Living Specific Structure Redefined: Returning Spring 2011 Television Shows – Review – Part III

Those drama/thrillers that survive their first season jumps require either a sense of foreboding or story structure that interrelates their true nature. Whether based in a heightened universe (as most are) or in dealing with the moral ineptitude of life, the following shows examine the life in-between.

Fringe As the idea of the collapsing of two universes continues to gain credence, the conception of the Olivia/Peter relationship falls into almost the pairing that can undo the universe. In creating this structure with the alternate Olivia (with a very soapy but plausible functional plot twist), the idea of what is the greater evil becomes much more defined. Why and how certain things will happen obviously works in congruence with the show’s mythology which is now so deep that it will be hard for first time viewers to actually impede into the world. For example, the supposed ghost episode is highly interactive in terms of the battle between two worlds and works exceptionally because of it but reflects into the reality that the show provides. The densely structured character work especially with John Noble and now, to a high regard, Anna Torv works exceptionally well without losing sight of what the series actually is: a journey.

Stargate Universe Playing with the idea of self interplays with how the true nature of man unfolds. While the beginning of this on “Universe” begins predictably enough, the evolution of what the show begins to explore extends its esoteric potential. The only hesitation with someone like Dr. Rush is that Robert Carlyle plays his genius with disdain for everything else that it almost overcomes what the young character of Eli Wallace wants to perceive. The idea of a life within the cyberstructure of the ship, which is explored in one episode, truly draws the characters out but the race to the finish line to at least structure some closure leads to a parallel story structure which, while interesting, tries to cram too much information into a short progression of time.

Batman: Brave & The Bold The key in creating a more interesting and core Batman is to go dark which might stagger the actual possibility of good ratings. “Brave & The Bold” understands the necessity to go the other way placing the animated ode at an odd angle between something like “Batman Beyond” and “Superfriends”. While undeniably tongue-in-cheek for its own good, moving in different style directions, both artistically and narratively, has served it well. While the form has provided screen-time from everyone from Hawkman to Superman to new introductions like BatMite, the most egregious at times are the ones that border on silly like Bat Boy which, like the full musical episode last season, may be a little over the line. Batman is an institution and being able to poke fun is definitive to its structure while maintaining a decor of ethos. That said, having other superheroes try to play Batman while the Caped Crusader is injured on an orbiting space station ,did have its great moments.

The Event Accelerating the possibilities of the show revolves around the fact of trying to create new narrative elements that are seen in a different way and create an awe factor. Despite a distilled production structure, this series seems to play the ideas by the numbers. Disappearing on buses after taking down the Washington Monument almost plays too B-movie. The character structures resound flimsy as well with the Vice President almost too cartoonish to exert any real threat especially against the head of intelligence and a bunch of co-opted CIA agents. While the inset of the season, especially with the presence of Hal Halbrook, seems to indicate a bigger mythology, the eventual crux of that story line fizzles especially in relation to Jason Ritter’s vendetta fueled lead who ultimately comes off as more weak than resolute.

Law & Order: LA When shake-ups brewed inevitable in terms of personnel shifting on the series, the question became how involved would an audience be in the changing of the overall structure. If this kind of action were taken at the end of the second season, it might have had more power. The reality is that TV shows are on a much more restricted timeline in terms of delivery progression. While the movement of Alfred Molina to the detective side after Skeet Ulrich’s character is assassinated creates a structure of rich drama, it is not used to utmost effect because the investment is not quite there despite best intentions. The character that represents the most possibility is Corey Stoll though his emotional turmoil hasn’t manifested to a boil. That is the story line to watch.