US TV

Third-episode verdict: Traveler

Carusometer for Traveler2-Partial-Caruso

I previewed Traveler an awful long time ago: it’s been nearly a year, in fact. Since then, the mini-Fugitive has been sitting on a shelf at ABC, waiting to be picked up. We’re now up to episode three and I’m actually quite surprised that it’s taken so long to get out. It’s a masterpiece of modern television compared with, say, The Nine and Six Degrees, all of which ABC hyped and died a horrible death after causing mass outbreaks of yawning among their audiences.

The show is essentially a mini-Fugitive upgraded for our modern, CCTV-infested age: if you were falsely accused of terrorism, how hard would it be to escape from the law and prove your innocence before you got a one-way ticket to Guantanamo? Is it at all possible?

For it to be truly great, it would have had to have had an element of plausibility about it. Unfortunately, our protagonists are two relatively wealthy, white Yale students fitted up by the government and/or art lovers. So from the outset it’s been hobbled by the same conspiracy theory nonsense as the now-deceased Vanished, from which it’s also stolen some scene-break graphic concepts.

We’re talking about pretty boys with nice teeth facing enemies with peroxide hair, not working class Middle Eastern Muslims who are victims of mistaken identity and an over-zealous Fox News.

Nevertheless, it’s reasonably tense, more so when it’s working on the mind instead of falling back on making metaphors literal (being ‘on the run’ interpreted as ‘running a lot’), as our heroes try to work out who’s trustworthy and who’s not, how to get money, food, clothes, etc, while avoid being recognised thanks to all the relentless news broadcasts. It’s occasionally smart, undermining some of the standard clichés of the genre while still upholding a load of others (such as the subordinate cop who’s smarter than the boss and knows they’re really innocent). The lack of real acting skills among the leads isn’t a problem since William Sadler and Steven Culp are doing fine over-acting elsewhere. And the episodes have been getting increasingly better, albeit somewhat sillier, since the slightly muddled pilot.

It’s diverting, I give it that, and at only seven episodes, it’s going to be a nifty little mini-series with a reasonably intriguing premise. UK and US viewers alike can watch the first ten minutes on the ABC web site to get themselves better acquainted with it.

The Medium Is Not Enough has great pleasure in declaring Traveler a two or Partial Caruso on The Carusometer quality scale. A Partial Caruso corresponds to “a show in which David Caruso might volunteer to cameo. However, since ‘real men don’t run: they walk slowly, with bent knees’, he will refuse to do anything that would require him to exert himself. Instead, various stage hands will be forced to move the scenery backwards quickly to create the illusion of David Caruso running”.

US TV

The Random Episode Carusometer: Painkiller Jane

Random episode Carusometer for Painkiller Jane

At The Medium Is Not Enough, we – by which, of course, I mean I –  have a somewhat long-term policy regarding reviews of shows. Even the worst shows can get better after a few episodes, and of course, the best shows can get worse, too. So I hold off for a few episodes before stating for definite whether a show is worth expending valuable time on.

I started off with the third-episode verdict system: this uses The Carusometer, the most powerful and certainly the most egotistical TV quality system in the universe, to measure just how good a series’ first three episodes are before declaring whether they’re fit for human consumption. Look at Heroes: not exactly brilliant for the first two episodes but started to take off (literally) after three.

But there are some shows that still don’t find their way by their third episode, so I came up with the fifth-episode verdict system: if the show looks like it could get better, I wait for another two episodes before passing it over to the penetrating, darkly shaded gaze of The Carusometer.

But I’ve noticed that some shows still don’t get the hang of life for a few more episodes. Look at Torchwood: good start, absolutely dire middle, much better from about episode eight onwards.

Now there’s no way I’m hanging on watching some of these shows for their full eight episodes: one episode of Ghost Whisperer was enough and I couldn’t even last one minute of Angela’s Eyes. If I dumped them by episode three, there’s a very good chance they’re going to be awful forever. Yet to avoid possibly missing a good TV show that only finds its feet at the last moment, we need some system to pick them up.

So today, I’m instigating the launch of the Random Episode Carusometer, complete with not terribly impressive graphic I whipped up in Illustrator in less than an hour.

Continue reading “The Random Episode Carusometer: Painkiller Jane”

US TV

Season finales: House

House

House is a series that likes temporary mini-arcs. It never does a full-season arc; it never has an arc that really changes anything, since there’s always a magic reset button at the end; and it’s always about House himself, with the other characters rarely getting the fleshing out they probably deserve.

Season three has been no different. Probably the best so far, with Hugh Laurie now very comfortable in his role and even mellowing a little, it’s been even more House-centric than usual. The highlight was the David Morse storyline, which was excellent but let down by a cop-out ending, unfortunately.

But the subsequent Foreman arc and finale show signs that the producers want to move things on a little. Since we aim to have spoiler-free reviews here for the benefit of UK viewers, I won’t mention all the intricacies of the plot, only say that the little birds under House’s not-so-tender gaze are feeling restless. Cutty and Wilson get their usual minor “Oh House!” moments, like principals in some rubbish 80s high school sitcom. But everyone else seems to be getting pushier and pushier to good effect.

The show ends on a cliffhanger of sorts – a cliffhanger only if you believe a magic reset button isn’t being sent by parcel post to a certain New Jersey hospital right now – so be wary. But it’s not the earth-shattering ending that season two promised, and with House warming up, it’s likely that you’ll leave it feeling optimistic, rather than trepidatious.

Tension: 5/10

UK TV

Review: Doctor Who – 3×8-3×9 – Human Nature/The Family of Blood

Family Of Blood

I’m a big man.

I say this not to boast – although wey hey! – but because it’s a truism that it takes a big man to admit it when he’s wrong.

I admit it. I was wrong. Paul Cornell can write. He can write very well (subject to any possible script edits made by RTD, Helen Raynor, et al).

Continue reading “Review: Doctor Who – 3×8-3×9 – Human Nature/The Family of Blood”

US TV

Season finales: Lost

Lost finale

Well, if ever you’re worried that Lost is just going to run around in circles, never getting anywhere, the third season finale should dispel that thought immediately. We got pay-offs, answers, a bucket load of new questions, and – the so-called “snake in the mailbox” game-changer, which unfortunately I guessed and you might too – a twist right at the end that lets you know what the exec producers have planned for the next few seasons.

Continue reading “Season finales: Lost”