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Why The Walking Dead Works

Scott Tunstall — Wed, 01 Dec 2010 15:00:38 +0000

If you’re not watching AMC’s new zombie series The Walking Dead, based on the comic book of the same name, you are doing yourself a great disservice. The first season will wrap its ephemeral six-episode run this coming Sunday night, but a 13-episode second season has been ordered for 2011. Record-breaking ratings and an overwhelming positive audience response has turned it into the most talked about show of the year.

Considering the massive popularity of the living dead in this country and abroad, it’s amazing it took this long to bring the genre to the small screen. If any story was perfect for serialized television it would be a zombie apocalypse. The narrative possibilities are vast, so stretching out the action and horror for three or four seasons is more than doable, provided developer Frank Darabont remains heavily involved with the production.

There are several reasons why The Walking Dead deserves high praise: quality special effects, buckets of blood and gore, solid cast, excellent scripting and a terrific music score from composer Bear McCreary are just a few. While all these things make the series watchable, they aren’t what makes it work on a dramatic level. What makes it work is the impending sense of doom that envelops every episode.

All good post-apocalyptic stories, be it Battlestar Galactica or The Road Warrior, include the palpable risk of death at every turn. Creating a world consumed with fear and hopelessness maintains tension throughout. There is little room for the characters to breathe. The audience becomes heavily invested in anticipation of when the next attack will occur and which of the core principals will meet an untimely end.

Unlike the majority of television shows, day-to-day survival is the central theme. Basic needs like food, water and shelter are elevated in importance. And the struggle to hold onto the last vestiges of humanity and sanity becomes an even more difficult battle than the one waged against an army of killer zombies.

As a viewer, it’s natural to hypothetically insert ourselves into the proceedings and wonder how we would react in a similar situation. Would we pickup the nearest gun and start blasting brains or hide in a locked closet weeping like a toddler? Would we have the courage to lead others or would we go it alone? Would we fight until the bitter end or succumb to the paralyzing grip of despair?

The writers have already killed off two characters and more will most assuredly follow as the show progresses. Like The Sopranos, the sudden demise of a recurring face can be unsettling, but it grounds the series in its own fictional reality and reminds us (and them) that no one is safe from harm. Grisly violence is integral to The Walking Dead, however, some semblance of order must exist amid the chaos in order to prevent the humans from completely mirroring the mindless monsters roaming the streets and countryside.

Whatever direction the creators decide to take the plot, the specter of death will never be far behind. It’s rare to find television that’s willing to delve into uncomfortable subject matter. Horror, in particular, has always had trouble translating on the small screen. Vampires, werewolves and demons have made the jump with varying degrees of success, but none of those supernatural incarnations possess the allure of zombies. Needless to say, a series like The Walking Dead has been long overdue.

Sherlock Holmes Sleuths On The Small Screen

Scott Tunstall — Wed, 10 Nov 2010 15:00:59 +0000

With the glut of channels available on cable, satellite and FIOS these days, it might be surprising to learn that some of the best programming can still be found on PBS. Yes, the same network that airs Antiques Roadshow and opera. No, I’m not seventy years old, but I do feel a bit strange when I find myself rejecting the offerings on CBS, TNT, ESPN, FX and HBO in favor of public broadcasting.

Nevertheless, I love me a quality whodunit. As such, I’m a huge fan of Masterpiece Mystery!, which normally runs on Sunday nights where I dwell. The long-running PBS staple vacillates between contemporary detective stories and Victorian era puzzlers.

Their latest miniseries plucks the world’s most famous investigator, Sherlock Holmes, from his comfy 19th century confines and drops him into modern day London to solve three separate mysteries using his famous deductive reasoning. Joining him in his adventures is trusted partner Dr. John Watson, an ex-Army medic and Afghanistan war veteran. Together, the disagreeing duo delve into the evidence to aid the police in their crime-solving endeavors.

