I have never seen a season of Survivor where the castaways show so much personal animosity toward each other. Jane hates Marty. Marty hates Jane. NaOnka hates Fabio. NaOnka hates Marty. NaOnka hates Probst. And it's not the kind of hate that's really just annoyance. It's real, Red Sox-Yankees, Sunni-Shia, everyone-LeBron level hatred. Granted, I've only seen about 7 seasons of Survivor (the first 6 or so, All-Stars, and last season), but this seems unusual. It makes for good television, but it leads to mistakes. Just look at Marty.
Along with Brenda, Marty was one of the two smartest people in the game this season. The immunity challenge demonstrated this nicely. No coincidence, they were the last two remaining. Marty was always thinking three moves ahead. That's what made his lie grandmaster chess champion lie to Fabio so believable. It was when Marty stopped acting with his brain and started acting with his ego or his emotions that he would get himself in trouble. Sure, Marty was smart, but unlike, say, Boston Rob, he couldn't keep his brilliance to himself. He didn't just think three moves ahead, he wanted you to know he was thinking three moves ahead. He made no attempt to hide his ego. This put a target on his back. That was his first problem. His grudge against Jane was his second problem. I don't know what this woman did to him, whether it was that she didn't stay loyal to him when they shuffled tribes or what, but by the end all he could think about was voting Jane out. He forced the tribe into choosing between booting him or Jane, and it bit him in the ass.
I don't know if intelligence and arrogance go hand-in-hand on Survivor or what, but Brenda showed that she might be getting bit to cocky and comfortable about her position as well. She and Sash think they're running the game, that whoever they want gone is gone, but that wasn't the case this week. There were five people who were voting Marty (just because they don't like him) and five voting Jane (because they were beginning to rally around Marty). That left Brenda and Sash as swing votes, nothing more. Aside from maybe Chase, I don't think they had any influence over the votes of "their alliance". Doesn't sound like someone who's running the show.
I'm surprised, actually, how poorly defined the allegiances are at this point in the game. Brenda, Sash and NaOnka are a solid three, and it looks like Chase will do whatever they tell him to do, but at the same time he's loyal to Jane. Then there's Benri and Fabio who drift back and forth based on how the wind's blows that week. There's Dan who at this point is no more than a vote to drag along the way. There's Holly who's bat shit nuts and thinks she fits in with everyone more than she actually does. And there's Purple Kelly who never says anything ever. I guess she's with Brenda, Sash and NaOnka, but she's just a vote at this point. So out of 10, there's a strong group of four that could turn into a group of six with Chase and Jane so long as Brenda and Sash don't do anything to alienate them.
I guess we'll see what happens next week. Based on the dynamics of the groups I've seen to this point, I feel like the group that voted with Marty at the last tribal council would just assimilate back into the original alliance. But that would make that alliance include pretty much everyone in the tribe! That doesn't work. Hopefully somebody does something stupid to shuffle things up a bit. I'm looking at Benri.
Thursday, November 4, 2010
Wednesday, November 3, 2010
Boardwalk Empire, "Home"
I took a crack at writing about this show once before and I couldn't figure out how to do it. It just had too many characters (none of which I felt I knew that well), and some of the story was just downright confusing because of it. I just didn't feel like I could do it justice. But after "Home" - and incredible episode with a strong theme that past personal pain never truly going away - I think I've got a better handle on a show that's quickly becoming my favorite drama currently airing new episodes.
The theme of this episode might have been a little obvious, but it was intriguing nevertheless. Like a horny, love-craving girl from Wedding Crashers, I'm a sucker for a haunted past (as my Lost allegiances have probably made apparent), and "Home" gave us a long look at the histories of two major characters - Nucky and Jimmy - and one character I hope comes to play a big role - Richard. Each character suffered a crippling injury in their past, and each of their wounds told a story. These stories gave us a glimpse into the reason why each man is angry, or vengeful, or meek. Scars (or a super-creepy wooden half-mask) might cover the wounds of these characters, but as everyone knows, scars (and super-creepy wooden half-masks) are still plenty noticeable years down the road.
Let's start with Jimmy. I might be overreacting because I loved this episode so much, but I think Jimmy Darmody has the potential to be an iconic television character. I don't know if his ceiling is quite at the Jack Shephard-John Locke-Fox Mulder-George Costanza level, but he definitely has a chance to reach the Stringer Bell-Peggy Olson-Barney Stinson zone. There's a lot to like but also a lot to be suspicious of with Jimmy. That's a potent combination. In "Home", we start off with Jimmy in veterans' hospital for a chronic ache in his leg, a lingering combat injury. That's not the only thing still hurting Jimmy from the war. He's still feeling the effects of that decision in his relationships and in his emotional state.
The show has given the sense that a family controversy surrounded Jimmy's decision to serve, specifically concerning Nucky. Nucky had high hopes for Jimmy. As we've seen from all the books he reads, Jimmy's a smart guy. He didn't have to risk his life in France. He could have used his brain to get a good job, make lots of money, gain a lot of power, and - to Nucky, most importantly - help the Thompson empire.
Jimmy turned down all that. Sure, Jimmy's ambitious. He proved that first with his big with plan with Capone to rob Rothstein in the first episode and again when he hatched the scheme to wipe out Johnny Torio's rivals in one big bloody shootout. But the one thing that motivates Jimmy more than ambition is loyalty. It hurt him badly when Nucky sent him away after the Rothstein job and it hurts him even worse to see his fellow soldiers suffering. His time in France shaped him more than any other experience of his life (as I imagine is the case for many soldiers) and though he might say that he's dead inside and some of his more ruthless actions certainly support that to a certain extent, he has great empathy for anyone else who had to suffer the mental, physical and emotional pain of that war. So he bonds with Richard, a man who suffered a far more gruesome - and far more visible - injury as a result of his service. I get the feeling Jimmy's going to set Richard up real nice, like a job with Torio, maybe a steady stream of hookers, because he wants to do all he can to prevent any more suffering from coming out of that horrible war.
But Richard, oh boy, I can't even see a picture of that guy without getting the heebie-jeebies. That mask with the glasses and drawn on mustache, it's like something out of a horror movie. He looks like a monster and society has treated him as such. Loved that scene at the end where he methodically packed up his rifle and calmly walked out of the room. But the scene of his that impacted me the most was the one where he went upstairs with the hooker. Man, that was just heartbreaking all-around. You could tell the woman was a uncomfortable with the whole thing. Her face betrayed as much for a moment, but she quickly perked up and put on the slutty act again. I felt bad for Richard for having to reduce himself to such pity and also for another instance of his gross deformity having an awful effect on the people around him. And I even felt bad for the hooker, realizing she's in the business of getting paid to have sex with someone like Richard. Maybe she was really being a "patriot" by servicing an army man like Jimmy said, but I get the feeling that's not the case. It was a case of two people in low places in their lives. Just sad, uncomfortable stuff.
Finally, there was Nucky. He might be the lead, but Nucky's falls behind Jimmy, Capone, Chalky White and Agent Van Alden on my list of favorite Boardwalk characters. Still, the contrast between his sympathetic side and his ruthless businessman side makes for pretty compelling stuff and it came together nicely here. Two "scars" from Nucky's past were affecting him in this one: the death of his wife and his horrible father. As for the former let him flash his softer side. Fleming's story about his premature newborn touched a nerve with Nuck, the part of him that misses his wife and desperately wants children, so much so that he's willing to give him his father's house while asking nothing in return.
His cruel daddy made Nuck show his darker side. It's clear that Nucky's father preferred Eli and resented Nucky for not being as strong or tough as his brother. The story about Nucky spending 11 days in the hospital was heartbreaking, but a little less so after remembering how powerful Nucky is today. He's far more successful these days than Eli and has no problem waving that in his face any chance he gets. But when Nucky sees how close his brother and father are in the present day, it doesn't stop the bad memories from flooding back. So he burns down the house, trying to rid himself of those awful memories. But we all know they won't go away.
All in all, one of the top episodes of the show so far. And I tip my hat to the writers for not being afraid to show gratuitous amounts of nudity. For a second their I thought the DVR mistakenly started to record Cinemax. Not complaining.
The theme of this episode might have been a little obvious, but it was intriguing nevertheless. Like a horny, love-craving girl from Wedding Crashers, I'm a sucker for a haunted past (as my Lost allegiances have probably made apparent), and "Home" gave us a long look at the histories of two major characters - Nucky and Jimmy - and one character I hope comes to play a big role - Richard. Each character suffered a crippling injury in their past, and each of their wounds told a story. These stories gave us a glimpse into the reason why each man is angry, or vengeful, or meek. Scars (or a super-creepy wooden half-mask) might cover the wounds of these characters, but as everyone knows, scars (and super-creepy wooden half-masks) are still plenty noticeable years down the road.
Let's start with Jimmy. I might be overreacting because I loved this episode so much, but I think Jimmy Darmody has the potential to be an iconic television character. I don't know if his ceiling is quite at the Jack Shephard-John Locke-Fox Mulder-George Costanza level, but he definitely has a chance to reach the Stringer Bell-Peggy Olson-Barney Stinson zone. There's a lot to like but also a lot to be suspicious of with Jimmy. That's a potent combination. In "Home", we start off with Jimmy in veterans' hospital for a chronic ache in his leg, a lingering combat injury. That's not the only thing still hurting Jimmy from the war. He's still feeling the effects of that decision in his relationships and in his emotional state.
The show has given the sense that a family controversy surrounded Jimmy's decision to serve, specifically concerning Nucky. Nucky had high hopes for Jimmy. As we've seen from all the books he reads, Jimmy's a smart guy. He didn't have to risk his life in France. He could have used his brain to get a good job, make lots of money, gain a lot of power, and - to Nucky, most importantly - help the Thompson empire.
