Archives for posts with tag: USA

The problem with this time of year is that so many old staples return to TV that it is hard to make time for anything new. Yes, I know there is catch-up services and streaming, but I like to keep a balanced life and that makes it hard for me to make time to watch everything. I have a list as long as my arm of shows I want to see – The Good Place, Rick & Morty and Shit’s Creek have all come highly recommended.

So when I put off watching these, it is annoying when something I invest time in starts to not repay me. That is the problem I am currently facing with 2 Broke Girls. It has always had its critics for its base humour and stereotyping, but for me it had always just been knock-about fun, a counter-balance to the more thoughtful New Girl or The Mindy Project.

The last season has only just begun in the UK, such is our lack of interest in it – The Big Bang Theory comes out within a few weeks of the US episodes. The two episodes I have seen so far have been verging towards the dire.

Yet I can’t put my finger on why. The plot of the episodes has always been wafer-thin, so it isn’t that. They have never gone for surprising jokes – you have always seen the next line or visual gag coming. The characters haven’t changed, although admittedly over six seasons you expect to see some development.

I can therefore only put down my change in view towards it down to myself. I feel as if my taste in TV has matured over the last few years. I was never the kind of viewer to get invested in Line of Duty for example, but I now want the next series of that to come around more than anything else in the world. I’ve also grown tired of Family Guy, although I did think the episode spoofing the Emmy’s was quite clever in its own way.

The thing is, knowing this the last season makes me want to persevere with it. I want to know if we are going to see a happy ending (although the plot of the first two episodes suggests Caroline has seen too many of Max’s), both in terms of the business and the personal lives of the characters. Even so, it will be a relief when it is over. Whether I will get round to completing my wish list after all, well, that’s a different story.

Advertisements

After what feels like an eternity, I have once again returned to The Middle. My pause from it was caused by my obsession with working my way through all 12 seasons of It’s Always Sunny In Philadelphia. My word, the contrast is huge. It feels like entering a sunny landscape after days of hiking through rough terrain and a biting wind. Not that I don’t love It’s Always Sunny, it does edgy so well after all, but watching a comedy that isn’t full of anger and with people who are at a basic level likeable feels almost a relief.

Not that there aren’t clouds in The Middle. It’s just that it is the clouds are what drives the family together. Financial hardship, the perils of adulthood, dissatisfaction with life – they are all on display. But there is a love between the characters. And that’s why you buy into them as a real family.

Also, like with any family, you find yourself siding with different people each time. I have watched episodes where Brick is almost a hero to me, fighting his social awkwardness with a charming naivety. Then, in the next episode, these very qualities become overbearing and frustratingly child-like. Likewise, Frankie can be too naggy in one episode, wanting too much from her family and life and then giving up on her dreams when a minor bump appears. But then, you suddenly feel sorry for her when you see how much she tries to support her family with little gratification in return.

I’ve said it before, but it’s true – American TV truly comes into its own when it allows over a number of seasons at twenty or so episodes at time the characters to develop. Long-running plots can develop without being rushed and even minor characters can be fleshed out.

I think, more than anything, you come away from The Middle wanting the characters to be happy. Obviously not too happy. There is no comedy or narrative tension in a smooth life. But happy enough so that you come away affirmed that life can occasionally at least go your way.

You don’t always want happy in a comedy. Life isn’t like that and humour can come from the darkest place. But sometimes fiction needs to lift you up, even if it’s not aspirational. And that’s because aspiration alone doesn’t lift. It takes people to do that. Even dysfunctional families can make things better.

It always amazes me how many different legal dramas and police procedurals America can produce. Here in the UK we either have ‘cosy crime’, ‘troubled DI/DCI solves crime of the week’ or ‘small community shocked to the core’. And we barely set foot in a courtroom.

But in America you are spoilt for choice. Navy cops, forensic teams, courtroom dramas, amateur detectives, you name it, America does it. You want a social commentary? They do that. Or do you just want to see cool explosions and high-stake car chases? They do that too.

Now we have Bull, set in the world jury psychology. Dr Bull runs a team specialising in manipulating juries into reaching decisions he clients want, all while lawyers are sceptical of his ability. It helps that, so far of the episodes I’ve seen, that he is on the good guys side, so any mind-bending is well deserved. Forcing people to recognise their gender bias or asking idiosyncratic questions are just some of his techniques.

He has a team supporting him – the computer hacker, the gay-yet-tough stylist, the smart-mouthed ex-lawyer and others. So far we only have a bit of their backgrounds dribbling out. No doubt there are some big emotional stories to be played out over the episodes, but I do hope these remain I side show.

I say that because the enjoyment of this show, for me at least, is the pseudo-science talks. I say pseudo-science, this could all be real science, but I don’t know. Anyway, it fascinates me how breaking down some biographical details of the jurors and building a profile of them is so influential. It is both brilliant and creepy how predictable we are if someone can just get a few bits of information on us.

It does sit slightly oddly between two stools though. The extra-ordinary nature of the cases means that it could easily fall into bubble-gum territory. Yet they do seem to have a social conscience about them that means that there is more to the plots than simply defending the innocent. I’m not saying it’s as deep as The Good Wife, but thinking it is just a bit of fluff is unfair.

Overall, I would say this is a solid show and a pleasing enough way to pass an hour. I find myself liking it more and more and having my cynicism eroded. And that is by no means a bad thing.

A while back I wrote about the first season of House of Cards. I was not impressed by it. I found the cynicism of the characters wearying and it was heaping yet more reasons for me to be concerned about the then forthcoming US election. Frank Underwood represented the worst of the career politicians that plague us both sides of the Atlantic. Success was for his ego, not the good of the country.

Since then, I have polished off the second season and got halfway through the third, and my view has altered somewhat. No doubt the drama of the real-life election being absent has helped, but I also feel I understand Frank and Claire more.

Take one of the smaller arcs from season 2 – the rise and fall of Freddie at the hands of Raymond Tusk. He is one of Frank’s few friends, and his destruction allows Frank to have a motivation that is more than about himself. From that point on, no matter how despicable he acts, we know Frank has an ability to be human. This buys him enough of your support to be more anti-hero than villain.

Likewise, season 3 has seen Claire’s character become more fleshed out. True, there were always more reasons to sympathise with her anyway – she seemed to use her ability to calculate against others more for good, and she is a rape survivor. But this season is the one where she truly stops just being a wife. She wants to make her mark on the world. Frank is driven by power, Claire by legacy. The most recent episode I viewed saw her hurt affected by the suicide of a gay activist. She throws politics overboard and shows an anger at injustice that is more than skin deep.

Of course there are other wheels turning. Heather Dunbar is on the rise as an opponent to Frank and we have Stamper aiding her cause. Then there’s the tracking down of Rachel through Gavin Orsay, although I am missing his scene-stealing guinea pig. One of the things I have come to like about Netflix’s shows is they aren’t afraid to ignore a major plotline for an episode, knowing their audience will patiently wait for it to return to the centre ground.

The one that is piquing me most at the moment though is Frank writing his autobiography. This, more than anything else, tells us who he is. He has come from nothing, and used ruthless ambition and eye for an opportunity, plus old-fashioned hard work, to get to the top. You still don’t like the man, you are never meant to, but you are forced to admire his journey. Maybe I can stick with this show after all.