Jan. 31st, 2020

  • 8:48 PM
polychromatic: mario, muffins, misc (your princess is in another castle)
Finales are a tricky thing. How to strike the balance between "artistic integrity" and "audience satisfaction" is a fine line that I'm sure is difficult to tread. There have been shows I've loved that had lackluster endings, and there have been shows I've tolerated that managed to end on a high note.

The Good Place
- if you're buying what they're putting down - had a pitch-perfect ending.



I feel like The Good Place is best experienced the way I encountered it: knowing vaguely that it was about a specific version of "Heaven" and wandering into it with blind faith that Kristen Bell, Ted Danson, and - most importantly - Michael Schur would not steer me wrong.

Honestly, I feel I was well-rewarded for that faith. Even if I haven't followed Mike Schur's most recent endeavours (sorry!)

I was so charmed by this utterly delightful, colourful, quirky world that scratched the itch that Pushing Daisies had first sparked in me that I tried (unsuccessfully) to get others to watch it. It so confidently cast its lot with selfish, self-described "dirtbag" Eleanor Shellstrop and her journey and I was enamoured with each new chapter, even as I sadly had NO ONE to talk to this show about. I was on the edge of my seat for months, waiting for the announcement of a renewal after the first season had quietly come and gone. Was I one of those people who smugly noted that I'd been there since the beginning once people jumped on the bandwagon when Netflix rolled around to save the day? You bet I was!

Even though I am under no pretenses that anyone is reading this journal, I feel like any attempt at summarizing this show would do it a disservice. It needs to be experienced firsthand. It may not have my heart the same way that Parks and Recreation does, or the familiar affection that Brooklyn Nine-Nine inspires in me, but it shares the optimism at the core of both those shows and achieves a level of impeccable execution I can only admire.

In the end, I feel lucky to have been along for the ride.

Nov. 18th, 2019

  • 8:01 PM
polychromatic: star wars, sci-fi, movies (the force is with us...?)
In my third year of veterinary school, I moved out with two other girls in my class to a little one-level house a short drive away from campus. We each had our own rooms and did our best to share the cooking and the chores during regular semesters. We dubbed our humble abode "The MooseVet House" since we were all Canadian and enjoyed the slightly lower costs of living that came with sharing utilities as well as (mostly) each other's company.

One of the first things we were excited about was the little library located close to the local mall, only about a five to ten minute drive from our house. We all got library cards, pleased at the prospect of being able to indulge in various media to help us unwind between all the studying, especially since my housemates had pretty much made it through the DVD collection I left behind during my short trip home for the holidays. While we buzzed around, the DVD box for an American TV drama caught my eye. I'd heard good things about the show, and what did I have to lose, really? If I didn't like it, we could just return it, no harm done. I showed it to one of my housemates who was willing to give it a try, and the evening's plans were set.

Honestly, I don't think either of us really expected to fall so hard for this show.
 



I walked into this pretty much only knowing that it was about football and it starred Kyle Chandler. I have never been a huge sports enthusiast to begin with, and football was one of the sports I had zero knowledge or interest in, so it was mostly Kyle Chandler's presence that pulled me in since I'd found him so charming in Early Edition when I was a kid who just wanted to see a cat deliver a newspaper. I also had very little interest in small-town American life, having grown up in a reasonably metropolitan Canadian city. I wasn't even really that interested in teen drama, which the brooding portraits of the young and good-looking cast seemed to promise. Friday Night Lights was all of that, but somehow it was also so much more.

As anyone may have easily deduced, the show revolves around a high school football team in the small town of Dillon, Texas. It's an ensemble show with the stoic yet passionate Coach Eric Taylor and his amazing, compassionate, strong-willed wife Tami Taylor at the center of it all. It's about the town they live in, the young people they help to mold and guide, the ups-and-downs of small-town life, of loving the community whose beating heart bleeds for this football team and each other, of appreciating your roots and the sacrifices of your family but still wanting to escape the smallness of it all. There are so many amazing characters who get knocked down, who make bad decisions, who are making the best of their situations, who grow beyond the stifling environment they're brought up in, or who get trapped by their circumstances. It's heartwarming, it's sometimes devastating, but it always feels like an honest portrayal of these people in this particular town. 

While the various plots revolving around the football team and the town of Dillon are often very engaging, to me the real draw are all the relationships between the various characters, as bonds are made and broken and mended the way they are in life. Things are often complicated between characters, but also sometimes they're as simple as the unquestionable fact that there is real connection and love in these families and friendships. Coach and Tami Taylor probably have one of the best portrayals of marriage in media, where they both maintain their individual motivations while always coming together as a team. Sometimes there's fighting, sometimes there's sacrifice, and sometimes there's compromise. But there is always understanding and there is always love. I could go on and on about the personalities that populate this town, and my housemate and I used to joke that if I was the Saracen then she was the Riggins, even though she drunkenly came into my room once to declare that she was also a bit of a Saracen herself (which is a real Riggins-move, but I digress!) I could go on forever about the various characters and their arcs, but it's best experienced first-hand.