Jimmy turned down all that. Sure, Jimmy's ambitious. He proved that first with his big with plan with Capone to rob Rothstein in the first episode and again when he hatched the scheme to wipe out Johnny Torio's rivals in one big bloody shootout. But the one thing that motivates Jimmy more than ambition is loyalty. It hurt him badly when Nucky sent him away after the Rothstein job and it hurts him even worse to see his fellow soldiers suffering. His time in France shaped him more than any other experience of his life (as I imagine is the case for many soldiers) and though he might say that he's dead inside and some of his more ruthless actions certainly support that to a certain extent, he has great empathy for anyone else who had to suffer the mental, physical and emotional pain of that war. So he bonds with Richard, a man who suffered a far more gruesome - and far more visible - injury as a result of his service. I get the feeling Jimmy's going to set Richard up real nice, like a job with Torio, maybe a steady stream of hookers, because he wants to do all he can to prevent any more suffering from coming out of that horrible war.
But Richard, oh boy, I can't even see a picture of that guy without getting the heebie-jeebies. That mask with the glasses and drawn on mustache, it's like something out of a horror movie. He looks like a monster and society has treated him as such. Loved that scene at the end where he methodically packed up his rifle and calmly walked out of the room. But the scene of his that impacted me the most was the one where he went upstairs with the hooker. Man, that was just heartbreaking all-around. You could tell the woman was a uncomfortable with the whole thing. Her face betrayed as much for a moment, but she quickly perked up and put on the slutty act again. I felt bad for Richard for having to reduce himself to such pity and also for another instance of his gross deformity having an awful effect on the people around him. And I even felt bad for the hooker, realizing she's in the business of getting paid to have sex with someone like Richard. Maybe she was really being a "patriot" by servicing an army man like Jimmy said, but I get the feeling that's not the case. It was a case of two people in low places in their lives. Just sad, uncomfortable stuff.
Finally, there was Nucky. He might be the lead, but Nucky's falls behind Jimmy, Capone, Chalky White and Agent Van Alden on my list of favorite Boardwalk characters. Still, the contrast between his sympathetic side and his ruthless businessman side makes for pretty compelling stuff and it came together nicely here. Two "scars" from Nucky's past were affecting him in this one: the death of his wife and his horrible father. As for the former let him flash his softer side. Fleming's story about his premature newborn touched a nerve with Nuck, the part of him that misses his wife and desperately wants children, so much so that he's willing to give him his father's house while asking nothing in return.
His cruel daddy made Nuck show his darker side. It's clear that Nucky's father preferred Eli and resented Nucky for not being as strong or tough as his brother. The story about Nucky spending 11 days in the hospital was heartbreaking, but a little less so after remembering how powerful Nucky is today. He's far more successful these days than Eli and has no problem waving that in his face any chance he gets. But when Nucky sees how close his brother and father are in the present day, it doesn't stop the bad memories from flooding back. So he burns down the house, trying to rid himself of those awful memories. But we all know they won't go away.
All in all, one of the top episodes of the show so far. And I tip my hat to the writers for not being afraid to show gratuitous amounts of nudity. For a second their I thought the DVR mistakenly started to record Cinemax. Not complaining.
Saturday, September 25, 2010
Supernatural 6.01, "Exile on Main Street"
Certain shows reach a point where you're going to enjoy spending an hour with them no matter where the story happens to take you that week. My list of shows like that is probably pretty short. Lost, Mad Men, Breaking Bad - that might be the whole thing. But I think Supernatural belongs on that list as well. Sometime during season 2, when the stories got a little less "Monster of the Week" and more rooted in the characters, I realized the show was pretty much immune from laying an egg. Sam and Dean Winchester were just too likable and the dynamic between them was just too interesting.
As the show dug deeper into the brothers' past and unpacked the motivations of their characters more, the scope of their surroundings began to expand. First we found out that Sam (along with a few other children) and been targeted by demons as soldiers for Hell. Then came the consequences of opening the gate to Hell and the extent of the power of the demons running the show down there. Next we were introduced to the other side of the scale, the angels, and how they might have a little interest in keeping Dean around. And finally last year, we were thrown in the middle of a full-blown apocalypse and found out that the brothers' we've grown to care so much about are at the center of the whole damn thing. The world of Supernatural kept getting bigger and bigger and awesomer and awesomer up until the oh-so-perfect finale that saw Sam literally conquer the devil inside him, Dean get to settle down and have a normal life for himself, and peace and order restored to the world. The End.
There were two things I was left wondering after the finale. First, how did Sam get out of hell? Second, how's Dean handling a life of domestic tranquility, removed from the road trips, hotel rooms and salt-loaded shotguns that made up his first 30 years of existence?
"Exile on Main Street" didn't answer that first question. All we know is that shortly after falling into hell (in Earth years), he woke up in a field not knowing how he got there or who saved him. We don't know how long he felt like he was down in the Inferno, but from what he had to say about his experience down there, it wasn't just a long weekend. Maybe it was shorter than Dean, maybe it was longer (I think Dean was down there for forty years), but either way, I'm not surprised he doesn't seem quite as traumatized as his brother did after his time in the fiery clink. Although he didn't put up the same tough-guy front as his brother, in a lot of ways Sam was the stronger one. He had is soft spots, like his addiction to demon blood and anything that had to do with Jess, but he usually was able to keep his wits about him. And really that's the only reason I have any semblance of trust for these new "family members" that Sammy's allied himself with.
One of the things I didn't like about this episode was the reemergence of Grandpa Campbell. Played by the incomprible Mitch Pileggi of X-Files fame, the only thing we've seen of Sam's namesake is that he was the original hunter in Sam and Dean's immediate family and that his body was once occupied by the Yellow-Eyed Demon. I didn't like him then and I don't really like him now (if it is actually him). Pileggi played Walter Skinner on X-Files. He acted tough but always seemed to be in a position where somebody like the Smoking Man had him by the balls and he would make a cowardly move that would cost Mulder and Scully there one big chance to reveal The Truth. He always wanted to have their back but more often than not, he couldn't help them like he'd promised.
So I guess that's part of the reason I don't trust him now. But I also didn't like how they threw all these new characters at us. I understand that the show wants to hit the ground running in it's first episode back (especially with a new showrunner), but I really needed more Sam and Dean time. I didn't want to move on to this new thing with the Djinns and the new crew of hunters because I wasn't quite ready to move past the huge business that I think the brothers still needed to deal with. And I really didn't like how these new guys were acting like big shots, especially when they said to leave it to the "professionals". Excuse me, but that's Dean Fucking Winchester you're talking to. One of the baddest hunters ever to walk the Earth. He saved the entire world for God's sake! Who the hell do you think you are giving him that kind of attitude, Guy Who's Twice Removed from Something? You don't even have a name! You have no chance!
They dove a little deeper into my second question, however, and to great effect. I absolutely loved that montage at the beginning of the episode of Dean's new life with Lisa and Ben cut with old clips of his past with Sam. The perfect amount of catchup and nostalgia. Anyway, it turns out post-apocalyptic life wasn't always so great. Understandably, Dean was wracked with grief after Sammy died, drinking too much, taking it out on Lisa and Ben. But overall, he was happy. And as Bobby put it he was "out". He didn't have to hunt anymore. And like Sam said later, on, I think that's what Dean always wanted, especially toward the end. He just couldn't take being a hunter anymore. He took it all too personally, the loses weighed on him too much. It's interesting, at the beginning of the series, Sam was the one who wanted to start a normal life and Dean was the one pulling him into the world of demons and curses and monsters. By the end, it was the opposite. The brothers had switched roles. Sam knew he wasn't ever going to find his way out, but he had hope for his brother.
Unfortunately, Dean could only stay away for so long. His old life found its way back to him. But Sam came back too. Dean was pissed that Sam had been back from hell for a year and hadn't told him, but I see where Sammy was coming from. He was happy that Dean finally got to settle down. Ever since he was left on his own to take care of his little brother for weeks at a time, all Dean ever really wanted was a normal family and he finally had one. Sam didn't want to take that away. And it turns out Dean didn't want to give it up either. After helping out with the Campbell's little Djinn project, he let his brother hit the road in his new tricked out ride, leaving Dean and the Impala in a nice suburban house living a nice suburban lifestyle. But like Dean said, that car is meant to hunt. I get the feeling it'll be back on the road with Dean at the wheel soon enough.
What does this all mean for the guys going forward? And more importantly, when are we going to see Cas again? The latter question I don't have an answer for, but I think the key to the former has something to do with the strange behavior the Campbell's have been observing, starting with the Djinn and on down through the daytime attacks by nocturnals and half-moon werewolves. The quest to find out what's causing this craziness will probably become the main arc of this season, hopefully diving more into Dean's struggle with a domestic vs. hunting lifestyle and definitely giving us some clues into who pulled Sam out of hell (I'm guessing it'll be revealed to be Cas in his triumphant season 6 debut).
Even if the scope of the show is narrowing a bit - and frankly, how can it get bigger than heaven and hell? - I think we're off to a pretty decent start here in season 6. Like I said, spending an hour with Sam and Dean is always going to be good television, and though I'm not completely thrilled with some of the new stuff they're throwing at us this year, I'm confident that Supernatural isn't going to fall of a cliff just because we're not with the epic demons vs. angels battle like last year. Who knows, maybe they'll strike a dramatic goldmine with Mitch Pileggi and these Campbells? It wouldn't surprise me.
