My Weekend Fling: Robin Hood, Series One (4)

There are stories (historical, semi-fictional, and entirely fictional) we are attracted to, that we return to, time and again: Odysseus and his travels; Caesar, Brutus, Antony, Octavian, and the fall of the Republic; King Arthur and his Knights; Henry VIII and his wives; Romeo and Juliet; Hamlet; Othello; Napoleon (okay, I might be overemphasizing the general interest in this particular figure); WWII, Wolverine. Robin Hood is one of these stories: we all know the basic plot, have a general notion of the characters and our attitude towards them (a good rendering will broaden our attitudes of course), and we approach it with a sense of security since there is little chance of our being “surprised” by what we will get. The downside of being drawn to something in this way (with a greater interest in the how since the what is somewhat known) is that one experiences a great variety in the quality of expression.

This is not English Lit 101, so I am not going to go into the why of this phenomenon. For the tale of Robin Hood, personally, there is just a great deal of fun in it: running around the woods, smiting injustice, and (here I am basing my understanding on the Disney 2-demensional interpretation) singing. Let’s be honest, Robin Hood is the Batman of the time before indoor plumbing, and just kind of cool. So, even though in many respects BBC’s Robin Hood misses the mark, I don’t regret watching. The problem seems to be that it falls victim to its own cleverness: the elements that evidence a desire to be more substantive that a simple adventure narrative do not blend well with some of the over-the-top theatrics and simplistic characters.

I think I am about to fly in the face of popular opinion and say that one of the huge drawbacks of this show is the Sheriff of Nottingham (Keith Allen). As a character, rather caricature, he is utterly preposterous and Mr. Allen’s scenery chewing would make Al Pacino proud. I think he is supposed to inspire fear, and he does some really awful things like cutting out tongues and almost burning a child alive and such, but he is too ridiculous to take seriously. He starts out menacingly enough, crushing a bird in his bare hand, but with no attributes beyond love of money and love of inflicting physical pain, he remains completely undeveloped. Early on there is the possibility that they might be going for a Deadwood’s Al Swearengen (Ian McShane) type, but instead of increasing in personality he simply increases in vocal volume. The (unintentional) hilarity of the Sheriff makes him a decent foe, but not much of a foil for Robin.

But, there are some drawbacks with Robin (Jonas Armstrong) too, which indicate the problems with the show as a whole. Robin of Locksley has returned from Crusading with King Richard, due to a life threatening injury, as a changed man. He has read, and quotes, the Koran. (Which is problematic because at one point it is unclear if he understands Arabic and I just cannot believe there was an English translation by 1192. And that is not quibbling, because it is a significant dimension of his character, so there should be plausibility and continuity.) He no longer believes in any justification for a holy war and eschews killing (granted, in favor of injuring). His commitment to evaluate others based on their character and not on their class, creed, or gender is admirable, and leads him to allowing Djaq (Anjali Jay), a female Muslim, into the gang. The complication arises in the lack of complication. There is no counter-balanced viewpoint. Any mention or display of Christianity is either immediately mocked as ignorant superstition, or is so negligent that it is easily dismissed. Without two voices the potential for an intellectually and dramatically rewarding exploration of religious differences and human similarities is squandered, and reduced to somewhat heavy-handed didacticism.

The treatment of gender is similar. Djaq and Marian (Lucy Griffiths) are action-oriented, mind-speaking, free-choice-making women, but since they are really the only two regular female characters it is not apparent that there is anything special about them. The viewer can be relied upon to understand that women in the Middle Ages rarely played with swords (I suppose). But because all the elements of the show are weighted one side of any given argument the show is deprived of nuance and subtly.

On the other hand, there is evidence that I am asking for something Robin Hood never intended to give me, and is really trying to give me what I wanted in the first place; bright excitement, vicarious daring-do, and witty banter.

I almost stopped watching after the third episode, entitled “Who Shot the Sheriff?” If you are hoping that this episode didn’t end with the Sheriff’s potential assassin being caught by using a double and that they refrained from making the horrifyingly obvious joke about the whole situation, let me tell you right now that you are wrong. There is a deputy, he is shot instead of the Sheriff, and yes, they say it. This is an example of a failed attempt at levity (no laughing, just groaning), but this is the low-point.

