Grid Effect

In lieu of anything decent on television last night, we watched a classic Nicholson-Antonioni film called The Passenger. While it didn’t have even a semblance of a plot, its the first film I’ve ever seen where the text is the subtext, and as a result it was at least a unique cinematic experience. The hollowness and insignificance of Nicholson’s character was something that didn’t dawn on me until the final seven minutes, since I was preoccupied with searching for a plot (because a movie with the same pacing and tone that actually had a opening, body and conclusion would have been just as extraordinary) the fact that it was a character study almost eluded me.

And just as I strolled into work late yet again this morning, it dawned on me that the Nip Tuck season premiere aired last night and we completely forgot. For a series primarily plot driven, hollowness and insignificance were the first thing that came to mind, and that’s never a good thing. We were uncertain if we would continue watching/recapping the Risqué dramatic series, but when realized we forgot about it, the only reason I was even mildly disappointed is for the eleven or so people that might actually have been looking forward to a recap, and for that reason alone, why would we watch it? This site’s goal is to focus on good, if not great television, not television we begrudgingly watch with no enjoyment. So, for that reason alone, we decided to let bygones be bygones.

Until we realized that we do not write recaps for dramas until the day of the subsequent episode, and we do not recap anything else on Tuesdays, we do a weekly links post, and that we could move that post to Wednesdays with little to no consequence (it also seems like something better suited for the middle of the week anyways). So, essentially, for the same reason we watched The Passenger, is also the same reason we’re going to recap Nip Tuck. Clearly the themes of the film didn’t take.

See, who said this series is only about shock value?

For what it’s worth, the series did end relatively strong last year (sans that overly generic shot of the two leads standing up against the Hollywood sign which made us take a 45 minute shower, because it was so dirty), or, at least stronger than Studio 60, which we stopped recapping before the season finale, not knowing but fairly certain it would be canceled anyway (which it was). Yet we can’t really recall how, all we can remember about the fourth season was that gawdy “future” episode. Which, for an animated series, like, say, The Simpsons, works; primarily because the characters do not age, but also because its a comedy, plot and character development are moot.

But for a series that force feeds its audience the “complexity” of its characters as a magnum opus for both the writers and actors, we don’t need to see an end game before the series finale. If we already know that all of them turn out relatively successful and untroubled, minus a small amount of mutual hostility, then what’s the point of continuing to watch? Here’s hoping it actually represents a turning point in the series. An unfortunate season and ill-advised episode have a reactionary effect, in which those involved with the series take a step back, and try not to take it so seriously. Because, you know, it’s about plastic surgery.

Back with Survivor and South Park recaps tomorrow.