Category Archives: Television Reviews
The personification of masks both for professional and personal gain take on a sense of irony in Episode 2 of the 3rd season of “the Chi” entitled “Brewfurd”. Running in the background is the disappearance of a daughter of a couple at the end of the last episode. The interweaving story lines play in an interrelated form jumping in the matter of slice of life. One moves in getting ahead even in a neighborhood that seems focused on cutting through dreams. Another idea that keeps revolving is what necessitates the greater good despite question decisions or perceptions. A would-be businessman has dreams but is fronting a business that he has no talent for beyond the dream of it…but he has the ambition. He tries to recruit talent because he believes that this will make his business thrive and grow. He doesn’t understand that people see through his front. On the other side, his mother is too honest and in being her true self makes him front again when he should learn from her example. This essence of a hypocritical nature shows him on a path of burning brought but maybe losing all of what is behind him including his family.
On the other end is a man who has come back home to save his baby half-brother from what he got away from. What is interestingly unbalanced and well perceived is his own relationship which walks the boundary of identity, love and masks. He sees the line and can’t help what he feels but can’t come to terms with it in a real way beyond the surface. Unlike some of his peers, he is not a violent man but might be pushed to that level. The silent tome running in the background shows a man who is homeless and has a simmering facade compounded with rage that speaks to a darkness that has been seen before. “The Chi” is always effective in creating a pressure cooker situation where the characters are just trying to live their lives. Some of it is just coming of age. Others are matters of life and death. Whereas the last episode was anchored by a funeral, “Brewfurd” is about living life, whatever problems it might throw against the characters. The results are a matter of choice and consequence, sometimes good, sometimes bad.
By Tim Wassberg
The intention of the second season of “Harley Quinn” was trying to reveal the true colors of many of the characters. As much as the series is a fun romp, the existential progression of what these people are going through reflects the adult themes that track in the messiness of life. While the idea of what Poison Ivy is going through is understandable in terms of expectation, the truth of Harley’s better nature is what fuels the episode and the season. The aspect of who is good and who is bad is obviously circumspect. The villains are villains more often than not when it serves the needs of the story so the whole archetypal aspect is slightly a kilter in terms of motivation. The adjusted “Thelma & Louise” structure and motif actually plays out quite well and the ending of the episode, without giving anything away, is undeniably cinematic and inventive using different angles and technology not seen in most of the season.
Unlike the big battle sequences which sometimes can be vague, the conclusion here uses exactly what is being seen to push the story and, as a result, gives the ending a much more emotional push. Granted many of the textures are soapy to a point. Clayman’s integration into it is quite telling and funny but it too plays to a trope of what it is. Truth and consequence is a paradoxical progression in this series and especially within this final episode: “The Runaway Bridesmaid” because Harley always leaps before she looks which is something that Ivy has to embrace but is reluctant to do so. Many of the other characters are trying to find their center. Jim Gordon begins a path to more of the dark side but again the stories sometimes shift so much that besides Ivy and Harley and maybe Joker in the last few episodes, the texture of the endgame is unclear. This, of course, doesn’t make the characterizations any less entertaining in their necessity and layers. It is just with understanding where the story needs to end, it is has to have plot connectivity. The season does, for the most part end, strongly but there are jagged spots in an overall view. A bit of control permeates the chaos.
By Tim Wassberg
Understanding the plot machinations of a large integrated story has always been the pantheon of comic books. Doing it in more long form structures is trickier because every scene, every shot can be looked at and dissected in current culture. That is why with “Marvel’s Agents Of S.H.I.E.L.D.” in many ways and literally, it is acting as a bridge between two phase. It is an interesting quandary thrown into even more specific focus because of the corona virus where both the feature films and new series to Disney+ had to be paused. It is a dilemma which will be interesting to see shift. With Episode 5, “A Trout In The Milk” the plot becomes more dynamic because the story starts to see certain facts start to change. Doing a time travel storyline was always going to cause this and provides of course the plot mechanism necessary for a multi-universe where the aspects of all the events of previous phases still work because they were in a different timeline. The question becomes audience perception and acceptance and not treading over the same ground. This was the issue with the most recent “Star Trek” feature film franchise with its Prime and Kelvin timelines. People were willing to accept the new timeline but that meant the stories had to be better and more intricate without losing the nostalgia of the original. it is a high order. But what they did was redress a story…and it got called out. Here the Marvel people, especially Kevin Feige are much more intimately and innately in control of the storyline. Without giving any specific episode spoilers, this episode jumps to the 70s and like in the 30s, it comes down to choice. They already have one element out of the timeline but the idea it continues to refer back to is how much change can the timeline take before (like Dr. Strange sees it in a way) it starts to correct itself.
By Tim Wassberg