The key with “Star Wars: Rebels” has always been connection the emotional impact and nostalgia of the old series, bridging the mythology of the prequels and leading them towards the new films. If there is one thing that Disney knows, it is synergy. But what really seems to be working well here is integrating also the lifeline of “The Clone Wars” animated series with the new storylines. As dense and political as that series became, what it did do was immensely humanize Anakin Skywalker, specifically his relationship with his Padewan Ahsoka. The first episodes of season 2 of “Rebels” adequately pushes that.
There is a great reveal moment in the premiere episode but is interesting in that the series gives the audience a leg up on the proceedings that the main characters in the series do not possess. It creates a interesting quagmire for this season, one that unfortunately can only end in tragedy. That said, it creates stakes for the series and gives it more dynamic perspective. Strangely enough, the series is on XD which is more tween oriented and this is definitely a multi generational show through and through. The balance of force between Ezra and Kanan continues to work well especially in a face off with a certain Sith. The different consequences of actions though ring in eerie parallel, especially the burning of a place called Tarkin Town and the aspect of the Sith using “compassion” as a rebel weakness to his advantage.
The concluding showdown of the episode brings to mind the inherent strategy of thinking outside the box as in the original trilogy. At certain points you do feel it veering into military and political turmoil but the key in this series is always to bring it back to the main characters and with this season specifically: Ahsoka. “Rebels” has found a great crux of perception but needs to keep building. But with supervising director Dave Filoni as usual at the helm (like he was with “Clone Wars”), the course is in good hands.
IR Television Review: Design Infrastructure & The Narrative Lens: New TV Shows – Spring 2012 – Part II
Finding different intonations to set genres against requires different elements of design and character infrastructure which becomes harder and harder with the extensive formulaic elements progressing through the TV landscape. Whether it be the medical drama or the lost adventure, the key becomes seeing it through a different lens or narrative construct which will allow the audience to see themselves in a brand new light.
Green Lantern: The Animated Series With “Clone Wars” setting the bar high in terms of visual excellence on Cartoon Network, it is undeniably a highlight to see this incarnation doing so well. Succeeding in ways that the feature film failed on because of its need for mass market appeal despite some lofty possibilities in the attempt reflects the purity. Beyond the journey set up, which is what lifts the series,(using an almost “Star Trek: Voyager” construct), is that it forces the creators to think outside the box and create a new world with rules aside from what the Guardian lore creates. Mixing Hal Jordan with a monster Lantern who lives by a rule of discipline and adding a Red Lantern always on the verge of betrayal keeps an interesting dynamic moving, not to mention a neat AI perception of a ship that happens to look like RL’s slain wife. For a Saturday morning show, it is a bit dark but also deep on mythology. The most stunning aspect by far is how complete the look is with some of bigger set pieces (like a starship falling into a black hole) culpable to anything on “Clone Wars”.
The River Bringing a found footage angle to network television is a tricky thing because much depends on the scare factor which is hard to function on a network (this one is on ABC). While, in certain scenarios where it is about what you don’t see (like LOST) it works to its advantage. This set-up works partially on this element but the pay off is not apparent. For what it is so far, its premise is engaging. What provides it with a solid ground is the flashback personage of Bruce Greenwood as a TV famous biologist who goes into the jungle to search for a lost “angel”. His found camera footage in the wilderness including the warding off of the “demon” and his refusal to kill his dog to avoid sacrificing his humanity is exceptionally compelling. The surrounding elements watching these journals but also the attacks from undead perceptions lack a degree of depth or tension creating a vessel and a void which definitely has potential for greatness but is not quite there yet.
A Gifted Man Approaching the medical environment with textures of paranormal influence is not unusual with ideas of guilt versus moving on. This series tries with good emotional weight to take this on but with a limited amount of perceptions to feed the fire. While the death of his ex-wife in a car crash resurfaces in heart transplants and the definition of love in the re-emergence of his high school sweetheart who eventually suffers from a life ending concussion has repercussions, the idea of what the lead character finds necessary to learn feels unstable and not very telling. Patrick Wilson tries his best but almost over-emotes the necessary beats to make an audience connect.
Two Broke Girls Using the vapid intentions of “Sex & The City” writer/producer Michael Patrick King on a network sitcom is both engaging and slightly worrying simply because the line becomes much more maligned just because of the nature of the beast when one moves between pay cable and network passing over basic cable entirely, While some of the jokes play dirtier than normal for network, it does play to the honesty of the characters. Kat Dennings’ slacker slut-type is perfectly in control of her facilities and understands her position but knows when to take risks even though she knows she might fall on her face. The actress sometimes plays it too hard because her sweetness in real life shows through while her cohort, more unknown to the public, is seemingly and paradoxically the more transparent of the two. The attempt focuses on a trajectory for these girls yet the most telling scenes (which at times are not used enough) are the moments in the diner where the true facts of life ring strongly.