even though it was eventually resolved in his favor, he ultimately had little control over. It's not like he MADE Mary and Matthew tie the knot. He was deemed too old for active service in the Great War and his business decisions have generally been mistakes. The post-war years have seen Robert experience a further loss of authority as the influence of the nobility has eroded across the board. The second time the fortune dried up, it was by Robert's hand, and it was only saved due to Matthew's luck and generosity—which, though fortunate, is now leading to further angst as Matthew's middle-class values clash with Robert's aristocratic beliefs.

Matthew tried to explain his drive to modernize Downton to Mary by emphasizing the practical business aspect of it: tenants work the land, money is made, everyone is happy. The problem with Downton is that through either neglect or mismanagement or simply not knowing any better, the estate not only doesn't make the money required to fund the Crawleys' lifestyle, it can't even cover the more modest lives of the staff. After all, Mrs. Patmore and Daisy don't cook for free. Dead Lavinia's fortune saved Downton by way of Matthew, but—and I'm willing to bet that Mary never really had to learn this—money isn't an infinite resource. Even obnoxious fortunes will run out if not maintained.

The thing is, I don't think Robert ever REALLY had to learn that lesson either—or many other lessons, given Violet's interactions with Dr. Clarkson this week. Frustrated, Matthew told Mary that her father "...wasn't given Downton by God's decree...," but isn't that pretty much EXACTLY what monarchs and nobles and other influential classes believed to be the case? How do you reason with a man who sincerely believes that everything good in his life has happened just because Jesus loves him the most-est? It certainly doesn't help that time and again, Robert's approach to life has never REALLY failed him. There has always been some last-minute stroke of luck bailing him out of actual consequences. Except with Sybil, and he has to live with that.

But lest he feel too guilty about it, Dowager Countess Mommy was there to get Dr. Clarkson to tell the miserable couple who recently lost their daughter that even though he SAID he could save her, he was mistaken. So essentially, Robert was right all along. "Robert frequently makes decisions based on values that have no relevance anymore," said Cora, which is true, but ultimately a meaningless statement if he is regularly absolved of any responsibility for those decisions.

Yeah yeah, Violet did it to save the marriage. Fine. But good intentions don't really change the implications of her actions. She gets brownie points for sticking around Isobel's luncheon even after Robert busted the door down to drag his wife and daughters out of that "whore house," though. RUDE, Robert. SCANDALOUSLY RUDE. He's like a child, sitting in the corner going "lalala I can't hear you!" every time something doesn't go his way—from Matthew getting involved with the estate to Branson wanting to, heaven forbid, be involved in his own child's life to Edith getting over her epic Strallan sadness by using her fancy upper-class educated brain to write thoughtful newspaper columns. Something has to give. I thought something had given last week, but I guess Robert's paranoid masculinity needs more.

It's because we STILL don't have any #FreeBates in our lives, isn't it. The dude just exudes calm. Even when he's THIS close to shanking his sucky roommate during inmate playtime out in the yard, he's the portrait of calm, composed, and considerate.

Soon, kids. SOON.

Maybe.

I hope.

– Dowager Countess Sass of the Night: On ex-prostitute Ethel's cook uniform, "I suppose she has an appropriate costume for every activity." Lol. U SO MEAN, VIOLET.

– Shameless leering at the wardrobe time: Who knew mourning attire could be so sexy and chic?

– I like how when Travis implied that it was "un-English" to belong to the Catholic church, Branson just ran with it and was basically like "YUP. TEAM IRELAND REPRESENT!" <3

– Edith: "I sometimes wonder if I should learn to cook." Mary: "Why?" It's funny because she wasn't being snarky; she was genuinely confused. Oh, Mary. You're really adorable sometimes.

– The Adventures of Detective Anna, Super Sleuth: In the most exciting part of this entire storyline, Bates found out that his sucky roommate and one of the sucky guards bribed Mrs. Bartlett to keep quiet about Vera poisoning herself, so he dragged Sucky Roommate into the shadows while I screamed "SHANK HIM! SHANK HIM!" at the TV. He didn't, and the excitement level returned to its usual comatose state, but sure enough, Mrs. Bartlett eventually told the truth. I THINK IT'S ALMOST #FREEBATES TIME, YA'LL!


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The Mindy Project Series Premiere Review: Shiny, Happy People

The Mindy Project S01E01: "Pilot"

In the 1950s, women had very few options and were culturally expected to feel like failures if they didn't get married. Today, women can become doctors, astronauts, professors, politicians, and are culturally expected to feel like failures if they don't get married.