As the show dug deeper into the brothers' past and unpacked the motivations of their characters more, the scope of their surroundings began to expand. First we found out that Sam (along with a few other children) and been targeted by demons as soldiers for Hell. Then came the consequences of opening the gate to Hell and the extent of the power of the demons running the show down there. Next we were introduced to the other side of the scale, the angels, and how they might have a little interest in keeping Dean around. And finally last year, we were thrown in the middle of a full-blown apocalypse and found out that the brothers' we've grown to care so much about are at the center of the whole damn thing. The world of Supernatural kept getting bigger and bigger and awesomer and awesomer up until the oh-so-perfect finale that saw Sam literally conquer the devil inside him, Dean get to settle down and have a normal life for himself, and peace and order restored to the world. The End.
There were two things I was left wondering after the finale. First, how did Sam get out of hell? Second, how's Dean handling a life of domestic tranquility, removed from the road trips, hotel rooms and salt-loaded shotguns that made up his first 30 years of existence?
"Exile on Main Street" didn't answer that first question. All we know is that shortly after falling into hell (in Earth years), he woke up in a field not knowing how he got there or who saved him. We don't know how long he felt like he was down in the Inferno, but from what he had to say about his experience down there, it wasn't just a long weekend. Maybe it was shorter than Dean, maybe it was longer (I think Dean was down there for forty years), but either way, I'm not surprised he doesn't seem quite as traumatized as his brother did after his time in the fiery clink. Although he didn't put up the same tough-guy front as his brother, in a lot of ways Sam was the stronger one. He had is soft spots, like his addiction to demon blood and anything that had to do with Jess, but he usually was able to keep his wits about him. And really that's the only reason I have any semblance of trust for these new "family members" that Sammy's allied himself with.
One of the things I didn't like about this episode was the reemergence of Grandpa Campbell. Played by the incomprible Mitch Pileggi of X-Files fame, the only thing we've seen of Sam's namesake is that he was the original hunter in Sam and Dean's immediate family and that his body was once occupied by the Yellow-Eyed Demon. I didn't like him then and I don't really like him now (if it is actually him). Pileggi played Walter Skinner on X-Files. He acted tough but always seemed to be in a position where somebody like the Smoking Man had him by the balls and he would make a cowardly move that would cost Mulder and Scully there one big chance to reveal The Truth. He always wanted to have their back but more often than not, he couldn't help them like he'd promised.
So I guess that's part of the reason I don't trust him now. But I also didn't like how they threw all these new characters at us. I understand that the show wants to hit the ground running in it's first episode back (especially with a new showrunner), but I really needed more Sam and Dean time. I didn't want to move on to this new thing with the Djinns and the new crew of hunters because I wasn't quite ready to move past the huge business that I think the brothers still needed to deal with. And I really didn't like how these new guys were acting like big shots, especially when they said to leave it to the "professionals". Excuse me, but that's Dean Fucking Winchester you're talking to. One of the baddest hunters ever to walk the Earth. He saved the entire world for God's sake! Who the hell do you think you are giving him that kind of attitude, Guy Who's Twice Removed from Something? You don't even have a name! You have no chance!
They dove a little deeper into my second question, however, and to great effect. I absolutely loved that montage at the beginning of the episode of Dean's new life with Lisa and Ben cut with old clips of his past with Sam. The perfect amount of catchup and nostalgia. Anyway, it turns out post-apocalyptic life wasn't always so great. Understandably, Dean was wracked with grief after Sammy died, drinking too much, taking it out on Lisa and Ben. But overall, he was happy. And as Bobby put it he was "out". He didn't have to hunt anymore. And like Sam said later, on, I think that's what Dean always wanted, especially toward the end. He just couldn't take being a hunter anymore. He took it all too personally, the loses weighed on him too much. It's interesting, at the beginning of the series, Sam was the one who wanted to start a normal life and Dean was the one pulling him into the world of demons and curses and monsters. By the end, it was the opposite. The brothers had switched roles. Sam knew he wasn't ever going to find his way out, but he had hope for his brother.
Unfortunately, Dean could only stay away for so long. His old life found its way back to him. But Sam came back too. Dean was pissed that Sam had been back from hell for a year and hadn't told him, but I see where Sammy was coming from. He was happy that Dean finally got to settle down. Ever since he was left on his own to take care of his little brother for weeks at a time, all Dean ever really wanted was a normal family and he finally had one. Sam didn't want to take that away. And it turns out Dean didn't want to give it up either. After helping out with the Campbell's little Djinn project, he let his brother hit the road in his new tricked out ride, leaving Dean and the Impala in a nice suburban house living a nice suburban lifestyle. But like Dean said, that car is meant to hunt. I get the feeling it'll be back on the road with Dean at the wheel soon enough.
What does this all mean for the guys going forward? And more importantly, when are we going to see Cas again? The latter question I don't have an answer for, but I think the key to the former has something to do with the strange behavior the Campbell's have been observing, starting with the Djinn and on down through the daytime attacks by nocturnals and half-moon werewolves. The quest to find out what's causing this craziness will probably become the main arc of this season, hopefully diving more into Dean's struggle with a domestic vs. hunting lifestyle and definitely giving us some clues into who pulled Sam out of hell (I'm guessing it'll be revealed to be Cas in his triumphant season 6 debut).
Even if the scope of the show is narrowing a bit - and frankly, how can it get bigger than heaven and hell? - I think we're off to a pretty decent start here in season 6. Like I said, spending an hour with Sam and Dean is always going to be good television, and though I'm not completely thrilled with some of the new stuff they're throwing at us this year, I'm confident that Supernatural isn't going to fall of a cliff just because we're not with the epic demons vs. angels battle like last year. Who knows, maybe they'll strike a dramatic goldmine with Mitch Pileggi and these Campbells? It wouldn't surprise me.
Friday, August 27, 2010
Emmy's 2010
Emmy day is upon us. And since I like to pretend I'm a TV critic, I figure I should do what all TV critics do - predict who I think will win and say who I think should win all the major awards. And because I'm just some dope with a computer doing all this for free for literally no audience, I'm also going to add a sentimental pick to win each category. (Here's a hint: if Lost is involved, that's what I'm picking). So let's get cracking.
Supporting Actor, Comedy
Who Will Win: Ty Burrell, Modern Family
Who Should Win: Ty Burrell
Sentimental Favorite: Neil Patrick Harris, How I Met Your Mother
Along with Glee, Modern Family was the breakout hit of last season, drama or comedy. Its large, talented cast killed it almost every week, but out of the male roles I thought three characters stood out the most - Phil, Cameron and Manny. Manny isn't nominated, so I think it comes down to Burrell's Phil and Eric Stonestreet's Cam. It's a tough choice, but I've got to go with Burrell. He was the focus of more episodes, and although apparently he didn't pick his strongest episode to submit to the Academy (it should have been the Valentines Day one where he tells Claire he's "smooth all over"), I still think that will be enough to carry him to a well-deserved victory.
As for my sentimental pick, NPH has been robbed in this category three years running. He's been the funniest character on HIMYM since it started and this year was no different. Even through some inconsistent material this season, he still delivered some great lines and carried the show through some episodes that otherwise wouldn't have been very funny at all (Lily's birthday episode about the group pictures, I'm looking at you). Last year was probably his best chance, with the enthusiasm for Jeremy Piven thankfully dying out and a generally weak field, but somehow he still lost to Jon Freakin' Cryer. Even if this wasn't his best season, I'd still like to see NPH take home a trophy.
Supporting Actress, Comedy
Who Will Win: Jane Lynch, Glee
Who Should Win: Sofia Vergara, Modern Family
Sentimental Favorite: Sofia Vergara or Julie Bowen, Modern Family
I hate Glee. I really, really hate it. I've seen just two scenes of the show, but they were enough to condition me to gag at the very sight of it the way I do with cheesecake after it gave me food poisoning. In the first scene, a homosexual kid who was apparently having some problems with his father over his sexuality was playing kicker for the football team. So he lines up to kick the game winning field goal with his father watching in the stands, and, after the ball is snapped, he does a complicated dance that takes at least five seconds before putting the ball through the uprights. And now is dad is proud of him and their relationship is saved. Or at least that's what I gathered from it. Gag. What a preposterous turn of events. In the second, character in a wheelchair rejected somebody because they were trying to fit in with the glees by pretending to have a stutter. Gag again. But as I said before, Glee was the other breakout show of the fall, and the face of that show is Jane Lynch who plays the glees' enemy Sue Sylvester. I guess she does a bang-up job, and she's the obvious pick to win. And because she's the enemy of the glees, I have no problem with this. I'd like to see Sofia Vergara, who plays the hilarious spicy Latina trophy wife on Modern Family. The way she handles the problems of youth of her oddly (and hilariously) adult-like son Manny and the cranky complaints of her husband Jay are funny enough. Throw in her Spanish accent that she has no problem using for brilliant comedic effect, and I want her to win and think she should. But if it has to be someone else, I'd have to go with Julie Bowen. After all, she was at one point married to Dr. Jack Shephard.
Lead Actor, Comedy
Who Will Win: Alec Baldwin, 30 Rock
Who Should Win: Larry David, Curb Your Enthusiasm
Sentimental Favorite: Steve Carell, The Office
Baldwin has won this award two years in a row, and in a field that isn't particularly strong, I don't see why he won't win it again. Still, I think Larry David was funnier. He completely carries Curb, and this year he carried it to a really high level once again. Unless he was on screen with the Seinfeld people or Leon, he was probably far and away the funniest guy on screen. Everyone else is just there to make him look more and more insane. Since he carried the heaviest workload, I think he should take home his first acting Emmy. Steve Carell is my easy choice for a sentimental pick. Much like NPH, it's a crime that he hasn't won this award before, but again, this wasn't the strongest year for him or his show. I think next year, which will be his last on The Office, will probably be his year, but I wouldn't mind seeing it come early.
