Chuck finale reaction

I think it goes without saying, but don't read this if you haven't yet watched the finale of "Chuck." Any write-up that fails to address key plot points would defeat the purpose of reviewing the episode at all.

Sooo...after five years and a lot of Subway sandwiches, "Chuck" is over. Now, I have to preface my comments by saying I was a casual watcher of the show. While I was initially drawn in by the way they deftly mashed up spy chic with nerd culture, I became less invested over time as the show continued to default to the same conflicts on a weekly basis (i.e. was Chuck too much of a nice guy to cut it as a spy, would Sarah love him without the Intersect, could he keep his cover around Morgan/Ellie/the Buy More, etc.) For me, it got stale quickly. But even as my enthusiasm waned, I usually found the show entertaining enough, although it could be really hit-or-miss sometimes.

But what was great about the finale, besides the throwbacks to earlier episodes and the cameo by Chuck's mom and a final performance by Jeffster, was the invitation to reminisce on the last five years of my own life personally and see how much I had changed along with Chuck. It was a little emotional to consider how this marked the end of an era. But I think the finale of any long-running show you watched regularly can do that, especially if it spanned life-changing moments.

What didn't sit well with me was where they left things for Chuck and Sarah. Now I knew going in, since I follow E! News writer Kristin Dos Santos on Twitter, to expect an ambiguous ending that may be controversial, since she couldn't help but allude to as much shortly after it aired. Indeed, they did seem to go with an Inception-spinning-top-inspired "Did Morgan's plan work?" final note. And while that leaves the fates of the characters firmly in the hands of fan speculation, I think at least that much should've been wrapped up a little neater.

When you think about it, the real charm of the series is Chuck's relationship with Sarah. If a guy like him can get a girl like her, it gives nice guys hope that they don't have to finish last after all--that the dream girl is never truly out of reach. And once it was established that Sarah did, in fact, love Chuck, and she let herself give into her feelings for him, what they shared was really sweet. There were many times along the way that their relationship was jeopardized, but things always worked out. Until the finale, that is, when the writers took it away in the most heart-wrenching way imaginable--erasing it like never happened with little-to-no encouragement that those memories could ever be recovered. It was a disservice to both Chuck and Sarah to rob them of their love.

Now sure, perhaps the kiss worked. Barring that, maybe Chuck might even eventually win Sarah's heart all over again. But after so much talk about that house with the picket fence and their plans for the future, leaving them back at square one, unresolved, is such a huge downer. It just seems very un-"Chuck." I guess I'll just have to have faith that Disney movies got it right.

Dead Already

It's been a long, long, long time, but I'm interested in sharpening my blogging skills, so back to Pop Culture Depot I go!

Everyone by now has heard the critical acclaim for AMC's "The Walking Dead." And while I have to give kudos to them for their dramatic, earnest approach to zombies that remains irony-free and kitsch-free, it often feels a little cold and lifeless (pun intended). But this week's Fall finale (how crazy is it, by the way, that so many shows have mid-season finales anymore?) ended in five minutes of top notch, not-to-be-missed television as the season's main story arcs came to a head in a core-shaking confrontation. I don't want to give anything away, but the last scene is such a fitting resolution that even though you should see it coming, you totally don't.

Unlike last week's "Dexter" reveal, which was ruined by Internet speculation that turned out to be disappointingly spot on. Since nearly the first episode of the current season, online reviewers have have been wondering if Edward James Olmos's Professor Gellar was, in fact, actually there at all. Turns out Colin Hanks's Travis has been hallucinating him all along. And if you've been watching these past few weeks with that idea planted in your head, you've noticed how no one but Travis ever interacted with Gellar, or saw Gellar, etc. At least the "is he real?" tension is finally over. But in a season that, to date, I've really enjoyed so far as it plumbed themes of light and darkness, I have to say I feel cheated out of what would've otherwise been a fantastic twist, as in Psycho or Fight Club.