Or maybe just TV characters think that? Strong female leads have to either be in love with rutting fresh meat or obsessed with finding "the one" who will walk hot soup to them through the pouring rain or whatever. Mindy Lahiri's kind of a little column A but mostly column B. She's always loved rom-coms and she's waiting for a rom-com to happen to her in real life like ALL YOU LADIES OUT THERE IN TVLAND. OH YES that's what it's all about, right ladies?! Is this not the brutal ennui that stalks your lives, having to impose some four-act arc onto the soul-murdering flesh-market that is modern intimacy to feel like it's all real and not just random?!

I always romanticized stuff like Nancy Spungen's love story/mmmmmmaybe-murder-suicide so don't look at me. I can't really 100 percent relate to this show in that I'm not rom-com-obsessed and getting married isn't a foremost concern for me because I got married (and it's great! I still worry about being a failure, though, so watch out for that, singletons!). But I recognize the rage of worthwhile women who feel like they're incomplete until someone puts on a ring on it, while concurrently understanding that they are complete entities who are waaaay above that trope. And yet the relatively brief child-bearing window forces us ladies into a biological-clock situation and, as The Mindy Project points out, we're culturally indoctrinated to zzzzzzzzz.

Okay look: Was this show funny? Often it had very funny moments. Visually interesting moments, like a well-animated conversation with a Barbie doll at the bottom of a pool. As she's proved with eight years of kicking ass on The Office, Mindy Kaling is more than capable of cutting glass, and the first ten minutes of The Mindy Project were cinematic and carefully planned to hit like a perfect gymnastic landing. The entire episode was gorgeous, with a nice amount of edge, and it felt like a rom-com: great music, great production value, great acting. A woefully single OB/GYN made a mean toast at her ex's wedding to another woman, biked into a pool, and wound up in jail... and then we followed her through the next day, learning that she's a little torn between a hot and prickly divorced resident who she's Destined to Be With and a hot British resident who she wants to have sex with. Plus very actually funny moments with date humor! Plus she delivers babies for free for pregnant immigrants! What's wrong with this?

Nothing is wrong with this. It's better than average. If you are angrily single you will watch this and cheer. If you're a guy and that sounds too chick-y to you, you will probably still laugh at some moments. If you're a young woman who looks forward to being a wealthy, privileged, beautiful woman who's sulkily dissatisfied with her life well into her thirties, here's your Life Porn!

If you're looking for a moment of genuine connection, if you're looking for the humanity in the midst of the humor, like, you're not going to find it. It's not that kind of show. Maybe I need to stop comparing everything to Louie but this show is not honest in that way. ITS PERFORMATIVE! A show being performative, imagine that! How dare it! That's a criticism of something that might not bother anyone but me... but it does bother me. Oh man, it bothers me so much!

The women I know who honestly hate being single and silently grieve their unborn kids and find themselves succeeding in their careers yet seriously consider adopting... they are not flip about this stuff, you know? And maybe they would connect with this very deeply and say, "Thank you, Mindy Kaling, for raising our voices to the TV-viewing public with a lighthearted twist!" but there is no sense of failure or rawness or revelation or risk, really. Even when Mindy the character is broken down in her prison cell she's lookin' great and being hilarious. If you don't have a problem with that, and you probably don't, enjoy. But if you're going to take on a legitimate concern that does seem to shake the souls of half the world, and if your main character is continually confronted with being alone by dealing with expecting moms and yet is still so romantic she watches rom-coms in the doctor's waiting room on a loop... there's room to get a little darker? A little grittier? A little sadder—just to make the humor pop more?

For a premiere, it was great! This show is slick. It's glossy. It has a big shiny fence up. There's a beautiful, haunted palace behind that fence. I hope we see it.

QUESTIONS:

– How did you like The Mindy Project?

– Will you watch the next episode?

– Do you think it could have gotten "more real" or is that crazy talk?

– Do you know what I mean, though? It just didn't feel vulnerable?

– Do comedies need to be vulnerable?

– Do you think the concept of "truth in comedy" is an alternative-saddies '90s conceit?


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News Briefs: People Can�t Get Enough of Breaking Bad's Disgruntled Bald Man Theater

Note: I'll be taking over News Briefs for the rest of the week to give Tim some time off. I promise not to Britta this.