Lead Actress, Comedy
Who Will Win: Edie Falco, Nurse Jackie
Who Should Win: Amy Poehler, Parks and Recreation
Sentimental Favorite: Amy Poehler
I don't care if Nurse Jackie is a half-hour long, it's not a comedy. I don't watch that show, but I've never heard anyone describe it as "funny". But because of her past Emmy history and because the Academy likes to see comedy actors handling serious material (huh?), Falco will probably take this one home. But it should be Poehler. Parks and Recreation definitely should have cracked an underwhelming Comedy Series category this year, but because it didn't, I don't like Poehler's chances. But she turned that show (with some help) from borderline unwatchable to a surprising hit last year and deserves most of the credit. She's the lead, and if she's bad, the show's going to be bad. But she was excellent. I'm sure last year's winner Toni Collette was fine and I'm sure all the Gleeks love the actress from Glee, but Amy deserves this one.
Best Comedy Series
Who Will Win: Modern Family
Who Should Win: Modern Family
Sentimental Favorite: Modern Family
This show was just plain great all season. Every single character - and there are a lot of them - had there moments of greatness. From Phil on a date to Cam eating spicy food to Manny apologizing for his wrinkled shirt to Luke making his weird Luke noise to Claire embarrassing Alex in front of her friends, it was just one hilarious bit after another. There isn't a comedy out there that I'm more excited for this season. I just hope they can keep the momentum going.
Supporting Actor, Drama
Who Will Win: Terry O'Quinn, Lost
Who Should Win: Terry O'Quinn
Sentimental Favorite: O'Quinn or Aaron Paul, Breaking Bad
When shows go off the air after a long run and a great deal of success, people like to think the Academy likes to reward them with an award or two on Emmy night. I have no idea if that's true (it wasn't the case for The Wire), but shows like The Sopranos and Friends took home lots of awards following their final season. Lost is the prime candidate for such treatment this year. I have less confidence that it'll earn some of the other awards it's up for (hold on, I'll get to them), but between O'Quinn and Michael Emerson, I'm extremely confident it will take home the Supporting Actor trophy. And deservingly so. O'Quinn absolutely nailed almost every scene this year, even as he had to bounce back and forth between the mysteriously malevolent Man in Black and the tormented but soft-hearted John Locke. He had an expression as the MIB in the premiere that makes my spine cold every time is see it. And in the very same episode he flashes this smile to Jack that warms my heart. This guy is a freaking master. There are two other actors that I wouldn't be completely devastated to see win. The first is Emerson, but that's only because he's on Lost. He was really good this year, but I guess I hold it against him that I don't think he's as strong as he was earlier in the series. (I'll always say he should have won instead of O'Quinn in 2007 but O'Quinn should have won instead of Emerson in 2009.) The other would be Aaron Paul from Breaking Bad. The way he portrayed Jesse's struggle to kick drugs, his deep-seeded lack of confidence in himself and his loosening grip trying to prevent himself from falling into a life as a murderer was gut wrenching to watch. If this award doesn't go to someone from Lost, I hope it goes to Paul.
Supporting Actress, Drama
Who Will Win: Archie Panjabi, The Good Wife
Who Should Win: Elizabeth Moss, Mad Men
Sentimental Favorite: Elizabeth Moss
I've got to be honest, out of the actresses nominated here, the only ones I watch are Moss and Christina Hendricks on Mad Men. But I hear that Panjabi is excellent on The Good Wife and I've heard her name bouncing around a lot, so she's my pick to win. I'd really like to see Elizabeth Moss take this one home, though. Last year she was up for lead actress and she has all the talent in the world to carry that kind of workload, so as a Supporting Actress nominee, I think her work this year stands up even better. I love how she's handled Peggy's transformation from an ugly, scared receptionist to a confident, ambitious copywriter who's ready to take on the world. She's still a little intimidated by Don but she's not afraid to stand up to him when she needs to. She wants to find a husband but still likes to have some fun as a single girl. She comes from a conservative Catholic family but she's plenty comfortable mixing it up in the liberal Sixties counterculture. It's a testament to Moss's acting that she made this incredible transformation so believable.
Best Actor, Drama
Who Will Win: Jon Hamm, Mad Men
Who Should Win: Matthew Fox, Lost
Sentimental Favorite: Matthew Fox
Of all the categories, this is the one with which I'm the most well versed. I watch all these shows but House, and admire the work of all these actors tremendously. Cranston is incredible in his portrayal of the morally bankrupt Walter White. Every wrinkle on his face expresses the pain that churns deep in Walter's soul as he falls further and further into his own abyss of misery. Jon Hamm does more with the silences between his lines than any other actor I've ever seen. The mix of shame and relief he showed after Betty discovered his "Dick Whitman box" was incredibly moving. Michael C Hall, the favorite, turns a murderous monster like Dexter into one of the most likable and funny characters on television. It's a testament to his abilities as an actor that he can convince the audience that a person who kills people on a regular basis is actually more good than bad. Kyle Chandler has created a character in Coach Eric Taylor that is inspirational but abrasive, loving but stubborn, all at the same time. His expressions when he's dealing with Connie, especially when he knows that she has him by the short ones, crack me up more than any of the other actors on this list. But it was Matthew Fox who stood above the rest in this very accomplished group of actors. He took Jack Shephard to a new level of greatness this season, portraying Jack as he accepted his destiny on the Island, his purpose in life and, finally, his own death. The anger as he smashed Jacob's mirror, the defiance as he stared down a lit stick of dynamite, the pure joy as he saved the Island, the sadness and comfort as he embraced his father in the church, all moments of brilliance that run through the gambit of emotions and he nailed every single one of them. I tear up just thinking about it. The material demanded an extraordinary performance and he delivered 100%. After 6 seasons of excellent work as the star of the best show on TV, hopefully the man who portrayed my favorite character on my favorite show finally gets the credit he deserves.
Lead Actress, Drama
Who Will Win: Julianna Margulies, The Good Wife
Who Should Win: Connie Britton, Friday Night Lights
Sentimental Favorite: Connie Britton
Everyone thinks Margulies is going to win, and who am I to argue? Like with Supporting Actress, I am only familiar with the work of two of the nominees, Britton and January Jones. I haven't heard much for the chances of either of them to win, so I'll jus predict that the favorite will take home the trophy. But I think that would be a shame, because Connie Britton does an amazing job as Tami Taylor on Friday Night Lights. She's tough, she's hot, and she doesn't mind mixing it up in the boys club of Texas high school football. Her relationship with Coach Taylor seems so real, and I love every scene they have together. She's one of my favorite characters on that show and she's probably my favorite female character on TV. I'll give her the nod. Oh, and January Jones stinks. Or at least Betty Drapers stinks. I don't know about her acting. I go back and forth between thinking she's good and thinking she's bad. I don't think that's a good sign.
Best Drama Series
Who Will Win: Breaking Bad
Who Should Win: Lost
Sentimental Favorite: Lost
Wouldn't it be a nice storybook sendoff if Lost were to win Best Drama in its last season for the first time since winning the award in its first season? It'd be very Lost-esque, that's for sure. I don't know about True Blood and The Good Wife (although from what I've seen, neither seems on par with the other four in this category), but the rest of these shows were great this year. Dexter turned in its best season since its first. Breaking Bad took its level of suspense to a whole new stratosphere while not forgetting about the gut-wrenching character moments it does so well. And Mad Men, while maybe not as consistent as the first two seasons, still had enough great moments to be plenty deserving of a nomination here. But Lost capped off it's run with a season that never let up, answering a lot of the pressing mysteries and resolving series-long character arcs as the plot moved full-steam ahead toward a gripping and ultimately extremely satisfying conclusion. The degree of difficulty was high, but Lost absolutely nailed it. If I had to rank the four, I'd put Mad Men on the bottom, then Dexter, then Breaking Bad, and Lost at the top. You just can't beat a season where we find out what the Smoke Monster is, we get Richard Alpert's back-story, we finally get a look at the Temple, Hurley becomes the new Jacob and Jack finally has his face-to-face with his father. I really hope it wins.
We'll find out in a few hours.
Supporting Actor, Comedy
Who Will Win: Ty Burrell, Modern Family
Who Should Win: Ty Burrell
Sentimental Favorite: Neil Patrick Harris, How I Met Your Mother
Along with Glee, Modern Family was the breakout hit of last season, drama or comedy. Its large, talented cast killed it almost every week, but out of the male roles I thought three characters stood out the most - Phil, Cameron and Manny. Manny isn't nominated, so I think it comes down to Burrell's Phil and Eric Stonestreet's Cam. It's a tough choice, but I've got to go with Burrell. He was the focus of more episodes, and although apparently he didn't pick his strongest episode to submit to the Academy (it should have been the Valentines Day one where he tells Claire he's "smooth all over"), I still think that will be enough to carry him to a well-deserved victory.
As for my sentimental pick, NPH has been robbed in this category three years running. He's been the funniest character on HIMYM since it started and this year was no different. Even through some inconsistent material this season, he still delivered some great lines and carried the show through some episodes that otherwise wouldn't have been very funny at all (Lily's birthday episode about the group pictures, I'm looking at you). Last year was probably his best chance, with the enthusiasm for Jeremy Piven thankfully dying out and a generally weak field, but somehow he still lost to Jon Freakin' Cryer. Even if this wasn't his best season, I'd still like to see NPH take home a trophy.
