06.07.08
Posted in Reviews at 1:12 am by Administrator
This season, I’ll be summing up this unusual 2007-2008 season with a post-mortem on the majority of the shows I’ve reviewed during the year, ranking from the very worst to the very best. In some cases, the term “post-mortem” is all too applicable. This is Part 8 of this 11-step journey, focusing on the first season of “Pushing Daisies”.
A number of new genre shows struggled out of the gate and eventually paid the price with cancellation. The writers’ strike only seemed to exacerbate the effects of an initial critical blow: “Bionic Woman”, “Moonlight”, and “Journeyman” were all immediately fighting a negative impression and subsequent internal challenges to fix them. Two other new shows (“Pushing Daisies” and “Terminator: The Sarah Connor Chronicles”) began with highly praised pilots and managed to maintain a similar level of excellence, letting the promise of the strong start to gloss over first season jitters.
“Pushing Daisies” topped the charts with its pilot, beating out every other season premiere. The visual style was completely different than anything else on the air, the comic timing was perfection, and it introduced a whimsically dark world that couldn’t be found anywhere else on television. It was, quite simply, something original, especially considering that it was airing on a traditional network.
It doesn’t hurt that Barry Sonnenfeld graced the direction of the first couple episodes, or that “Dead Like Me” and “Wonderfalls” veteran Bryan Fuller ran the writing room. The cast was equally capable, with solid chemistry, and the scoring matched the visual palette. As I said in the review for the pilot, “It’s as if Tim Burton and Joss Whedon had a love child.” And I meant that in the most complementary sense.
Unfortunately, while the writers did give the first season a nice enough arc, the writers’ strike cut it down to a mere nine episodes. It was basically making the case for a second season at that point, and thankfully, the network agreed with the notion. It should be interesting to see what kind of absurdity might emerge with a full season’s worth of brainstorming.
There is some cause for concern, however. While the series began on an incredibly high note, the pressures of producing a new opus each and every week were already taking their toll during the first season. The comedy wasn’t quite so sharp, the plots sometimes failed to measure up, and some of the more experimental elements fell short. The ratings were also slowly but surely wavering by the end of the short first season run, as the freshness wore off and some viewers fled to less challenging fare.
So the question on many minds regarding “Pushing Daisies” is simply this: will the second season be able to live up to the potential of the first season? After all, despite some minor shortcomings, the Critical Myth average rating for the first season was an impressive 7.8, ranking it among the best of recent years. It will certainly be a hard act to follow, especially when absurdist comedy is so very subjective. If any show has the pedigree to pull it off, however, it must be “Pushing Daisies”.
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12.13.07
Posted in Reviews at 7:44 pm by Administrator
Written by Lisa Joy
Directed by Brian Dannelly
While other new shows have struggled this season, particularly in terms of adjustment to the writers’ strike, “Pushing Daisies” seemed to be designed to take advantage of the limited opportunities for storytelling. This series only had nine episodes worth of material ready before the strike, but those episodes tell a relatively complete story (thanks to some revisions to this episode’s script). With renewal already in hand (meaning at least one more season, if the strike kills the rest of this season), it was important to end the season on a strong footing.
Several story arcs come to fruition in this episode. First and foremost, Chuck comes to terms with the fact that Ned’s ability led to the death of her father. In her grief, she is tempted by the possibility of sharing the details of her resurrection with someone else. But she soon comes to the conclusion that disclosure is not the right decision, and while she still feels isolated, she knows that Ned is there for her. In other words, in small measure, love conquers all.
The culmination of the “herbal pie enhancement” plot thread leads to a far more stunning revelation: Aunt Lily is Chuck’s real mother. This puts Olive in an interesting position. Olive continues to believe that Chuck is simply faking her death. She may be tempted by this new information to say something to Chuck, or worse, to say something to the Darling Mermaid Darlings about Chuck and her non-dead status. Whatever the case, it leaves Olive in an interesting position.
It is also revealed that Emerson has a daughter. This brings additional dimension to Emerson’s character (beyond the fascination with knitting and pop-up books), and also adds to the potential for future character and plot development. Emerson brings a constant stream of sarcastic wit to the series, which is a nice foil to the Ned/Chuck sweetness, but this could increase the complexity of Emerson’s portrayal.