BUSINESS TIME

... The empire business is apparently doing well. Sunday's penultimate episode of Breaking Bad was the most-watched episode in the show's history, with right around 3 million viewers tuning in to see that one bald guy do that bad thing to that other bald guy. [Vulture]

... ESPN and MLB have agreed to an eight-year contract extension worth $5.6 billion that will keep baseball on the World Wide Leader through at least 2012. The deal, which requires ESPN to pay double what it's been paying each year, gives the network playoff game coverage, something it lost the last time it negotiated. No word as to how ESPN will integrate Tim Tebow into this coverage. [THR]

... Apparently they weren't kidding about living forever in that song: MGM TV and Nigel Lythgoe, uber-producer of American Idol and So You Think You Can Dance are bringing Fame back to television with a contemporary re-imagining—not to be confused with the now less-contemporary re-imagining that happened with the 2009 feature film remake of the same property. So if you're keeping track, Fame has now been: a 1980 film by MGM, a TV show that aired from 1982–1987, a 2009 film, and now another TV show. I eagerly await the 2028 film and the 2033 TV show. [Deadline Hollywood]

... The musical chairs (not to be confused with those of The CW's immortal Oh Sit!, of course) of scheduling honchos continues, as ABC has recruited Andrew Kubitz, a CBS programming executive, to join its team. Kubitz replaces Jeff Bader, who left to go do a similar job over at NBC presumably for more money because really, who would want to do scheduling for NBC? [Variety]

... Steve Burton, a longtime fan-favorite on ABC's General Hospital is leaving the show after more than 21 years playing Jason Morgan. I'd love to tell you I had a good quip here, but soaps have taken enough hits over the last few years and I'm more of a The Young and the Restless guy. [TV Guide]

... The comedy-script buying spree continues, as NBC has grabbed hold of pitch from Cathy Yuspa and Josh Goldsmith called Gates. The script is based on a British show of the same name that just debuted a few weeks ago and follows parents dealing with the awkward situations that arise when dropping off and picking up their kids outside of school. [Deadline Hollywood]


CASTING NEWS

... Bunhead Bailey Buntain will guest on an upcoming episode of The Middle as a new student who Sue tries to mentor through the social hierarchies of high school. Shockingly, Buntain's character ends up faring better with the cafeteria's one percent than Sue typically does. [EW]

... It's that time of year when new series begin moving deeper into their initial episode orders and therefore need to fill a bunch of new roles. A slew of people joined new series over the last day or so. Michael Gaston (Damages, Fringe, Unforgettable) is coming to Last Resort for a multi-episode arc as the father of Autumn Reeser's character. He will probably wear a suit and glare at people. Pretty Little Liars' Sterling Sulieman has joined The New Normal as the "Republican EMT brother" of NeNe Leakes' character. Based on the subtle way Ryan Murphy handles things, I can't wait to see his measured approach to Republican ideology. Michael Wiseman (The Closer) and Vinessa Shaw have been cast in recurring roles on CBS's period drama Vegas. Shaw will play the wife of Michael Chiklis's Vincent Savino and Wiseman will play the right-hand man to Jonathan Banks' Chicago gangster character. I'm just happy that Banks is on another show where he gets to argue with more bald guys. [Deadline Hollywood]

... Though not casting per se, Katie Couric has announced the first guests for her aptly named daytime talk show, Katie, and if you had post-baby Jessica Simpson in your office pool then you should probably let me know where you work because it sounds like an awesome place. Simpson will be joined by Sheryl Crow, who apparently wrote and will perform the show's theme song. If you miss the opening show on September 10, it's okay, you can go back to 2003 and it will be just as relevant. Katie's other early guests include: Jennifer Lopez, Hedi Klum, Demi Lovato, 50 Shades of Grey author E.L. James, and a bunch of other women. Literally, there are no men announced to appear on the show thus far. It's like a gender reverse of most everything else on television. [Deadline Hollywood]


MAKING FUN OF JAY LENO IS AS PASSE AS JAY LENO NEWS

... Howard Stern is claiming that NBC reprimanded him for taking a shot at Jay Leno by calling Leno a "spineless maggot" during a rant about Leno's supposed pay cut that could help save jobs over at The Tonight Show. I can't wait until Leno responds to Stern by delivering a nine-minute monologue about Snooki's pregnancy. [The Wrap]

Cory Barker is a co-founder of This Was Television and the founder of TVSurveillance.com. Follow him on Twitter: @corybarker.


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