On a lighter note, NBC's "Community" is having its best season so far, as it approaches "Arrested Development" levels of wit and cleverness. So it's probably no surprise that, like "Arrested Development," it's unlikely to go beyond a third season. The show is simply too smart for its own good, as evidenced by NBC taking it off the midseason schedule. While nothing is set in stone re: cancellation, this is definitely a bad sign. Which is unfortunate, because they've been knocking it out of the park so far this Fall, with episodes like "Remedial Chaos Theory," in which six alternate realities are explored following the roll of a die (seven, if you count the one where Abed calls Jeff out on his ploy to avoid getting the pizza). And I couldn't stop laughing out loud until this week's anime foosball sequence was over.

Finally, "Fringe" remains one of my must-see shows, although I don't feel like it's been delivering the originality of season three so far this Fall...with one notable exception: "And Those We've Left Behind." That week's exploration of time displacement was imaginative and just plain fun. Unfortunately, "Fringe" is on hiatus again already and doesn't return till mid January. Here's hoping the second half of the season has lots of twists and surprises in store.

I'm pretty sure no one is going to read this--I think the existence of this blog is now just a slightly better kept secret than the Colonel's recipe of 11 herbs and spices. But so much goodness in TV land of late is compelling me to update.

First, who doesn't love "Glee"? Yeah, they set the bar pretty high in the pilot and have yet to do an episode that's as consistently funny, clever, and charming since then...with the possible exception of this week's episode, "Ballad." The opening scene is simply must-see. Mr. Shu and Rachel perform "Endless Love", over which the hilarious inner monologues of several characters are voiced, not the least of which is Will's own thoughts as he realizes singing this duet with a student was a very, very, very bad idea, as if his ludicrous facial reactions don't convey that already. Bonus points for including "Don't Stand So Close to Me" in a mash-up.

Meanwhile, this week's "Dexter" had more bombshells than an army weapons cache. Dexter's game of cat-and-mouse with Trinity killer Arthur Mitchell gets amped up to 11 when we see, via a Thanksgiving dinner drop-in, how dysfunctional the Mitchells are under their perfect facade, and just how monstrous Trinity is, even in his home life. Then Dexter tips his hand in an eye-popping moment in the kitchen with a butcher knife and a menacing threat, witnessed by the whole Mitchell clan. Not to mention the surprising connection between Trinity, the hot newspaper reporter, and Agent Lundy's real killer.

Last week was AMC's mini-series remake of the 1960s cult classic TV show "The Prisoner." While the reviews I read beforehand were overwhelmingly negative, I thought this re-imagining was more-or-less faithful to the spirit and trappings of the original, albeit with some artistic license taken to make it fit a modern ("Lost" era) interpretation and give it a satisfying conclusion (which the series lacked, mind you). I have to say I enjoyed it.

Since I last updated, Fox officially announced that "Dollhouse" is ending after the 13 episodes ordered for season two finish airing (beginning in December with weekly "double features", intended no doubt to burn through them as quickly as possible). I know I've spoken highly of this show here and in other places. Although I've rooted strongly for it and talked it up as best I can, I think this is the inevitable conclusion. While on paper (and occasionally in practice) it was a phenomenal show, it suffered from an over-reliance on a star who was ultimately incapable of carrying it, Fox's inability to market sci-fi period, the most undesirable of timeslots, and the waffling between procedural and serial which succeeded in alienating fans of both formats. I really did want to see where the overarching story was going, but there was just too much filler and too much getting jerked around by Fox that I have to confess to a degree of relief that it's over.

Speaking of things that are over, I'm just now for the first time watching Aaron Sorkin's "The West Wing" on DVD. It's fantastic! I can't believe I deprived myself of watching this when it was originally on simply because real-world politics left such a bad taste in my mouth. I was late to the table for "Sports Night" too, not being very interested in sports. But these are both simply wonderful shows that really convey warmth, dignity, humility, and the human condition, interjected with a great deal of wit and an insider's look at a fascinating profession. I'm working on season two at the moment and I just can't seem to get enough.

epitaph one

This blog certainly feels like it should be eulogized already, but someone actually read it the other day and asked for more. Since I've got some time on my hands these days, I figured why not update for old times' sake? So again I manage a loose double meaning for the title of this post, which refers more to the "Dollhouse" episode of the same name than a tombstone engraving for the ol' Pop Culture Depot.