The case in this episode was entertaining, particularly the deeply cynical comments throughout the story, but the real action was the character exploration. In short order, the writers have created four characters with enough depth and personality to make us care about their relationships. Hopefully the show will return soon enough to keep those elements fresh and exciting.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.30.07
Posted in Reviews at 1:00 am by Administrator
Written by Abby Gewanter
Directed by Allan Kroeker
Just when I was beginning to wonder if the episodic and serialized aspects of this show could be brought together in harmony on a regular basis, the writers stepped up to the plate and hit a game winner. This episode had some solid character work and a great guest cast, reinforcing the twisted Dr. Suess-esque world of “Pushing Daisies” while grounding the madness in real-world emotions.
Granted, the resolution to the central mystery and the candy store conflict were a bit rushed and convenient (especially the complete lack of blood after a character gets a finger bitten off), but the situation brought a bit of contention to the Ned/Chuck relationship. Now it’s clear why the writers were playing the two as sweet as can be and twice as saccharine. The audience had to rely on the magical quality of their romance to ensure that any little bump in the road would have an impact.
Of course, the small bumps caused by Chuck’s decision to wage war on the candy makers with Olive (the now-infamous “Pie Hos”) were nothing compared to the massive pot hole created by Ned’s revelation. The death of Chuck’s father was a major turning point in her life, and in a very real sense, Ned is responsible for everything in Chuck’s life from that moment forward.
It’s unlikely that this will be a permanent issue, since Chuck has been fairly reasonable about the other changes in her life, adjusting to the new rules of her existence with a modicum of creativity. Eventually she will reconcile what she’s seen with what she’s been told, and she’ll come to recognize that if Ned is responsible for all the bad things that have happened since her father’s death, he’s equally responsible for all the good things. Chuck’s personality makes a long-standing grudge unlikely.
That just a hint of that possibility, however, would be distressing for the audience is a testimony to the success of the writers thus far. We care about the characters as if they were real, despite the innate absurdity of the premise and the conceptual universe. For all the concerns I’ve had about the long term viability of certain elements, particularly as budget and strike-driven concerns mount, the show is bringing this shortened first season to a capable conclusion. Hopefully the next episode (and possible season finale) will continue in the same direction.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.23.07
Posted in Reviews at 3:02 pm by Administrator
Written by Scott Nimerfro
Directed by Lawrence Trilling
Perhaps it was appreciation for the longer holiday weekend, but this episode seemed to slide back in the right direction. I thought the past few episodes were a bit forced, as if the writing staff was trying to figure out how to replicate Bryan Fuller’s absurdity. Something must have worked, because the strange and unusual elements in this episode felt more natural.
The cast is definitely getting comfortable with the variations in writing styles as well, and that helps tremendously. Dialogue delivery on “Pushing Daisies” is practically an art, which is why it’s easy to miss the mark ever so slightly if the words don’t fit the character cadences. Even the guest characters seemed to have a specific rhythm in this episode. Add the musical element to the mix, and this was another solid hour of television magic.
Now would be a good time to give a special mention to Kristin Chenoweth, who has done an admirable job of making Olive a semi-sympathetic character. The audience is clearly meant to cheer for Ned and Chuck and their fairytale romance, and Olive started out as the most potent threat to that relationship. Instead, Olive has taken a more difficult path, caught between desire and kindness, and a lesser actress might have stumbled over the nuances.
If there is one element that still needs better attention, it’s the integration of the Darling Mermaid Darlings within the overall story. While they’ve been instrumental in Olive’s aforementioned character growth, they still feel tangential to everything else since their prominent role in “Pigeon”. I find them to be the least interesting part of the show thus far. Hopefully there’s a larger purpose waiting in the wings.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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11.16.07
Posted in Reviews at 12:59 am by Administrator
Written by Chad Gomez Creasey and Dara Resnik Creasey
Directed by Allan Kroeker
Despite my enduring enthusiasm for this series and its unusual visual palette, I still believe that the promise of the first two episodes has yet to be matched. Certainly this episode doesn’t quite measure up to the pilot, which was a tour de force of dark comedy. In this case, much like the previous episode, I thought the presentation was strong, but the writing felt lacking.
I noted the subjectivity of humor in the review for “Girth”, and to a certain extent, I believe the same principle carries forward into this installment. Some of the interchanges meant to be amusing were, in my opinion, a bit pedestrian and forced. On the positive side, I found the parallels between the four dog breeds and the four wives to be clever, revealing, if nothing else, the intentions of the writers. The death scene at the beginning of the episode was, quite possibly, one of the most unexpectedly funny moments in recent memory.
I think another factor might be the length. The hour-long format may be a bit too long for this kind of show. After watching this episode, I was reminded of “The Office”. Recently the network was airing hour-long installments of the show, as opposed to the usual half-hour versions, and the results were mixed. The shorter format allows the best material to rise to the top, and concepts seldom wear out their welcome. It’s probably too late for the series to make such a fundamental change, but I wonder if it would have been better in the long run.