Holmes, expertly portrayed by Benedict Cumberbatch, is his normal eccentric self. He’s detached from everyday society, annoyingly arrogant, blatantly rude and very rarely wrong. Cumberbatch supplies him with a dry wit and a knowing grin. His tall, wiry and pallid frame is deceptively athletic and coiling with boundless energy. He’s also a whirlwind of words, facts and theories, which makes him a faithful representation of Sir Arthur Conan Doyle’s beloved creation.

Watson, played by the the would-be Bilbo Baggins, Martin Freeman, is roommate, confidant, servant, sounding board and protector. He’s drawn to Holmes’ idiosyncratic techniques and brutally honest personality. His desire to maintain a normal existence is in direct conflict with his need for action and danger. The reasonable part of him realizes Holmes is a sociopath, but the adrenaline junkie part of him doesn’t care.

Not to be left out, Inspector Lestrade appears in a recurring role as does Holmes’ enigmatic archenemy Moriarty, who actually reveals himself in typical evil fashion in the third movie, The Great Game. There’s also a heavy influx of 21st century conveniences, like Sherlock’s reliance on cell phones and Watson’s blogging, that serve to update Doyle’s classic cloak and dagger plots.

This trio of clever conundrums are fast-paced, deftly written and appropriately moody. The last one aired in the US this past Sunday, but you might be able to catch them in reruns. Or you can purchase the DVD which was released yesterday. Although not confirmed, there are rumors a second season of mysteries will air in Britain at some point in 2011. That means us Yanks will have to wait a long while before seeing new installments of this intricately sublime series. Bummer.

To sum up, if you’re a proponent of intelligent, unpredictable tales of murder, seek out Sherlock on the small screen. The game, as they say, is afoot.

A Swan Song To Great Television

Scott Tunstall — Wed, 27 Oct 2010 15:00:04 +0000

Friday Night Lights, the little show that could, will begin its fifth and final season tonight on DirecTV’s 101 Network. For the small, yet dedicated, fanbase who have followed the series from its inception in 2006, it comes as bittersweet news that the long, strange journey will reach an end in a few short months.

On the surface, FNL was about high school football, which may have had something to do with its less than positive reception. Sports, in general, has never been the most appealing subject matter for serialized television. Sadly, some avid TV watchers dismissed the series without ever giving it a real chance. It would be their loss.

NBC tried to find an audience in 2006 and 2007 by shifting it around the schedule, but it was all for naught. No amount of jockeying worked, so the Peacock partnered up with DirecTV and shipped the show to the fledgling 101 Network, where it managed to carve out a niche for itself, before being rebroadcast on NBC. The deal saved Friday Night Lights and those fortunate enough to see all four seasons were treated to some truly great episodic storytelling.

Football merely served as a launching point for the everyday goings-on in a small fictional Texas town. Marital struggles, family squabbles, troubled friendships, fading first love, broken dreams, careers at a crossroads and the pitfalls of adulthood defined a group of complex characters living simple lives devoid of artifice.

For the most part, the series eschewed melodrama and preachiness. Instead, it focused on relatable problems common to everyone, no matter their socioeconomic background. Lower, middle and upper class existence was placed under the microscope, as was cultural and educational inequality. The writers left no stone unturned in their attempt to create disparate personalities united by one central theme — high school football.

The sport played on a 100-yard field with an odd looking ball was not only critical to the plot, but it also affected each and every character. It was used to teach, motivate and shape, young and old alike. Its inherent drama paralleled the trials and tribulations of those who played it, coached it, cheered for it and condemned it. The game represented the passion and hope of a community. A community divided by politics, race and what side of town a person called home.

Football remained the one constant throughout. While names, faces and relationships changed, the game stayed exactly the same. It kept families together and provided a safe haven for those in need. It offered an opportunity to be extraordinary for those destined to be ordinary. It was a chance to achieve greatness when greatness was in short supply. It created lasting memories for those who stepped on its field, paced on its sidelines and sat in its bleachers.

