Last Series Watched

Post-pandemic TV is uninterested in plot. I love good character development as much as the next guy, but let's move the ball down the field while we're doing it.

Even the good shows moved at a snail's pace this year. I found the last two seasons of The Bear to be overindulgent. I actively disliked Severance season two. White Lotus had its worst and slowest season to date. I disliked the Alien: Earth pilot for the same reason; I could've summarized the entire hour-long episode in two short sentences.
This is an interesting point. But to me, it's the opposite - it's more plot above character. When the entire story is planned out before shooting then no deviations are allowed - it's all just plot points to the next ones, very little time or desire for discovery or diversions along the way.

So many shows I watch have interesting enough stories but the characters are not ones I want to spend time with again - and that's the key to a show's success. Lately the characters themselves feel little more than attractive chess pieces doing chess moves rather than human beings.

The Christmas episode of Ted Lasso S2 is the best example of this - the episode order had two eps added late, the entire season was already plotted, so they added a bottle episode - and it's the best one because it's just spending time with characters I enjoy spending time with. It does not advance the plot, but it absolutely deepens it.

It's one of the reasons network TV is still so important - it gives us time with characters and takes the pressure off. It has it's own kind of pressure, but that immediacy ends up being the best creative more often than not. I really wish a lot of show concepts were on network instead of streaming because it would give us more time with the characters. If only we had any visionary TV execs anymore... Landgraf at FX might be the best one left?
 
I think it largely depends on what you're watching. I'm a media snob. I almost exclusively watch prestige TV. I expected TV's Golden Age to continue in perpetuity, but it lost significant steam around the time Game of Thrones finished. I think TV now is pretty mediocre compared to the 2010s. It seems like showrunners collectively lost interest in making shows that were entertaining and compelling. If I was bored by a fucking Alien show, we're in trouble.

John Landgraf is definitely the best. FX has a better track record than HBO these days.
 
I regret to admit that few characters are as me-coded as Lisa Simpson.
Lisa's Substitute is a classic and when people talk about why the early seasons were the best, I think it was because they had episodes like this here and there and they hadn't reached the "too cool to be sincere" mode that I feel it started to hit later on. Maybe they still have episodes like this but I admit I haven't watched in awhile, but I think there was a better balance and grounding of humor with real behavior and emotion at times in the first 6-8 seasons.

For Lisa episodes, it isn't ranked as high as many episodes, but I always liked Mr. Lisa Goes to Washington. "A little girl is losing faith in democracy!"
You probably should watch Selma's Choice as well for some good Lisa moments - "Oh, I'm not a doctor".
Kamp Krusty was the first truly great Krusty-relayed episode so add that. Good Lisa episode as well. "Krusty is coming, Krusty is coming"

I'll stop now. So many great quotes and asides...

"Professor, without knowing precisely what the danger is, would you say it's time for our viewers to crack each other's heads open and feast on the goo inside?"
"Yes I would, Kent."
 
I think it largely depends on what you're watching. I'm a media snob. I almost exclusively watch prestige TV. I expected TV's Golden Age to continue in perpetuity, but it lost significant steam around the time Game of Thrones finished. I think TV now is pretty mediocre compared to the 2010s. It seems like showrunners collectively lost interest in making shows that were entertaining and compelling. If I was bored by a fucking Alien show, we're in trouble.

John Landgraf is definitely the best. FX has a better track record than HBO these days.
It's amazing how many franchises came to "definitive" ends in 2019 - Avengers, Star Wars, Game of Thrones, Big Bang Theory. And thank goodness - 2020 would have been even worse if we'd been left waiting longer for these endings.

One of my thoughts on the "why" of the current state of television is that most of our current showrunners were raised on TV in such a stark way they have little actual experience in or with the real world and have lived in industry bubbles away from real people and the real world for too long, so all they know how to write is a regurgitation of what they watched.

And we've reached the point of that cycle where we're three photocopies in. The lack of curiosity from a lot of writers I've met surprises me, and the lack of interest in engaging with anything outside of their bubble. They don't care that no one is laughing at jokes except the writing staff - and either they don't notice or they pretend not to notice, I'm still unsure. They look down on the audience who makes their jobs possible.

You are missing out on a lot of fun network TV, BTW - and I'm not a fan of procedurals. There are some shows doing it well!
 
This is an interesting point. But to me, it's the opposite - it's more plot above character. When the entire story is planned out before shooting then no deviations are allowed - it's all just plot points to the next ones, very little time or desire for discovery or diversions along the way.

So many shows I watch have interesting enough stories but the characters are not ones I want to spend time with again - and that's the key to a show's success. Lately the characters themselves feel little more than attractive chess pieces doing chess moves rather than human beings.