The one major caveat about the show is how uneven it can be at times. While the second season was always a bit shaky due to various decisions made by the writers to probably try and help their ratings, there was one particular plot-line that my housemate and I actively hated and were only too happy when they finally just shoved it under a rug, never to be addressed again. And that is something that happened a lot in this show. New characters that seemed to hold some importance to our regular cast and their journeys would disappear between seasons, huge changes would occur with barely any exposition to explain how we got from Point A to Point B, and entire plot-lines would just drop into nothingness. Sure, some of these changes were probably for the betterment of the show, but it was rare that we would start a new season and not be absolutely flummoxed by all the new adjustments we'd have to make in the first few episodes.

Sure, the various hiccups and bumps may prevent it from being the "perfect" show, but it somehow doesn't really detract from the overall experience, especially when shared with someone. My housemate and I looked forward to our evenings where we took an hour's break from studying to indulge in an episode - sometimes with wine, sometimes not. We laughed and cried over these characters and their lives. We dreamed of growing up to be as wonderfully strong and steady as Tami Taylor. We took the same exams in different settings and would always text each other "Clear Eyes, Full Hearts, Can't Lose!" as encouragement.

I still don't care much for football and I still see very little charm in small-town life, but I will always absolutely love this show.

Jun. 7th, 2019

  • 3:23 PM
polychromatic: (Default)
Between Japanese and Korean dramas, I've always had a lot more fondness for the former over the latter. Sure, Japanese dramas tend to be a little cornier and Korean dramas generally have the benefit of impressive production values, but I'll be damned if most of them aren't plagued with serious pacing issues. I'll admit my sample size of shows I've actually watched start-to-finish is pretty small (I can almost list them on one hand), but that's because all of them have sent me into an impatient spiral of waiting for something of consequence to happen at one point or another. Goong was cute until the melodrama got to be too much, Boys Over Flowers was surprisingly awful and nearly spent all of the tenuous good will I had built up for that entire franchise, Stranger was frequently and unforgivably boring despite its high-stakes political intrigue, and God's Gift - 14 Days got so repetitive with its red herrings that I started to resent how laughably inadequate these adults were when their one job was to not keep losing sight of a bratty little girl. Even Coffee Prince - a show that I actually found incredibly charming - had moments where I was wishing for a bit more plot and a little less adorable domesticity, something which I am usually all for!

And then came Signal.




Here's the thing: like most people, I am a sucker for a good time-travel hook. Anytime people are trying to change the past for the benefit of the future, I am absolutely here for it. I was all over CW's TV adaptation of Frequency despite its often rocky execution, and I'd heard enough positive buzz about Signal over the years (along with an enthusiastic endorsement from a co-worker) that I decided to get over my "it's complicated" relationship with Korean dramas and give it a shot. And boy am I glad I did!

The series starts off following Lieutenant Park Hae-young, a disillusioned profiler who somehow decided to become a cop despite nursing a fairly life-long distrust of them for bungling a case where a classmate was kidnapped and killed. But as time starts ticking on the statute of limitations, he comes across an old police walkie-talkie that connects him to the idealistic Detective Lee Jae-han - only to find out his new ally is operating 15 years in the past. The two learn to cooperate across time, Lt. Park giving Detective Lee what details he can to close cold cases in his present by trying to resolve them in the past. But meddling with the past isn't without its consequences, and both men experience various missteps that could lead to their downfall. 

Signal is not perfect - it still trips into many of the more melodramatic tropes - but still, it's just that good. The cases and overarching story are urgent and tightly plotted, and hard-won victories are sometimes still bittersweet. Also, the three leads  prove themselves more than capable of handling these amazingly nuanced characters, even if one of them stumbles out of the gate initially. Park Hae-young starts off prickly and pretentious, but as he softens and becomes more personally invested in this mysterious connection to Lee Jae-han, his circumstances and emotional vulnerability make him more and more sympathetic as he desperately tries to do right by the victims of his cold cases while dealing with the often explosive aftermath of any changes to his timeline. Lee Jae-han for his part is an amazing protagonist from the get-go. We follow him from his early days as a naive, bumbling, but dedicated member of the police force to the more jaded but still idealistic detective who retains his sense of justice, even as he becomes necessarily wiser and more cautious about the necessary risks of this arrangement and what they cost him. Cha Soo-hyun rounds out our group of heroes as the hardened, world-weary, reluctant colleague to Park Hae-young in the present, even as she is simultaneously Lee Jae-han's timid, enthusiastic, and somewhat besotted subordinate in the past, looking to prove herself as an effective member of the police-force. The interactions and relationships between these three people is at the heart of it all, and I became very deeply invested in the happiness and well-being of these fictional characters.