Friday Night Lights was about football, but it was also about people. A husband and wife who loved and supported one another in the darkest of times. A rebellious daughter eager to spread her wings. A quiet outcast forced to grow up too soon. A brooding loner struggling to walk the straight and narrow path. And a host of others who made the tiny hamlet of Dillon, Texas an endearing place to inhabit for the last five years.

Smart, thought-provoking, well-intentioned television is hard to find these days. There are plenty of good shows to go around, but very few included such a detailed and authentic view of small town America as did Friday Night Lights. It showed the best and worst in all of us and did so in a natural, unapologetic style. We cared about the characters and shared in their moments of joy, laughter, heartache and sadness. It might not have been the most watched series, but that doesn’t mean it won’t be missed.

HBO Comedy: Bored To Death And Eastbound And Down Return

Mike Kujak — Mon, 27 Sep 2010 22:41:41 +0000

With Entourage hanging by a lifeless thread that only has one season left, HBO is in desperate need of some new up and coming comedy shows. This is where Eastbound & Down and Bored to Death enter. The two shows have very different styles of comedy, yet both have some of the best comedic writing you’ll find on television. Each show began its second season last night and it will be interesting to see if either one of them will establish themselves as HBO’s next powerhouse comedy show.

Bored to Death

The last lines of the 1^st season…

Johnatahan Ames (Schwartzman): Did we learn anything today?”

George Christopher (Danson): No, but that’s okay. It’s good to stay in the dark about things. It keeps life interesting.”

If you missed the first season than those are the only two lines you really need to know. That’s the show’s comedy. That’s its attitude. That’s their relationship.

In BOD, Jonathan Ames is not only the name of the creator but also the main protagonist. Ames, the character, is an amateur/illegal private detective that solves mysteries then writes about for his novel. When he’s not “investigating” he’s hanging out with his friends played by Ted Danson and Zach Galifianakis (The Hangover) and talking about important topics such as penis aneurysms and certain “pleasurable” candles.

The premiere succeeded because it was able to capture that feeling that was so present towards the end of the season. It’s the feeling of friendship between three outsiders who are trying to figure “it” out.

The show is very stylized and subtle. A hipster’s wet dream. You might not get a lot of
“out loud laughs” but the show is sure to keep a smile on your face for the entire half hour. The story of these characters has a lot of potential because it’s exploring the ever-growing problem of the existential crisis that’s spreading throughout the 20-something’s these days.

Of course, if this show sounds a bit to indie/alternative/snobby to you…then you should try watching….

Eastbound and Down:

“Fuck your donkey, bitch” – Kenny Powers, Season 2 Episode 1.

Oh Kenny, how we’ve missed you. Last season, Eastbound & Down’s lovable racist/loser/douche-bag Kenny Powers (Danny McBride) spent most of his time picking up the pieces of his broken life. This year he’s in Mexico and he’ll be repairing the damage he caused while trying to fix his life the first time. It’s a big mess but it’s still fun to watch the destruction.

E&D is television done differently. It’s a unique show and for that reason it has some big strengths and big weaknesses. E&D is a lot more like a three hour film broken down into eight separate episodes. The change, if any, is going to happen very slowly.

This handicaps the show because the comedy is completely reliant on Kenny’s ignorance and piggish lifestyle. The more he changes for the better, the less funny the show will be (Steve Carrell’s character in The Office has the same problem). However, the writers of E&D are smart enough to know that a show like this can’t have a long life. The obvious bad news; it won’t be around much longer. Maybe one more season after this.

Don’t worry. It’s not that bleak. The show is actually really funny. The entire show is supported by its main performance by Danny McBride. His over the top comedy isn’t for everyone, but those who do like it won’t b able to live without it.

It’s too early in both these show’s run to tell if either of them will become the next powerhouse at HBO. I’d be happy with either but I have a feeling both will be short lived and long loved. So watch them while you’ve got the chance. Don’t let them die prematurely and then discover them on DVD five years too late.