Supporting Actress, Comedy
Who Will Win: Jane Lynch, Glee
Who Should Win: Sofia Vergara, Modern Family
Sentimental Favorite: Sofia Vergara or Julie Bowen, Modern Family
I hate Glee. I really, really hate it. I've seen just two scenes of the show, but they were enough to condition me to gag at the very sight of it the way I do with cheesecake after it gave me food poisoning. In the first scene, a homosexual kid who was apparently having some problems with his father over his sexuality was playing kicker for the football team. So he lines up to kick the game winning field goal with his father watching in the stands, and, after the ball is snapped, he does a complicated dance that takes at least five seconds before putting the ball through the uprights. And now is dad is proud of him and their relationship is saved. Or at least that's what I gathered from it. Gag. What a preposterous turn of events. In the second, character in a wheelchair rejected somebody because they were trying to fit in with the glees by pretending to have a stutter. Gag again. But as I said before, Glee was the other breakout show of the fall, and the face of that show is Jane Lynch who plays the glees' enemy Sue Sylvester. I guess she does a bang-up job, and she's the obvious pick to win. And because she's the enemy of the glees, I have no problem with this. I'd like to see Sofia Vergara, who plays the hilarious spicy Latina trophy wife on Modern Family. The way she handles the problems of youth of her oddly (and hilariously) adult-like son Manny and the cranky complaints of her husband Jay are funny enough. Throw in her Spanish accent that she has no problem using for brilliant comedic effect, and I want her to win and think she should. But if it has to be someone else, I'd have to go with Julie Bowen. After all, she was at one point married to Dr. Jack Shephard.
Lead Actor, Comedy
Who Will Win: Alec Baldwin, 30 Rock
Who Should Win: Larry David, Curb Your Enthusiasm
Sentimental Favorite: Steve Carell, The Office
Baldwin has won this award two years in a row, and in a field that isn't particularly strong, I don't see why he won't win it again. Still, I think Larry David was funnier. He completely carries Curb, and this year he carried it to a really high level once again. Unless he was on screen with the Seinfeld people or Leon, he was probably far and away the funniest guy on screen. Everyone else is just there to make him look more and more insane. Since he carried the heaviest workload, I think he should take home his first acting Emmy. Steve Carell is my easy choice for a sentimental pick. Much like NPH, it's a crime that he hasn't won this award before, but again, this wasn't the strongest year for him or his show. I think next year, which will be his last on The Office, will probably be his year, but I wouldn't mind seeing it come early.
Lead Actress, Comedy
Who Will Win: Edie Falco, Nurse Jackie
Who Should Win: Amy Poehler, Parks and Recreation
Sentimental Favorite: Amy Poehler
I don't care if Nurse Jackie is a half-hour long, it's not a comedy. I don't watch that show, but I've never heard anyone describe it as "funny". But because of her past Emmy history and because the Academy likes to see comedy actors handling serious material (huh?), Falco will probably take this one home. But it should be Poehler. Parks and Recreation definitely should have cracked an underwhelming Comedy Series category this year, but because it didn't, I don't like Poehler's chances. But she turned that show (with some help) from borderline unwatchable to a surprising hit last year and deserves most of the credit. She's the lead, and if she's bad, the show's going to be bad. But she was excellent. I'm sure last year's winner Toni Collette was fine and I'm sure all the Gleeks love the actress from Glee, but Amy deserves this one.
Best Comedy Series
Who Will Win: Modern Family
Who Should Win: Modern Family
Sentimental Favorite: Modern Family
This show was just plain great all season. Every single character - and there are a lot of them - had there moments of greatness. From Phil on a date to Cam eating spicy food to Manny apologizing for his wrinkled shirt to Luke making his weird Luke noise to Claire embarrassing Alex in front of her friends, it was just one hilarious bit after another. There isn't a comedy out there that I'm more excited for this season. I just hope they can keep the momentum going.
Supporting Actor, Drama
Who Will Win: Terry O'Quinn, Lost
Who Should Win: Terry O'Quinn
Sentimental Favorite: O'Quinn or Aaron Paul, Breaking Bad
When shows go off the air after a long run and a great deal of success, people like to think the Academy likes to reward them with an award or two on Emmy night. I have no idea if that's true (it wasn't the case for The Wire), but shows like The Sopranos and Friends took home lots of awards following their final season. Lost is the prime candidate for such treatment this year. I have less confidence that it'll earn some of the other awards it's up for (hold on, I'll get to them), but between O'Quinn and Michael Emerson, I'm extremely confident it will take home the Supporting Actor trophy. And deservingly so. O'Quinn absolutely nailed almost every scene this year, even as he had to bounce back and forth between the mysteriously malevolent Man in Black and the tormented but soft-hearted John Locke. He had an expression as the MIB in the premiere that makes my spine cold every time is see it. And in the very same episode he flashes this smile to Jack that warms my heart. This guy is a freaking master. There are two other actors that I wouldn't be completely devastated to see win. The first is Emerson, but that's only because he's on Lost. He was really good this year, but I guess I hold it against him that I don't think he's as strong as he was earlier in the series. (I'll always say he should have won instead of O'Quinn in 2007 but O'Quinn should have won instead of Emerson in 2009.) The other would be Aaron Paul from Breaking Bad. The way he portrayed Jesse's struggle to kick drugs, his deep-seeded lack of confidence in himself and his loosening grip trying to prevent himself from falling into a life as a murderer was gut wrenching to watch. If this award doesn't go to someone from Lost, I hope it goes to Paul.
Supporting Actress, Drama
Who Will Win: Archie Panjabi, The Good Wife
Who Should Win: Elizabeth Moss, Mad Men
Sentimental Favorite: Elizabeth Moss
I've got to be honest, out of the actresses nominated here, the only ones I watch are Moss and Christina Hendricks on Mad Men. But I hear that Panjabi is excellent on The Good Wife and I've heard her name bouncing around a lot, so she's my pick to win. I'd really like to see Elizabeth Moss take this one home, though. Last year she was up for lead actress and she has all the talent in the world to carry that kind of workload, so as a Supporting Actress nominee, I think her work this year stands up even better. I love how she's handled Peggy's transformation from an ugly, scared receptionist to a confident, ambitious copywriter who's ready to take on the world. She's still a little intimidated by Don but she's not afraid to stand up to him when she needs to. She wants to find a husband but still likes to have some fun as a single girl. She comes from a conservative Catholic family but she's plenty comfortable mixing it up in the liberal Sixties counterculture. It's a testament to Moss's acting that she made this incredible transformation so believable.
Best Actor, Drama
Who Will Win: Jon Hamm, Mad Men
Who Should Win: Matthew Fox, Lost
Sentimental Favorite: Matthew Fox
Of all the categories, this is the one with which I'm the most well versed. I watch all these shows but House, and admire the work of all these actors tremendously. Cranston is incredible in his portrayal of the morally bankrupt Walter White. Every wrinkle on his face expresses the pain that churns deep in Walter's soul as he falls further and further into his own abyss of misery. Jon Hamm does more with the silences between his lines than any other actor I've ever seen. The mix of shame and relief he showed after Betty discovered his "Dick Whitman box" was incredibly moving. Michael C Hall, the favorite, turns a murderous monster like Dexter into one of the most likable and funny characters on television. It's a testament to his abilities as an actor that he can convince the audience that a person who kills people on a regular basis is actually more good than bad. Kyle Chandler has created a character in Coach Eric Taylor that is inspirational but abrasive, loving but stubborn, all at the same time. His expressions when he's dealing with Connie, especially when he knows that she has him by the short ones, crack me up more than any of the other actors on this list. But it was Matthew Fox who stood above the rest in this very accomplished group of actors. He took Jack Shephard to a new level of greatness this season, portraying Jack as he accepted his destiny on the Island, his purpose in life and, finally, his own death. The anger as he smashed Jacob's mirror, the defiance as he stared down a lit stick of dynamite, the pure joy as he saved the Island, the sadness and comfort as he embraced his father in the church, all moments of brilliance that run through the gambit of emotions and he nailed every single one of them. I tear up just thinking about it. The material demanded an extraordinary performance and he delivered 100%. After 6 seasons of excellent work as the star of the best show on TV, hopefully the man who portrayed my favorite character on my favorite show finally gets the credit he deserves.
Lead Actress, Drama
Who Will Win: Julianna Margulies, The Good Wife
Who Should Win: Connie Britton, Friday Night Lights
Sentimental Favorite: Connie Britton
Everyone thinks Margulies is going to win, and who am I to argue? Like with Supporting Actress, I am only familiar with the work of two of the nominees, Britton and January Jones. I haven't heard much for the chances of either of them to win, so I'll jus predict that the favorite will take home the trophy. But I think that would be a shame, because Connie Britton does an amazing job as Tami Taylor on Friday Night Lights. She's tough, she's hot, and she doesn't mind mixing it up in the boys club of Texas high school football. Her relationship with Coach Taylor seems so real, and I love every scene they have together. She's one of my favorite characters on that show and she's probably my favorite female character on TV. I'll give her the nod. Oh, and January Jones stinks. Or at least Betty Drapers stinks. I don't know about her acting. I go back and forth between thinking she's good and thinking she's bad. I don't think that's a good sign.