The Christmas episode of Ted Lasso S2 is the best example of this - the episode order had two eps added late, the entire season was already plotted, so they added a bottle episode - and it's the best one because it's just spending time with characters I enjoy spending time with. It does not advance the plot, but it absolutely deepens it.

It's one of the reasons network TV is still so important - it gives us time with characters and takes the pressure off. It has it's own kind of pressure, but that immediacy ends up being the best creative more often than not. I really wish a lot of show concepts were on network instead of streaming because it would give us more time with the characters. If only we had any visionary TV execs anymore... Landgraf at FX might be the best one left?
So, my take on this is that the issue is story and character are treated as independent from each other. They rarely correlate directly, so you get shows focused on one or the other and ultimately letting one down.

On the one hand many Disney MCU shows have this wheel-spinning, "you won't notice the plot hasn't actually advanced in 4 hrs because you like just vibing with Bucky and Falcon" thing going. On the other you have Alien: Earth, where my main issue as of the end of ep 2 is that plot points that could be arising out of active character motivation are largely nonexistent, or are softer than they could be, robbing the characters of a lot of texture. The characters act in a particular way because plot needs them to, instead of plot happening because they act a particular way.

For Alien: Earth, an example (but there's more) is Wendy asking Boy Kavalier to go on the mission, and then him, inexplicably, letting her go. What would have been a much more active choice would be she sees her brother, asks to go, and is told no, after which she does it anyway. It would tie back really well to the early mention of simulated adolescence. She's basically just entering robo-puberty after all, why shouldn't she act impulsive, especially as a child in the body of a superhuman? They even let her control machines so it's totally plausible she could have stolen a ship.

And then after she goes AWOL it would make more sense to send the rest of the Lost Boys to get her (who else could), and on the way he has the conversation with Yutani that piques his interest and gets him to send Kirsh with an extra mission parameter. It gets us to the same place, all those characters on the ship, but it gets them there because of reasons that all work independently for their characters.
 
Last edited:
The CEO is high on his own farts and fascinated by the idea of trying out his shiny new toys, and besides it's just a rescue mission as far as any of them know at that point. No one expects a boat load of horrors, just some corpses and corpo secrets to loot. What you're suggesting is far more hackneyed and obvious, rebel kids are a dime a dozen.

I'll grant y'all the explanation about the corps at the start was clunky af but find the rest of these complaints ludicrous.
 
I know it's not for everyone, but Alien: Earth is so weirdly specific my kind of thing. I spent the back half of this week's episode in a dizzying amount of existential dread. I felt lightheaded. The quiet menace of greed and rage and self-centered wrongness as a handful of decent people ride all that vileness like leaves on a current.

I'm having a funny year for TV shows. Daredevil spoke to me because it was precisely the kind of angry I am and always have been, that kind of choking back rage by the neck with a spiked chain. And Andor dug into all the splinters under my skin about so many things. Alien: Earth is poking at the dark things that keep me up at night, and I'm not talking about the aliens.
 
For Alien: Earth, an example (but there's more) is Wendy asking Boy Kavalier to go on the mission, and then him, inexplicably, letting her go. What would have been a much more active choice would be she sees her brother, asks to go, and is told no, after which she does it anyway. It would tie back really well to the early mention of simulated adolescence. She's basically just entering robo-puberty after all, why shouldn't she act impulsive, especially as a child in the body of a superhuman? They even let her control machines so it's totally plausible she could have stolen a ship.
I don't see it that way at all. The "indestructible" kids are the best way for him to get a trillion dollars in alien R&D in his mind. To him, he'd be crazy not to.

I have to say I LOVE the show. It's all I need it to be. A scary at times romp with some scary ass aliens and we haven't even seen the 5th one yet. And what's behind the door they keep freezing? Are they keeping something in hibernation behind it?

I'm glad I'm enjoying it so much with the loss of Resident Alien. 100% different vibe, but that was my favorite non-streaming show that I'd watch every week.
 
Last edited:
I have to admit while loving Alien: Earth I literally cannot get a joke I saw calling Boy Kavalier "Temuthy Chalamet" out of my head every time he's on screen. Though he really is despicably menacing as someone with that much wealth should be.
 
No one expects a boat load of horrors, just some corpses and corpo secrets to loot.
And there's where the show wants to have it both ways. It should just be a plane crash to everyone, but Wendy, for some reason, makes an impromptu sword to take with her as though she knows she's going to have to hack something up. And that's weird because, given it's an improvised weapon, that scene could happen later when she does have reason. It seems like it's only there to draw more parallel to the "Lost Boys" Peter Pan theme, but we've got scenes from the Disney film by then and read passages from the book, her name is Wendy. No need for more references unless they're pulling double duty and dong more in the plot. Otherwise it's just a "gearing up cool" scene.

