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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