Best Drama Series
Who Will Win: Breaking Bad
Who Should Win: Lost
Sentimental Favorite: Lost
Wouldn't it be a nice storybook sendoff if Lost were to win Best Drama in its last season for the first time since winning the award in its first season? It'd be very Lost-esque, that's for sure. I don't know about True Blood and The Good Wife (although from what I've seen, neither seems on par with the other four in this category), but the rest of these shows were great this year. Dexter turned in its best season since its first. Breaking Bad took its level of suspense to a whole new stratosphere while not forgetting about the gut-wrenching character moments it does so well. And Mad Men, while maybe not as consistent as the first two seasons, still had enough great moments to be plenty deserving of a nomination here. But Lost capped off it's run with a season that never let up, answering a lot of the pressing mysteries and resolving series-long character arcs as the plot moved full-steam ahead toward a gripping and ultimately extremely satisfying conclusion. The degree of difficulty was high, but Lost absolutely nailed it. If I had to rank the four, I'd put Mad Men on the bottom, then Dexter, then Breaking Bad, and Lost at the top. You just can't beat a season where we find out what the Smoke Monster is, we get Richard Alpert's back-story, we finally get a look at the Temple, Hurley becomes the new Jacob and Jack finally has his face-to-face with his father. I really hope it wins.
We'll find out in a few hours.
Monday, August 16, 2010
Mad Men, "The Rejected"
This season has been tragically short on Pete Campbell, but "The Rejected" solved that in a big way. At the new firm, Pete may be a partner, but his name isn't in the lobby just yet. That means he still has to answer to Don and Roger and Lane, so when Fred lands a more valuable account that conflicts with Clearasil, he's ordered to break things off with that company. Well, the point man from that account just happens to be his father-in-law, and when the two sit down for a drink so Pete can break the news, Trudy's dad can't help but break some exciting news: Trudy's pregnant!
The Pete Campbell of the past might have come off as kind of a weasel, but that was only because he was trying to grab at power he had no business possessing. But now, he's a bit of a big shot, so his shrewd business sense doesn't seem so underhanded. It's welcomed. So before he sits down to a lovely pot roast dinner with the in-laws, he leverages his father-in-law's future grandchild to pull in the entire Vick's line (sans Clearasil) for Sterling Cooper Draper Price. And when Trudy's dad calls him a son of a bitch, he's tough enough to just shrug it off.
There hasn't been nearly enough Peggy for my liking this season either, so her move to the forefront this week was certainly welcomed. Peggy, both in the workplace and in her personal life, represents the changing times of the '60s. She's an ambitious copywriter instead of a secretary. She enjoys the benefits of single life instead of just setting her sights on finding a husband (even though she obviously does want to marry eventually, as evidenced by the way she played with Faye's ring and her reaction to Trudy's pregnancy). So naturally Peggy would be the one to give us our first glimpse of the counterculture (outside of Paul, Paul's beard and his freedom-riding girlfriend) that will dominate the decade. She goes to some hippie party filled with strange videos, lesbians and marijuana and feels perfectly at home. She meets some people that see the way more like she does and gets a chance to interact with people who won't just assume that she slept with her boss because she's a woman in a man's business. I really love it whenever Peggy shows her confidence in herself, and her rather smooth rejection of her lesbian friend's advances, coupled with the "He doesn't own your vagina," "No, but he's renting it," exchange gave her the chance to show off plenty of that.
I always knew we would eventually dive into the counterculture of the '60s, but I never knew when. We finally got a good look at it here, and it was like finally getting a glimpse into the world of The Others on "Lost". You just know it's going to be a big part of the show moving forward, and it's exciting to see it poke through. I definitely don't see Peggy becoming some pot-smoking hippy, but I'm sure she will use her experience with that movement to make her an even more valuable and indispensable part of the SCDP creative team.
Loved the last scene where Peggy and Pete stare at each other through the glass doors, each now running in there own, very different, circles. They're both on their way up, but for how long? The "changing of the guard" has always been a implicit theme of the show that's hung like a guillotine over many of the characters heads. Maybe my conclusion is ill-informed due to my lack of familiarity with the '60s, but I get the sense that while both Peggy and Pete are enjoying tremendous success at the moment, Peggy finds herself on the "winning" team that will come to define her generation as Pete masters the world world of the old guard. Sure, for a while the clients Pete needs to schmooze will be old, pre-WWII white men, but ten or twenty years from now, will that still be the case? And can Pete adapt to that new world? Obviously the series isn't going to take us that far down the road, but come 1970, I wouldn't be surprised to see Pete's life on the decline as his "old money" crowd goes by the wayside.
There wasn't as much Don in this one (especially compared to the first three episodes of this season), but he made his presence know by delivering the defining line of the episode with his statement that past behavior doesn't necessarily predict future behavior indicates that he really does want to change who he is. The question is now, who is it that he wants to become? Is it that old, cranky husband? Roger Sterling? Something completely different? The driving force of his personal life, besides sleeping with every fine piece of tail in the New York metro area, was always to be a better father to his children than his pop was to him. That's why he married Betty: she could give him children and he thought should could be a good mother. She was basically a means to an end. But once Betty kicked him out and he no longer could hang his hat on the fact that he was always there with Sally and Bobby (and Gene), that dream pretty much flew out the window. So will Don try to start another family now that he's realized he can't keep going down this path of drunken despair? I wouldn't expect to see it anytime soon, but somewhere down the road (probably far down the road), I think we see a Don Draper with the wife, kids, living in the suburbs with a white picket fence, but this time he won't make the same mistakes that cost him his first family.
The Pete Campbell of the past might have come off as kind of a weasel, but that was only because he was trying to grab at power he had no business possessing. But now, he's a bit of a big shot, so his shrewd business sense doesn't seem so underhanded. It's welcomed. So before he sits down to a lovely pot roast dinner with the in-laws, he leverages his father-in-law's future grandchild to pull in the entire Vick's line (sans Clearasil) for Sterling Cooper Draper Price. And when Trudy's dad calls him a son of a bitch, he's tough enough to just shrug it off.
There hasn't been nearly enough Peggy for my liking this season either, so her move to the forefront this week was certainly welcomed. Peggy, both in the workplace and in her personal life, represents the changing times of the '60s. She's an ambitious copywriter instead of a secretary. She enjoys the benefits of single life instead of just setting her sights on finding a husband (even though she obviously does want to marry eventually, as evidenced by the way she played with Faye's ring and her reaction to Trudy's pregnancy). So naturally Peggy would be the one to give us our first glimpse of the counterculture (outside of Paul, Paul's beard and his freedom-riding girlfriend) that will dominate the decade. She goes to some hippie party filled with strange videos, lesbians and marijuana and feels perfectly at home. She meets some people that see the way more like she does and gets a chance to interact with people who won't just assume that she slept with her boss because she's a woman in a man's business. I really love it whenever Peggy shows her confidence in herself, and her rather smooth rejection of her lesbian friend's advances, coupled with the "He doesn't own your vagina," "No, but he's renting it," exchange gave her the chance to show off plenty of that.
I always knew we would eventually dive into the counterculture of the '60s, but I never knew when. We finally got a good look at it here, and it was like finally getting a glimpse into the world of The Others on "Lost". You just know it's going to be a big part of the show moving forward, and it's exciting to see it poke through. I definitely don't see Peggy becoming some pot-smoking hippy, but I'm sure she will use her experience with that movement to make her an even more valuable and indispensable part of the SCDP creative team.
Loved the last scene where Peggy and Pete stare at each other through the glass doors, each now running in there own, very different, circles. They're both on their way up, but for how long? The "changing of the guard" has always been a implicit theme of the show that's hung like a guillotine over many of the characters heads. Maybe my conclusion is ill-informed due to my lack of familiarity with the '60s, but I get the sense that while both Peggy and Pete are enjoying tremendous success at the moment, Peggy finds herself on the "winning" team that will come to define her generation as Pete masters the world world of the old guard. Sure, for a while the clients Pete needs to schmooze will be old, pre-WWII white men, but ten or twenty years from now, will that still be the case? And can Pete adapt to that new world? Obviously the series isn't going to take us that far down the road, but come 1970, I wouldn't be surprised to see Pete's life on the decline as his "old money" crowd goes by the wayside.
There wasn't as much Don in this one (especially compared to the first three episodes of this season), but he made his presence know by delivering the defining line of the episode with his statement that past behavior doesn't necessarily predict future behavior indicates that he really does want to change who he is. The question is now, who is it that he wants to become? Is it that old, cranky husband? Roger Sterling? Something completely different? The driving force of his personal life, besides sleeping with every fine piece of tail in the New York metro area, was always to be a better father to his children than his pop was to him. That's why he married Betty: she could give him children and he thought should could be a good mother. She was basically a means to an end. But once Betty kicked him out and he no longer could hang his hat on the fact that he was always there with Sally and Bobby (and Gene), that dream pretty much flew out the window. So will Don try to start another family now that he's realized he can't keep going down this path of drunken despair? I wouldn't expect to see it anytime soon, but somewhere down the road (probably far down the road), I think we see a Don Draper with the wife, kids, living in the suburbs with a white picket fence, but this time he won't make the same mistakes that cost him his first family.
Monday, July 26, 2010
Mad Men, "Public Relations"
That's the old Don Draper. The one who was married to Betty yet still bedded any woman he wanted. The one who was the creative engine that drove the Sterling Cooper machine without any of the pressure or responsibility with having his name in the lobby. He knew how to sell that guy and when he had to do so. "Public Relations" shows us the game has changed. He's playing on the same field, but the rules are different. Sure, he's still supremely confident and looks good in a suit and casual wear, but I don't think "say as little as possible" is going to fly anymore. He's got to learn how to sell himself all over again. And he still has to figure out what he's selling.