It’s A Blast From The Past, Danno

Scott Tunstall — Tue, 21 Sep 2010 15:00:58 +0000

I don’t watch much television these days. Correction. I don’t watch much network television. HBO, Showtime, Starz, FX, USA Network are my go-to channels for smart, fresh content. As for the so-called big boys, like NBC and ABC, I avoid them at all costs. I mean how many cop, lawyer and medical dramas can you jam into one primetime lineup? Not to mention the glut of awful cookie-cutter sitcoms. In short, I find most network programming unwatchable.

I grew up with Magnum, P.I., Simon & Simon, Miami Vice and The A-Team. By today’s standards, these would be classified as old school action shows. They weren’t permeated with a bunch of forensic mumbo-jumbo and stuffy lab techs. They were all about kicking ass and blowing sh*t up; bruises and bullets; hot chicks and fast cars. That’s my kind of entertainment.

It was my fondness for ’70s/’80s cop shows that made me check out the Hawaii Five-0 reboot on CBS last night. I used to watch reruns of the original during my college days. Awesome theme music, gritty violence, Jack Lord’s hair, the series had it all. As is such, it seemed ripe for a remake. Despite an impressive cast, including Daniel Dae Kim from Lost and Grace Park from Battlestar Galactica, I was still skeptical about the 2010 incarnation.

After taking in the pilot episode, my assessment is so far, so good. Alex O’Loughlin is solid in the Steve McGarrett role. Scott Caan provides suitable comic relief. And the aforementioned Park isn’t shy about putting her tight body on display. Plus, the picturesque Hawaiian scenery always manages to brighten my mood.

Other things I liked: Danno’s Mustang, a guy was crushed by a semi, another guy took an ash tray to the face, and Grace Park punching a dude while wearing a bikini. Nice. Things I didn’t like: the lame Huey helicopters in the opening scene, the divorced cop cliche and James Marsters (Spike from Buffy the Vampire Slayer) being grossly under-utilized as the terrorist villain.

Overall, I’d call it a good start. I’ll definitely keep watching in hopes that it doesn’t decline in the storytelling department. It’s not easy to script episodic television for the big nets. Writers are crippled creatively due to content restraints. However, the 10pm time slot will allow for certain boundaries to be skirted. As long as they keep the badass, fun and sexy quotients high, it should be a winner. Maybe not a ratings winner, but a winner nonetheless.

True Blood Recap: Three Things I Liked About The Season 3 Finale

Scott Tunstall — Tue, 14 Sep 2010 15:00:16 +0000

Season three of True Blood is a wrap. And what a wild ride it was. I’d call it a hit or miss season, and the finale was pretty much more of the same. Jesus is a witch. Makes sense. I mean the True Blood universe is already populated with vampires, werewolves, shapeshifters, fairies, maenads and wiccans, so adding a witch into the mix seems only fitting. The whole Jason storyline sucked from the start and it ended in boring fashion. I guess he’s supposed to be some sorta half-assed leader to a bunch of inbred methheads. Good luck with that.

The central plot involving Russell, Eric, Sookie and Bill took an interesting twist. Russell was burned to a crisp and tossed in a cement bath for the next 100 years. I’d like to say that’s the last we’ll see of him, but this is True Blood — vampires don’t die easy. Turns out the gallant Bill Compton isn’t so gallant. He really wants Sookie all to himself. The dude is completely obsessed. Sookie was so pissed off with him she took a trip to fairyland, wherever the hell that is.

Here are three things I liked about the season finale:

1. The look Bill and Sookie gave each other when Eric said Godric appeared to him. It was one of those ‘what the fu*k is this guy on’ looks.

2. Sookie’s maniacal laugh as she flushed Talbot’s gooey remains down the garbage disposal. It was so out of character and forced, it worked.

3. The revelation that Bill is basically a piece of sh*t. He hired thugs to beat up Sookie in order to get her to drink his blood? Yikes, talk about harsh.