And the marines, who also should only think of it as a plane crash, enter the building with guns up and move like they're clearing for hostiles. You could interpret that they think maybe the Weyland folks will be hostile to them, but that doesn't quite sell with how the rest of the world seems to work or the way they're talking to each other. The two companies don't seem to be actually warring nations, they don't seem to be battling directly at all (as of ep 2, still haven't watched ep 3) except in the legal or competitive corporate sense.

What you're suggesting is far more hackneyed and obvious, rebel kids are a dime a dozen.
See, but I'm not talking about novelty. Novelty is not the only quality in writing. If it were, we'd have to start talking about all the visuals in this show that are only there to make you think of prior Alien movies and serve little other function (and in some cases, also take me out of the action, like the alien who wastes a half dozen marines in seconds but then pauses for drama to hover over Morrow's shoulder, alluding to a scene in Alien 3 that's actually a plot point, and not just drama).

For me, I'm talking about a protagonist being a more active driver of plot. If it works for you that's cool. For me it seems out of character for Kavalier, and makes Wendy more passive as a character. At the same time it makes the conversation earlier about simulated, possibly unstable adolescence not as important. Like, the scifi concept underpinning the series is child minds in adult robo-bodies.

I'm interested in what a simulated adolescence might mean. That was one of the more interesting lines in the pilot, and I want to drill down into that in the show. This seems to me like a way one could start to interrogate that idea. And a lot of lines int hat first ep imply there's ground there they want to uncover, like the line from the book about mother's cleaning out their children's minds when they sleep. It's ominous, but also, seems like a thing that might also be true. I get they're physically different, but show me some of the mental stuff too.

And also, while rebel kids might be a dime a dozen... who are the actual Lost Boys in the story the show is constantly alluding to? They're the MOST rebellious kids of all. They don't listen to adults. They literally refuse to grow up. (this would be a reference that does pull double duty, because it would make characters DO things).
I don't see it that way at all. The "indestructible" kids are the best way for him to get a trillion dollars in alien R&D in his mind. To him, he'd be crazy not to.
That just seems flimsier to me. He doesn't know what's on the ship, just that it's potentially important to WY. Send one. Send three. Don't send your entire investment into a building that might collapse at random. Like, they're tough, but I don't think I'm meant to believe a skyscraper falling on them is something they'll shrug off. And he's gunning for literal immortality. Setbacks matter (at least, they should since he's trying to acquire something money can't buy, time).

It's ok with me if the show works for other people. But a lot of it feels clunky, feels like a first draft to me. It's not that I hate the places it's going, it's that I'm taken out of the fantasy by how we're getting there. And everybody feels that way about something. There's some really popular genre thing out there other folks love that you just can't suspend disbelief for. This might be mine.
 
Ok, for what it's worth, episode three of Alien: Earth is a vast improvement for me.

Getting off that ship helped immediately. Ditched the marines, exited all the plot stuff that didn't work for me. We're getting into the interior of some characters. We're doing weird new shit with Xenos. Hawley's getting back to some of the trippy visuals and stuff that I liked in Legion. This ep, once they leave that ship, feels like we dip into plot that Noah Hawley actually was interested in. It suddenly feels more like a show by the guy who made those other shows.

There is one weird continuity issue that comes up, which I might not have noticed except for that really clunky exposition in the first episode. I went back to check, and the crew of the Maginot specifically talks about all the companies that rule Earth, and mention Prodigy, and Boy Kavalier by name. Morrow is sitting at the table at the time. I assumed in the first ep that, even though they were gone 65 years, they'd gotten some communication that kept them up to date. Turns out in ep 3 that's not true. Morrow doesn't know who Prodigy is, doesn't know the new Ms. Yutani, and seems to maybe be more or less clueless about the last 65 years. So either he'd tuned out completely, which seems weird for that character, or the show isn't sure whether information is being transmitted FTL to ships, which would be weird for worldbuilding reasons.

Or, as I'm increasingly suspecting, it's a goof that happened because of studio notes. I have this feeling that eps 1 and 2, like the first few hours of many AAA video-games, are where executives meddled the most, and gave a bunch of notes about things that had to be there to hook Alien audiences, and how they had to over-explain everything. I now think that awful exposition was a reshoot added later. It's the only thing that now makes sense to me.

I would *love* to hear Hawley's take on this production. I'm almost certain now that this show got messed with.
 
Last edited:
I liked the first two episodes but it was when they changed locations in E3 that gave me the dizzying sense of dread. I think you're right in that we're getting to the meat of what Hawley wants to do after they get to that point.

Olyphant has a line delivery in E3 that is so... clinically menacing that I found his casting choice fascinating. He's doing some of his most interesting work in a while here after playing phenomenal badasses for a good chunk of his career. There's a shift in his character mid-episode that's so subtle and so sharp it made me REALLY interested to see what he does with the next stages of his career.
 
Back
Top