These things come to mind because “Pushing Daisies” is the kind of show that I really love. It breaks out of the conventional storytelling mode and gives the audience something new to ponder, a modern day fairy tale with a dark and absurd chewy center. Even episodes I find disappointing are, at worst, average. I’m just left wondering if there’s some way to bring it back to its early heights and maintain that level of energy and creativity.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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11.01.07
Posted in Reviews at 10:12 pm by Administrator
Written by Katherine Lingenfelter
Directed by Peter O’Fallon
It’s possible that I’m just missing Bryan Fuller’s deft comic hand or Barry Sonnenfeld’s incredibly expensive visual flair, but this episode felt a bit drab and sluggish. Part of the problem could be the Halloween theme. I find that holiday-themed episodes can feel forced, even coming from the best creative minds in the business, so perhaps this is another example of that trend.
My enjoyment of this series would appear to be proportional to the amount and frequency of darkly absurd elements. As mentioned in the previous review, the pilot was a rapid-fire clinic on dark comedy. It set the bar incredibly high, and as each new writer or director steps up to the plate, it’s been a struggle to reach the same heights.
Of course, it’s all relative. Failing to meet the excellence of the pilot is not necessarily a problem. After all, a Hershey’s bar may not be gourmet Swiss chocolate, but it’s still a delicious bar of chocolate. It’s disappointing to think that the show would lose some of that additional luster so soon out of the gate, but it’s still the only show of its kind on the air right now, and therefore represents a breath of fresh air.
This is mostly a commentary on expectation, both our expectation from the creative staff and fans’ expectation from each other and the critics. As the audience, we want the best material possible, and sometimes it’s more of a delicate balance. The show has budgetary issues, and that will continue to affect the visual style. It comes down to acceptance of that reality and allowing for diversions that may not be terribly exciting.
Also, this being a show driven largely by comedic elements from a decidedly unusual point of view, reactions to the material will be more subjective. By comparison, drama is easy; people understand love, betrayal, and redemption on roughly the same terms. Comedy is much harder, since it often relies on experience and appreciation of delivery. A lot of the jokes fell flat for me in this episode. (Although, to be fair, Emerson and The Narrator continue to be consistently fun.)
Which is all my roundabout way of saying that this particular episode ranks as my least favorite to date. Of all the characters, I find Olive the least interesting thus far, so an episode focusing on her travails had little chance of becoming a favorite. I still think this is one of the best new shows of the season, but this time around, I felt like it fell short of earlier excellence.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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10.25.07
Posted in Reviews at 11:46 pm by Administrator
Written by Rina Mimoun
Directed by Alan Kane
This was a good week for “Pushing Daisies” fans. The show was picked up for a full first season (pending the writer’s strike), and this is a good news for fans of original storytelling. That tempers somewhat the slight disappointment I felt in this particular episode.
I found the script to be a bit less hilarious this time around, focusing instead on elements of whimsy over black comedy. For me, much of the charm is the darkness within the brightly colored world of the Pie-maker, as seen in rapid effect in the first two episodes. This was more dramatic, focusing on the oddities of plot progression, and I found it more amusing than consistently funny.
Perhaps this was a conscious choice, given how the rest of the episode was constructed. This show has been the depiction of a modern fairy tale since the very beginning, but certain artistic choices were heightened in this installment. From the use of model-esque wide shots to the bald use of soundstages and matte paintings to the openly mechanical patchwork pigeon, the audience was directed to enjoy it for what it was and focus on the story being presented.
The aesthetic was charming enough to overcome most of my reservations with the dialogue, but not quite enough. It’s far too soon to tell if this is a slow shift on the part of the writing staff, representative of this particular writer, or just one of those episodes that didn’t click for me personally. I’ll be sure to keep an eye out for the writer’s name in future credits.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
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10.18.07
Posted in Reviews at 11:31 pm by Administrator
Written by Bryan Fuller
Directed by Paul Edwards
Two stray thoughts come to mind after viewing this episode. In truth, there were many, many more, but two of them rush to the top of the list. Two more reasons why this show is working so well for me and those with similar tastes (or so I would hope). Both thoughts are good thoughts, which is more than I can say for some other new shows on the schedule.
First there is a clear sign of continuity, which is always something to look forward to, especially when a series can stray from a center path without penalty. I wasn’t expecting them to return to the funeral home at all, so using that previous calamity as a means of complicating Ned and Chuck’s relationship is a nice touch. It also reinforces one of the ideas early in the episode: the metaphorical connection between butterflies and hurricanes.