I think Don knows all this. He has always been stubborn, in some ways resistent to the societal changes swirling around him. But the story for Don this season - and really for everyone else on the show - will be how he can learn and adapt to new surroundings and circumstances. And it seems like he's learning pretty quickly, judging by the tall tale he spun for the Wall Street Journal reporter at the end of the episode. You want me to play the PR game? Well, I'm going to spin myself into an even more cooler motherfucker than I already am. Let's see if you can handle that.
The new Sterling Cooper Draper Price runs like a well-oiled machine. I'm sure that's thanks to Joanie, who we find has an office of her own. With that office apparently comes a little more power, which we see as she stands eye-to-eye with Harry during their conversation over the jai alai account. The agency as a whole runs in a much less hierarchical way than the old Sterling Cooper. Pete and Peggy's (who even has a whipping boy of her own now) meetings with Don seemed much more amicable and casual than in the past. Those two worked side-by-side for there little ham stunt. Even Bert was scene actually mixing it up on the office floor instead of tucked away in his office of solitude. It seems like an agency ready to deal with more modern, less rigid and traditional, clients.
Which brings us to the the Jantzen bikini account. Don obviously hasn't lost a step as the best creative man in the business. He crafts Jantzen a solid ad to help them keep up in an increasingly risque industry but, their old-fashioned sensibilities offended by the mere suggestion of nudity, they nix the whole thing. Don's having none of it. He has dedicated so much of himself to a more forward-thinking approach that he doesn't have the patience for anyone stuck in the past. He storms out of the meeting and throws them out of the office, leaving poor Pete scrambling to set things right. But it's no use. Don's new message is clear: either get on the Don Draper train or get out of the way. Let's hope this new attitude ruffle so many feathers that it jeopardizes the future of the whole agency. If Don ruins Sterling Cooper Draper Price, what would he have left? Nothing but hookers slapping him in the face.
I'm ready to wrap this one up here. I'm sure I'll have plenty of time to talk about Betty being more of a monster of a mother than ever somewhere down the road. "Public Relations" was Don's hour. Let's not kill a good Mad Men buzz with talk of such unpleasant things.
Overall, a great start to the season.
Sunday, June 13, 2010
The Wire, Season 1: Episodes 1-5
As a die-hard "Lost" fan, it always ruffles my feathers when TV people state, as if a matter of fact, that "The Wire" is the greatest drama in the history of television. I always make the same look whenever I read such a statement: lips curled in, eyebrows slanted down, and a slight head turn to the right, as if I just took a huge bite out of a really sour lemon. It's not that I don't like "The Wire". I love it, actually. It's probably my second favorite drama after "Lost", in the running with only an old pleasure that turned me on to obsessive TV-watching, "The X-Files", and a newer favorite that I just picked up last year and is in the middle of a superb run, "Mad Men".
Aside from my rabid homer-ism for "Lost", the thing that bothers me about these claims from those snooty writers whose ranks I aspire to join is that "The Wire" is not without it's weaknesses, weaknesses that these writers often chose to ignore. In effect, their homer-ism for "The Wire" is not unlike mine for "Lost", with the notable exception being that they're paid professionals who are supposed to be critiquing all the television that's sent to them sometimes weeks in advance (sense my jealousy?), and offering as objective of analysis as possible for a medium that's almost entirely subjective. They have no problem ripping most shows when they falter (*cough*nikkiandpaulo*cough*), but "The Wire"'s treated with kid gloves. Sure, the faults are few and far between, but they're in there somewhere. For the sake of my sanity, could they please acknowledge them once in a while?
The fact of the matter is, I don't really subscribe to such a view of television recapping. People know what they liked and didn't like about any given episode of television. Why should they care what I thought the weaknesses were, especially if they're all excited about what they just saw? They shouldn't be. It's about starting the discussion of whatever happened in that half-hour/hour/two-and-a-half hours in an interesting and unique way. And with "The Wire", there's a lot of room to operate in that regard.
So why am I writing about a show that I've already watched once and ended it's run over two years ago? Well one, I have nothing else to do for the next two months. And two, I want to watch the first couple seasons (seasons some people rank as the best in television history) from the perspective of an actual fan of the show. You see, I didn't really like "The Wire" until Season 3. I felt very similarly about it as I currently do with "The Sopranos": it's fine, but nothing spectacular, and it's kind of a chore to sit through an hour-long episode. But now I appreciate Stringer's cold calculations, McNulty's struggle against the establishment, the Department's behaving like a 6-headed snake, pulling itself in as many directions and moving nowhere in the process. Instead of trying and failing to root for a police as if they're the good guys like I spent most of my first run through Season 1 doing, I can enjoy the blurring of the line between the "good guys" and "bad guys" and the lack of difference in the behavior between the two (and soon to become four, with the government and newspaper coming down the road) sides.
So let's get to it. I watched the first five episodes of last night, each of which ended with a drunk McNulty scene, so forgive me if some if it blends together. Here's a quick recap of what has happened to this point -
We're introduced to the story of the West Baltimore drug trade with the trial of D'Angelo Barksdale for murder in the first degree. With a nudge from Uncle Avon's muscle, one witness flips her story and D wiggles off the hook of a case the police department had already chalked up as a victory. Right off the bat, we see the police losing the race even though they think they're in the lead. It's a reoccurring trend. While the Department is frequently tied down by budget constraints, competing agendas, and an overall lack of motivation, the Barksdale gang isn't hampered by any of that. We hear the Department demanding strict discipline to the chain of command constantly, but Barksdale's the one who has his soldiers in formation more often than not.
D'Angelo is one of a couple characters at this point - Wallace being the other - who has his doubts in the ways of the game. He's done his share of killing of course, not only the murder for which he was on trial in the first episode, but also some pretty young thang his uncle was seeing some months earlier. And he's not ashamed of any of it. But when McNulty and Bunk called one of their favorite plays from their interrogation playbook and got D thinking about his role in the death of a witness who testified against him, it softened him up a bit. But his loyalty to his uncle, Avon, along with the intimidating presence of String is enough to snap him back into tough guy mode.
D'Angelo's torn between the lure all the glamor that comes with being a high-level gangster, mostly the money and women. He was happy to be able to take his girl out to a nice restaurant, but self-conscious about whether everyone there knew he was just a gangster, and maybe a little ashamed of that fact as well. I'm always a sucker for the bad guy looking to get out of the bad situation he finds himself in (see Christopher in the Sopranos before he became a Capo), so I was naturally drawn to D, and his story gets even more interesting as season 1 draws to a close.
I don't remember thinking much of Wallace the first time I watched these episodes, but this time through I've picked up more on his potential as more than just an expendable pawn. He might struggle with some of the math stuff, but he was the only one who knew Hamilton wasn't a president. That counts for something. And unlike Bodie, he actually understood D'Angelo's deal where he questioned why the drug trade had to be different from other businesses where people didn't die all the time. Some serious potential here, which will make what happens in a couple episodes so tough.
I'm not sure why I wasn't so drawn to McNulty the first time through. At first I was thinking it was because of all the drinking, but I was watching these sophomore year in college, the height of my drinking career. Although later seasons might explore more of his flaws - his overcommitment to the job, his inability to follow any rule at all, his neglect of his family - right now he seems to fit loosely into the Jack Shephard mold. He's willing to go as far as it takes to take down Barksdale. Whether it's working around the clock (I already work around the clock!) or standing up to superiors who can make his life a living hell, Jimmy McNulty won't rest until the job is done. We haven't seen how this bite him in the ass yet (much like Jack in Season 1), so there's really nothing not to like at this point. I really liked the scene where he was telling Bunk where he'd least like to get reassigned, and he answered it was marine duty, which we know is where he'll end up in Season 2. Excellent setup there.
With the wire up and running, Omar playing along with the investigation into some of the Barksdale murders, and Daniels holding off Rawls for a little extra time, the prospects of the Major Crimes Unit look good. But the streets are usually a step ahead. I'm sure Avon and crew have a couple more tricks up their sleeves.
Aside from my rabid homer-ism for "Lost", the thing that bothers me about these claims from those snooty writers whose ranks I aspire to join is that "The Wire" is not without it's weaknesses, weaknesses that these writers often chose to ignore. In effect, their homer-ism for "The Wire" is not unlike mine for "Lost", with the notable exception being that they're paid professionals who are supposed to be critiquing all the television that's sent to them sometimes weeks in advance (sense my jealousy?), and offering as objective of analysis as possible for a medium that's almost entirely subjective. They have no problem ripping most shows when they falter (*cough*nikkiandpaulo*cough*), but "The Wire"'s treated with kid gloves. Sure, the faults are few and far between, but they're in there somewhere. For the sake of my sanity, could they please acknowledge them once in a while?
The fact of the matter is, I don't really subscribe to such a view of television recapping. People know what they liked and didn't like about any given episode of television. Why should they care what I thought the weaknesses were, especially if they're all excited about what they just saw? They shouldn't be. It's about starting the discussion of whatever happened in that half-hour/hour/two-and-a-half hours in an interesting and unique way. And with "The Wire", there's a lot of room to operate in that regard.
So why am I writing about a show that I've already watched once and ended it's run over two years ago? Well one, I have nothing else to do for the next two months. And two, I want to watch the first couple seasons (seasons some people rank as the best in television history) from the perspective of an actual fan of the show. You see, I didn't really like "The Wire" until Season 3. I felt very similarly about it as I currently do with "The Sopranos": it's fine, but nothing spectacular, and it's kind of a chore to sit through an hour-long episode. But now I appreciate Stringer's cold calculations, McNulty's struggle against the establishment, the Department's behaving like a 6-headed snake, pulling itself in as many directions and moving nowhere in the process. Instead of trying and failing to root for a police as if they're the good guys like I spent most of my first run through Season 1 doing, I can enjoy the blurring of the line between the "good guys" and "bad guys" and the lack of difference in the behavior between the two (and soon to become four, with the government and newspaper coming down the road) sides.