And how about "Dollhouse", anyway? When I last wrote, this was one of my highest anticipated shows for the new TV season. After some initial disappointment as Joss Whedon and Fox worked to find middle ground, the show hit its stride halfway through its half-season run. Whedon, master of the longview story arc, dropped in some great twists, intrigue, and long-absent humor to his latest opus and made it watchable, if not must-see. But the big news over the summer is the release of the unaired 13th episode, "Epitaph One", on the DVD set just days after a Comic Con screening. Shot on video (I never would've guessed if I hadn't been told), this is just another example of Whedon taking lemons and making Mike's Hard Lemonade. (That's supposed to be a compliment.) Over budget after shooting the pilot twice and still one episode short of a complete baker's dozen, Whedon pulls off a clever, post-apocalyptic view of the Dollhouse's future with minimal regular cast, some shoestrings, the crew from "24", and a one scene dug out of the unaired pilot. It was a perfect cap for the series in case they didn't get renewed and simultaneously a tantalizing springboard for future stories in case they did. My only concern is, did they leave enough unanswered to still have some mystery going forward? I'm looking forward to season two, no doubt.

What else to talk about while I'm here? Well, I already examined season five of "Lost" at my personal blog, argabright.tumblr.com (I know, I'm cheating on you), as well as extolled the virtues of Alan Tudyk's appearance on the "Dollhouse" finale and lamented the short-livedness of ABC's American remake of "Life on Mars".

There's not much else going on right now. Summer is primarily the domain of reality shows, which means fans of scripted TV have to watch Netflix rentals until September comes back around. The only exception is if you get a premium network like HBO. I'm doing both. With "Entourage" as a perennial fave, I've definitely been peeping out the new episodes. And I'm also checking out the first two seasons of AMC's "Mad Men" on DVD--I'm finding it to have a similar feel to "The Sopranos." While enjoyable, however, I have yet to say I'm hooked. But I'll likely DVR new episodes, starting this coming Sunday. I'm also reliving some gems from the past--I picked up season one of "Dexter" at huge discount off Amazon.com and I'm watching it again. Sooo good.

feelin' good about fall '08

Oh, my poor, neglected TV/movie/music blog. You're long overdue for some attention.

Well, here's something to talk about: the start of a new TV season. I mean, who else is excited? Maybe I'm just content-starved after the writers' strike cut last year's season short, but I'm uber-excited for some new "House," "24," "Lost," and all the rest.

First up, I have to weigh in on "True Blood," HBO's vampire drama. There's some promise there, but as a Whedon-phile, I have to say everything they're doing, "Buffy" did first and better. To start, Anna Paquin looks good as a blonde, and that accent is hot, and I did have a crush on her for like five seconds after the first X-Men movie came out, but she's no Sarah Michelle Gellar. They have a vampire named Bill? So did "Buffy," only he was more formally known as William The Bloody, and less formally known as Spike, and both names are much better suited to a nightstalker. The heroine, Sookie, has the ability to read minds. Hey, there was an episode where Buffy could do that...you know, nine years ago. But who's counting?

Next on the docket, I'm thrilled to have "Terminator: The Sarah Connor Chronicles" back. And to all the naysayers who swore up and down they'd never have a T-1000 on the show, all I can say is, =p. I was excited when I saw a billboard for the new season a few weeks back showing puddles of liquid metal, but as I hadn't heard of any plans to introduce a shape-shifting Terminator, I wasn't sure if they were really doing it until the final moments of the season premiere. All I can say is, in the age of rampant spoilers, kudos to team Sarah Connor for keeping that one under wraps. And good usage of the Shirley Manson character.

Now, there's been a lot of hype over "Fringe," and while I admittedly didn't catch it, I didn't find the trailer/promo/sizzle particularly exciting. With so many shows on my DVR record list already, I just have to be more discriminating when it comes to new programs. If I continue to hear good things, I may check it out on DVD, but for now, it just didn't make the cut. (Ultimately, BTW, neither did "True Blood.") No, I'm reserving that coveted "new show" spot for "Dollhouse," Joss Whedon's next series, due this winter. I was a little concerned to hear production shut down temporarily when Joss found some of the latest scripts not up to par...but the same thing happened for the upcoming season of "24," and I'm hoping they're just being anal and it's not a sign that things aren't going well.