Second, there is the under-appreciated narrator, who continues to inject the perfect amount of sarcastic wit to each and every story. Not nearly so smarmy as the voiceovers on “Desperate Housewives”, the narrator is a closer cousin to the style found in “Hitchhiker’s Guide to the Galaxy” (in book, audio, and video forms), fleshing out aspects of this strange little world that wouldn’t be nearly so fun without it.
Beyond that, I can only say that the first three episodes have been very consistent, and that it’s a joy to have one hour of pure positive absurdity each and every week. It can be a bit too sweet for its own good, but I suppose that’s how it always goes with pie. The last great show with an obsession with pie started off strong as well; I only hope that this show finds its niche, and a large enough audience, to keep it around for a while.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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10.11.07
Posted in Reviews at 11:54 pm by Administrator
Written by Peter Ocko
Directed by Barry Sonnenfeld
There was one main question to be answered by this episode was rather familiar: how would the producers handle the transition from pilot to series? Whenever a pilot manages to overcome the usual pitfalls and achieves some level of success, and especially when a pilot breaks the mold and looks more like a short film than a presentation to a network, it can be daunting to consider how that would work in a weekly format. Some shows falter when the energy that went into the pilot fails to translate to the daily grind.
If this episode is any indication, the transition will go well for “Pushing Daisies”. The quirky sense of humor is intact, if not quite so infectious, and the style has barely changed at all. Part of the equation is the use of the same director for both hours; it allows for a more organic translation. It remains to be seen if other directors can manage the same level of whimsy (recalling similar difficulties with “Twin Peaks” and the absence of David Lynch’s vision), but if the writers can pull it off, the direction should follow.
Because this show doesn’t pretend to exist within the confines of our familiar world, things that would normally be annoying work rather well. Having characters break into song is practically expected. Everything is hyper-real, bigger than life, and that will be one of the defining aspects of the show. It should also contribute to its success. No matter how morbid it might get, it’s not a reminder of the day’s doom and gloom like some random procedural. It’s a chance to step into a fun and quirky fantasy world for an hour, one that happens to involve a lot of death.
Invoking “Twin Peaks” was not incidental. This series will have its grace period, but it should avoid being bizarre simply for the sake of being bizarre. It should also avoid any major long-term plot threads. I don’t often say that, but the somewhat random absurdity at play in the series would be better served by a lack of continuity concerns. A format similar to “Dead Like Me” would be the preference, with opportunities to delve into the past and present, but no driving arc.
Such elements can come later, after the show gains momentum and the trust of the audience. That’s why the ratings for this episode will be very important. They will serve as a referendum on the series premiere. If the ratings drop slightly, that’s a very good sign. If they drop significantly, the network could easily determine that the high concept of “Pushing Daisies” was too much of a risk. I, for one, would love to see this series succeed.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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10.05.07
Posted in Reviews at 1:44 am by Administrator
Written by Bryan Fuller
Directed by Barry Sonnenfeld
Before I discuss this particular series premiere, I would like to give some background. I never saw “Dead Like Me” during its initial run. I was annoyed with Showtime as it was for many other reasons, and by the time I was tempted to overcome that annoyance, the show had come to its premature demise. Watching it in syndication was not an option. Thankfully, Netflix came through for me, and in the space of a month over the summer, I watched the series. And like most, I found myself loving and cherishing nearly every moment and damning the television gods for letting it be canceled.
Rumor has it that “Pushing Daisies” was originally conceived as something of a companion piece to “Dead Like Me”. Considering that Bryan Fuller was instrumental in both productions, that’s not hard to believe. And this does feel and sound like something that fell out of the same idea machine. It’s as if Tim Burton and Joss Whedon had a love child.
The main difference, of course, is the restraint required on a network television series as opposed to a cable production. “Dead Like Me” was wonderfully profane. “Pushing Daisies” replaces the profane with the magical. This is a darkly funny show; nearly every scene is bursting with absurdity and comic potential. This is the mixture of broad farce and fantasy that “Desperate Housewives” has always attempted and rarely achieved.
Usually I would highlight the character relationships and how well the premise is put together for future exploration, but this is not the kind of show that needs deep deconstruction. Any long-term plot elements are likely to be casual in their progression, and the focus will be on the episodic ebb and flow. For most genre shows, this would be annoying, but this is likely to be the rare exception to the rule. The entire cast is likeable and quirky enough to keep bringing me back for more.
Definitely the best premiere of the season!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
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