That’s all I got. Until next season.

True Blood Recap: Three Things I Liked About Episode 11

Scott Tunstall — Tue, 31 Aug 2010 14:00:33 +0000

Season three of True Blood is just about to wrap. Only one more episode remains. What will I do to appease my supernatural soap opera pangs after September 12? It won’t be easy, but I’ll survive. Kinda like Arlene’s demon spawn baby. Why do I get the feeling that crazy Wiccan waitress did something evil inside the ring of salt? Probably because she did. Eric’s plan to destroy Russell seems sound, but Eric can’t die, can he? I would imagine Russell is strong enough to fly back into Fangtasia in order to save himself from true death.

Here are three things I liked about episode number eleven:

1. “Life is absurd.” Russell’s succinct reaction to Eric’s revenge plot. Life really is absurd. So is all of season three. Entertaining, but absurd.

2. Sam losing his sh*t for the entire episode. Dickhead Sam is a helluva lot funnier than nice guy Sam.

3. Terry’s spastic clapping and yelping after finding out Arlene didn’t miscarry. It was an LOL moment for sure.

That’s all I got. Until two weeks from now…

True Blood Recap: Three Things I Liked About Episode 10

Scott Tunstall — Tue, 24 Aug 2010 15:00:54 +0000

Sookie is a fairy? WTF?! Actually, I kinda figured it was something along those lines. Hell, all the other supernatural/mythical creatures have been taken already. Nice to see Eric finally got that kiss, even though Sookie didn’t seem to be into it. Man, Sam sure has lived a messed up life. He’s probably one more freak out away from completely going psycho. Speaking of insane, what the hell was going on in that V trip Jesus and Lafayette shared? Wild.

Here are three things I liked about episode ten:

1. “Them fu*kers is a whole new dimension of trash.” Lafayette’s perfect description of Crystal and her daddy.

2. The news referring to Russell as a “vampire terrorist.” Not sure why, but that makes me laugh.

3. Jason kicking Bill out of his place with extreme prejudice. You just know he’s been waiting to do that for years.

That’s all I got. Until next week…

The Office Is Heading To China

Scott Tunstall — Mon, 23 Aug 2010 18:27:38 +0000

Steve Carell’s exit from The Office likely signals a sooner rather than later end to the American adaptation of Ricky Gervais’s Brit sitcom. Just in time for the series to relocate to the far east. According to Deadline, BBC Worldwide is developing a Mandarin Chinese version of the hit franchise. Geesh. This damn show is taking over the world, kinda like the Chinese, so I guess it’s fitting to set the newest incarnation in the land of the sleeping dragon.

I can’t wait for the episode when Dwight turns Stanley in for stealing pens and Stanley gets his finger chopped off by Michael. Or when Jim and Pam get busted for an inner-office romance and are sentenced to death. Talk about non-stop laughs. A Chinese Office sounds like an awesome idea.

True Blood Recap: Three Things I Liked About Episode 9

Scott Tunstall — Tue, 17 Aug 2010 15:00:33 +0000

There’s a war brewin’ between old school vamps, the American Vampire League and humans. Safe to assume, it’s going to get real bloody, real soon on True Blood. And that’s saying something when you consider how much crimson has spilled already in season three. Bye, bye Franklin… again, and this time for good. I was wondering when Jason was going to use those wooden bullets. Looks like Eric has backed himself into a corner. Russell is so off his rocker he’s carrying around the gooey remains of Talbert in a glass vase. Creepy.

Here are three things I liked about episode nine:

1. Blood swirling down the shower drain. A nice homage to Hitchcock’s Psycho.

2. “Dude, I got the gun, shut the fuck up!” Jason’s response to being ignored by Crystal’s man. He really does have a way with words.

3. Russell’s toss to weather on the news desk. He might be a deranged maniac, but he sure is funny.

That’s all I got. Until next week…