So let's get to it. I watched the first five episodes of last night, each of which ended with a drunk McNulty scene, so forgive me if some if it blends together. Here's a quick recap of what has happened to this point -
We're introduced to the story of the West Baltimore drug trade with the trial of D'Angelo Barksdale for murder in the first degree. With a nudge from Uncle Avon's muscle, one witness flips her story and D wiggles off the hook of a case the police department had already chalked up as a victory. Right off the bat, we see the police losing the race even though they think they're in the lead. It's a reoccurring trend. While the Department is frequently tied down by budget constraints, competing agendas, and an overall lack of motivation, the Barksdale gang isn't hampered by any of that. We hear the Department demanding strict discipline to the chain of command constantly, but Barksdale's the one who has his soldiers in formation more often than not.
D'Angelo is one of a couple characters at this point - Wallace being the other - who has his doubts in the ways of the game. He's done his share of killing of course, not only the murder for which he was on trial in the first episode, but also some pretty young thang his uncle was seeing some months earlier. And he's not ashamed of any of it. But when McNulty and Bunk called one of their favorite plays from their interrogation playbook and got D thinking about his role in the death of a witness who testified against him, it softened him up a bit. But his loyalty to his uncle, Avon, along with the intimidating presence of String is enough to snap him back into tough guy mode.
D'Angelo's torn between the lure all the glamor that comes with being a high-level gangster, mostly the money and women. He was happy to be able to take his girl out to a nice restaurant, but self-conscious about whether everyone there knew he was just a gangster, and maybe a little ashamed of that fact as well. I'm always a sucker for the bad guy looking to get out of the bad situation he finds himself in (see Christopher in the Sopranos before he became a Capo), so I was naturally drawn to D, and his story gets even more interesting as season 1 draws to a close.
I don't remember thinking much of Wallace the first time I watched these episodes, but this time through I've picked up more on his potential as more than just an expendable pawn. He might struggle with some of the math stuff, but he was the only one who knew Hamilton wasn't a president. That counts for something. And unlike Bodie, he actually understood D'Angelo's deal where he questioned why the drug trade had to be different from other businesses where people didn't die all the time. Some serious potential here, which will make what happens in a couple episodes so tough.
I'm not sure why I wasn't so drawn to McNulty the first time through. At first I was thinking it was because of all the drinking, but I was watching these sophomore year in college, the height of my drinking career. Although later seasons might explore more of his flaws - his overcommitment to the job, his inability to follow any rule at all, his neglect of his family - right now he seems to fit loosely into the Jack Shephard mold. He's willing to go as far as it takes to take down Barksdale. Whether it's working around the clock (I already work around the clock!) or standing up to superiors who can make his life a living hell, Jimmy McNulty won't rest until the job is done. We haven't seen how this bite him in the ass yet (much like Jack in Season 1), so there's really nothing not to like at this point. I really liked the scene where he was telling Bunk where he'd least like to get reassigned, and he answered it was marine duty, which we know is where he'll end up in Season 2. Excellent setup there.
With the wire up and running, Omar playing along with the investigation into some of the Barksdale murders, and Daniels holding off Rawls for a little extra time, the prospects of the Major Crimes Unit look good. But the streets are usually a step ahead. I'm sure Avon and crew have a couple more tricks up their sleeves.
Monday, May 31, 2010
Sopranos 5.02 - Rat Pack
For Junior Homecoming, my friends and I decided to dress up like the Rat Pack. Like most of our high school bits, we thought we were uproariously clever and cutting-edge cool, while the rest of our class didn't take any notice and probably wouldn't have gotten it even if they did. Still, it was a fitting choice for us. Junior year was the time we really came together as a group. From that point through graduation, we were pretty much inseparable, always associated with one another to the rest of our class.
At one time, Tony had the same relationship with his cousin, Tony Blundetto. Excited that Tony B was home after 15 years in the big house, Tony probably assumed the two would pick up where they left off. But those 15 years away put plenty of distance between them. As with everything else in his life, Tony handles the change poorly. And he responds like he always does in these types of situations: by exerting his power. He chooses to go the petty route instead of flashing the big guns stealing Carmela's component cords so she can't have her movie night anymore. Tony, we know you want to prove you're still the man of the house over there, and it was bad enough that you would take out your frustrations at work on your family when you lived at home, but doing the same even after you've moved out? This is why I have a hard time connecting to this guy. Just bullying for bullying sake.
Tony B's desire to go straight puts even more strain on their relationship. The tension within Tony, with one side valuing the mob game, the other recognizing the benefit of a clean life, has always been one of the most interesting (and I feel, underpursued) aspects of his character. When he started to see Anthony Jr. treading the same path the he had, it scared him. But at the same time, it's the family business. He doesn't want to lose his Family. So when Christopher suggests that they should see if Tony B would take out a snitch, Tony flies off the handle. He tells them to respect his cousin's desire to go clean. All this while Tony insists on hooking him up with a job through his shady channels. It's a constant struggle for Tony, balancing these two sides, and I don't expect him to ever really figure it out. Nevertheless, his old Rat Pack is gone, with any hope of it tossed into the river.
Poor Adriana. She's stuck in a world made up of murderers, cheaters and liars, all supported by a gaggle of apologists, and she finds herself on the inside looking out. Christopher might be her soulmate, but she's certainly not in love with the world he's inextricably apart of. She sees one informant killed, has Rosalie Aprile likening Big Pussy to a less-honorable Judas, and it's all starting to get to her. When the FBI agent told her that she was finally on the side of the good guys, I wasn't sure if she really believed it, but by the end of the episode, she was ready to turn over any and everyone who's involved in mobster-like behavior. That slut with the fox coat throwing herself at Christopher? Yeah, she's first on the list.
Adriana's struggle has become one of the most compelling parts of the show for me. She's one of the few characters with a strong interest in a life removed from the gangster culture, and one of even fewer actively working against it. Unlike with Tony and Carmela, her relationship with Christopher is easy to root for. Also unlike with Tony and Carmela, I get the impression that if it wasn't for the mob life of Christopher, things would be much more smooth sailing between the two. Christopher isn't saddled with Tony's baggage about his mother and his lust for power. He could be capable of having a healthy relationship removed from all the temptations that come with life in the Family. But Christopher's as ingrained in the Family culture as anyone else at this point, and when he finds out what Adriana's been up to, she better be very, very far away. Forgiveness does not run in the Soprano family.
Soon enough, Rosalie Aprile is going to put two and two together between her conversation with Adriana and her subsequent breakdown in the Soprano family movie theater, and when she does, the whole thing will unravel. I like where this season is going already.
At one time, Tony had the same relationship with his cousin, Tony Blundetto. Excited that Tony B was home after 15 years in the big house, Tony probably assumed the two would pick up where they left off. But those 15 years away put plenty of distance between them. As with everything else in his life, Tony handles the change poorly. And he responds like he always does in these types of situations: by exerting his power. He chooses to go the petty route instead of flashing the big guns stealing Carmela's component cords so she can't have her movie night anymore. Tony, we know you want to prove you're still the man of the house over there, and it was bad enough that you would take out your frustrations at work on your family when you lived at home, but doing the same even after you've moved out? This is why I have a hard time connecting to this guy. Just bullying for bullying sake.
Tony B's desire to go straight puts even more strain on their relationship. The tension within Tony, with one side valuing the mob game, the other recognizing the benefit of a clean life, has always been one of the most interesting (and I feel, underpursued) aspects of his character. When he started to see Anthony Jr. treading the same path the he had, it scared him. But at the same time, it's the family business. He doesn't want to lose his Family. So when Christopher suggests that they should see if Tony B would take out a snitch, Tony flies off the handle. He tells them to respect his cousin's desire to go clean. All this while Tony insists on hooking him up with a job through his shady channels. It's a constant struggle for Tony, balancing these two sides, and I don't expect him to ever really figure it out. Nevertheless, his old Rat Pack is gone, with any hope of it tossed into the river.
Poor Adriana. She's stuck in a world made up of murderers, cheaters and liars, all supported by a gaggle of apologists, and she finds herself on the inside looking out. Christopher might be her soulmate, but she's certainly not in love with the world he's inextricably apart of. She sees one informant killed, has Rosalie Aprile likening Big Pussy to a less-honorable Judas, and it's all starting to get to her. When the FBI agent told her that she was finally on the side of the good guys, I wasn't sure if she really believed it, but by the end of the episode, she was ready to turn over any and everyone who's involved in mobster-like behavior. That slut with the fox coat throwing herself at Christopher? Yeah, she's first on the list.
Adriana's struggle has become one of the most compelling parts of the show for me. She's one of the few characters with a strong interest in a life removed from the gangster culture, and one of even fewer actively working against it. Unlike with Tony and Carmela, her relationship with Christopher is easy to root for. Also unlike with Tony and Carmela, I get the impression that if it wasn't for the mob life of Christopher, things would be much more smooth sailing between the two. Christopher isn't saddled with Tony's baggage about his mother and his lust for power. He could be capable of having a healthy relationship removed from all the temptations that come with life in the Family. But Christopher's as ingrained in the Family culture as anyone else at this point, and when he finds out what Adriana's been up to, she better be very, very far away. Forgiveness does not run in the Soprano family.
Soon enough, Rosalie Aprile is going to put two and two together between her conversation with Adriana and her subsequent breakdown in the Soprano family movie theater, and when she does, the whole thing will unravel. I like where this season is going already.
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