Of course, Signal deals with very upsetting crimes, so that aspect alone may not make it everyone's cup of tea. Having said that, it's definitely worth watching if you can stomach the level of violence on something like CSI. It's thoroughly engaging, engrossing, and emotional. It's not often that I can wholeheartedly recommend a series, but Signal definitely earns it.


 

May. 26th, 2019

  • 7:37 PM
polychromatic: (livin' in raincouver)

Oof.
 


I started (and finished) watching Sorry For Your Loss this weekend. It's Facebook's first official (?) television show and it is a gut-punch of a portrait centering on one widow's grief. Leigh Shaw - the widow in question - is not exactly a lovable character. Her family loves her and her friends love her, but at this stage in her life it is clear that they love her despite the fact that her grief has enveloped her entirely and sunken into her bones, sometimes transforming her into a spiky entity of rage who lashes out with the intent to hurt the universe that has dealt her such a devastating hand. Frankly, I'm not sure how much I even liked pre-widow Leigh in the flashbacks at first - she's a lot lighter and happier without the shroud of tragedy around her shoulders, but the prickly, sardonic, bulldozing personality is all hers. That she loved her husband Matt - and loved him fiercely - is never a question. But love doesn't always mean understanding and it's hard not to empathize with her as she tries to pick up the pieces of her shattered life, examining and scrutinizing what she thought she knew about the man she loved.

Leigh is necessarily the main focus, but we also spend time with her mother - a spiritual but slightly bitter divorcee who runs a barre exercise studio, Leigh's adopted sister Jules - an often bubbly three-month sober recovering alcoholic who is clawing her way through her own issues, and Matt's brother Danny - who is coping very differently with his own grief and is someone who simultaneously can grasp what Leigh is going through but also often at odds with her. Leigh grapples emotionally with all of these people in her life, sometimes humorously in the small day-to-day annoyances of living in close quarters with very different personalities, sometimes reaching out to them in a time of need, but more often than not pushing them away using her grief as a weapon against them.

The show also discusses depression with what I perceived to be great sensitivity. There was a very firm emphasis that this is a disease, that it is not something to be fixed or conquered, and that even when managed appropriately there are times when it can creep in and overtake a person. It is not laziness, it is not simply sadness, and it can be a relief to have a name for it rather than feeling "wrong". It is not easy and it is not something that can necessarily be understood or described. 

As per my tags, I flippantly classify shows I like into two broad categories: "shows everyone should love" and "shows I love but your mileage may vary". This is obviously too simplistic, too reductive in many ways. Though it has its moments of gentle levity, it still feels like Sorry For Your Loss is not a show to love; it's too raw and Leigh is oftentimes too refractory for that. If anything, it's a show that I think that everyone should watch at some point, whether it's now or ten, fifteen, thirty years on. Grief is a part of all of our lives - it's only a matter of whether we have been unlucky enough to experience it yet.




Mar. 17th, 2019

  • 10:00 PM
polychromatic: chuck, tv (came outta this grave to live)
Had a fairly quiet day, even though I did make the effort to have coffee with some girls from work and went to Wesley's place to play more of Kingdom Hearts 3 again. But the rest of the day was just cuddling with Kira in bed (sometimes I adore her cute, fuzzy little face, especially when she's so accepting of kisses) and watching some Queer Eye, which is some kind of comfort food for the soul.

I am not generally one for reality television - give me a scripted series any day! - but I've had a soft spot for What Not To Wear and Extreme Home Makeover in the past entirely due to their feel-good natures. I never did watch the original Queer Eye For The Straight Guy because we didn't have a channel that showed it, but when I heard all the lovely, glowing reviews for the reboot series - well, the BBF-family's subscription is right there.



I think what I like about the new Queer Eye is that it is very sweet-natured, promotes self-care and understanding that it is not weak to ask for help when you need it. And the way it approaches the people they are trying to help is lovely; there's an emphasis on the notion that they do not need "fixing" so much as a guiding hand to help show off the shine that they already possess. I have always been very lucky to have a loving and supportive family and no major hardships in my life, but I feel like I have recently started trying to take an interest in my "presentation" to the world and have learned to enjoy it a little more than I ever have before. Queer Eye just helps cement the idea of that having some level of importance in my life. I've also tried my hand at cooking meals regularly again, and I'm now recognizing that it is a kind of "self-care" to make that effort for myself. Here's hoping I can keep it up!

Mar. 14th, 2019

  • 9:38 PM
polychromatic: that's what i said (crazy cat lady lifestyle)

 One Day At A Time was canceled today, which is a goddamn shame because that show - while cheesy - is also very heartfelt and relevant.

ALSO, WHO CANCELS RITA MORENO?!?!

Anyway, very sad to see all these very personable actors and hardworking crew be out of work. I was really rooting for it!

 


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