Still waiting to see what new "House", "Heroes", and "Chuck" have in store, and I'm seriously considering getting Showtime to see the new season of "Dexter" after discovering that gem this summer. I could almost write a whole blog about the charming, CSI-in-reverse, serial killer drama...but I should probably call it a night.

the resurrection ship

I thought a nice BSG reference would be appropriate to acknowledge my little TV blog's Lazarus-like return from the grave. Yes, I'm watching that show too now, but more on that in a minute.

The main reason I just had to blog again is last night's action-packed episode of "24"...I mean "Lost." Holy cow. When did ABC's island mystery soap turn into a Bourne installment? Clearly, there will be spoilers, so turn back now if you want to stay uncorrupted.

Anyway the war has indeed begun. And our Losties are not to be trifled with. Ben, it seems, is a bad mammajamma with a nightstick...that is, when he's not unleashing the smoke monster on unsuspecting raiders. Who knew Smokey could be controlled? Or can he? And Sawyer is shaping up to be quite the unexpected hero. Not only did he navigate a barrage of enemy gunfire, but did he actually stick his neck out for Claire and Hurley? Maybe he cares after all. He's just lucky he's a series regular. Anyone wearing a red shirt last night got mowed down mercilessly by the gang from the freighter. In succession, no less. Get. Back. In. The. House. Too late. And say goodbye to hottie Tania Raymonde--her character Alex was executed without hesitation, proving to Ben that the boaties don't make empty threats.

Last night we learned how Sayid came to work for Ben post-island, and that Ben and Widmore have something of a checkered past, although what exactly that past consists of is still anyone's guess. And the rules have changed, making Widmore's daughter (and poor Desmond's lover) fair game. I foresee a Ben/Desmond confrontation before the series is over.

Hurley is right--in Risk as well as in "Lost," Australia is the key to the game. Hopefully, we'll learn more about that later. And maybe, if we're good boys and girls, the writers will explain how Ben came to suddenly be in the middle of the Sahara in his flashforward. Don't tell me the Others have access to a teleportation device. Maybe that's what's in the fabled Orchid Station that we're supposed to visit later in the season?

At any rate, kudos to team "Lost" for their first episode produced after the strike. I wish I could give props to team "Smallville," but unfortunately, the pre-Superman sudser just keeps getting more and more ridiculous. I don't really know why I continue to watch...I guess I just can't get enough of the Man of Steel. Cousin Kara Kent (Laura Vandervoort) has provided some eye candy to make season seven a little more tolerable, but the plots are pretty much laughable at this point. I was hoping after last week's darker turn for Lex we could start expecting some more mature fare, but I guess that was wishful thinking. Enter Jimmy Olsen, superspy. Ai yi yi.

"Battlestar Galactica" season four continues tonight. I started watching the DVDs around Christmas and finally got caught up to air this past week. Now, don't get me wrong, because I appreciate the show as well executed sci-fi, but I still don't quite get why the fans go as crazy for it as they do. The writers explore some really cool metaphysical stuff with the Cylons (the latest infighting between the Dean Stockwell model and the Tricia Helfer model is especially interesting) but for the most part, I don't really find the characters sympathetic enough to care what ultimately happens. And all the drama between Lee and Dee and Starbuck and Sam--I'm so over it. Just get back to kicking Cylon ass already. Oh wait, they're doing that to themselves now.

adios amigos

No, I'm not quitting this blog. Although sometimes it must appear as though I've abandonned it.

I've titled this post after the latest episode of "Entourage," a consistantly solid show that I enjoy regularly, and yet somehow don't follow with the fervor I hold for "24" or "Lost." Still, this week's episode had some killer moments that are worthy of mention. The first comes when Vince and Eric track down their Queens Boulevard director, Billy Walsh, to the set of his latest project...which turns out to be a porno. And then, when they get Walsh to meet with their financier over dinner, he excuses himself to go "dump." Jeremy Piven steals the scene with just his facial reaction. After the credits rolled, HBO previewed the new season with a brief promo which showed the boys filming Medellin on location in Columbia. I'm super excited to see that. Sadly, it's my understanding they're back in L.A. by the next episode. Even so, they've definitely got my attention for the moment.