In general, the more whimsical elements entrance the viewer. Every episode ends with a still shot in black and white, and it is always horrendously cheesy (longing /knowing looks, toasts to comrades, etc.) but it sends the viewer off with a bit of silly, good-triumphed-euphoria. It suspends disbelief that Robin and his men get tricked as many times as they do, but it is immensely entertaining to see how little effort it takes for them to slip past the Sheriff’s guards and spoils his plans. The fight scenes boarder on Jack-Bauer-invincibility, but they are quite well choreographed and filmed, and dispersed appropriately throughout the episodes so as not to appear redundant or boring. Furthermore, the score is properly vivacious and heroic, tonally complementing the action.

Essentially, the experience of Robin Hood, Series One is disorienting, and not in a successful way. The individual pieces have merit enough, but there seems to be no cohesive vision, which tends to make those pieces feel at extremes and disjointed. The comedy feels too light, the seriousness seems too truncated (even shallow), and characters seem at turns too smart and too dumb.

I said earlier that I do not regret watching this show, and despite my criticism I stand by that. While not perfect, there is plenty of room for this show to improve, and even if it doesn't, it is plenty enjoyable as it is. My friend Asian KP told me that Guy of Gisborne (Richard Armitage), who I didn’t mention here despite the fact that he is a major character, was voted the “most interesting current TV character.” After Series One I am not in a position to agree, but this tells me that maybe Series Two stabilizes what was shaky and dispenses with what was unnecessary. Or I have grossly underestimated the moron levels in the population.

And finally, a casting tangent. How to put this delicately, and not sound like a completely shallow bitch? Jonas Armstrong is not a handsome man, but very charming (even though Robin and Marian are a tad cold). I point this out not as a flaw, but as a strong (if maybe surprising) choice. It allows for a clearer sense that Robin persuasive ability is based upon his integrity rather than physicality, and corresponds to the show's thematic concern with who a person is rather that what a person is. Not the most important thing for me to leave you with, but I thought it was worth noting.

We will see what Series Two brings.

The TV Girl

The Office (6): My Prayers Were Not Answered.

Well, kind of.

I will admit that I am kind of a hoarder: some times I save up episodes of shows I enjoy so that I can watch them when I am having a really rotten day or need a pick-me-up. That is what I did with the last three episodes of this season of The Office, and even though everyone else saw the finale a week ago, my strategy is totally worth it for me. Today was the right day for some time in Scranton.

Since, no matter what is going on in my life at least I am not facing federal prosecution on charges of fraud. Oh how the lowly have fallen. Despite Ryan’s utter failure as an authority figure, and his newfound drug problem, I didn’t think that he would go so far as to hoodwink investors, but now that I think about it, it does make a lot of sense. Of course he lashed out at Jim for complaining about the web site because that would draw attention to what he was doing. Funny how we think people are just being tard-holes, but really they are engaging in criminal activity. Note to self; observe co-workers more closely.

Not that I want the kind of close observation that Phyllis got. Who knew all it would take for Dwight and Angela to get back together was her accepting a marriage proposal from another man. If Andy was slightly less ridiculous (even though he wouldn’t be nearly as funny) I would kind of feel sorry for him. He thinks that Angela is just completely cold, not that she is cold and still emotionally invested in another guy. She is apparently a bit confused about some of the Christian virtues, for instance fidelity, or honesty. Granted she cheated on a guy who has been carrying an engagement ring in his pocket for six years with a guy that owns a beet farm. Really, in this situation what would Jesus do?

Jim’s engagement ring for Pam stayed in his pocket and now Pam is disappointed. It sucks that Andy co-opted all of Jim’s planning, but it is kind of karmic, since Jim was planning to co-opt Toby’s going away party. Jim’s speech to Michael about how you should get to know someone before you tell him/her that you love him/her showed that Jim has to propose to Pam in the office; it has been the setting of their entire relationship (hopefully not in an Angela/Dwight way). But shouldn’t he propose on the roof of the building where they had their first “date” of grilled cheese? The big gestures don’t really work for Jim, like how he told her he loved her and kissed her, and she still remained engaged to Roy, so he should leave the extravagant public displays to the Andy’s of the world, make her a sandwich and ask her to marry him.

But will Michael ask Jan to marry him now that she is pregnant with some a random dude’s baby? This is what I am saying about my prayers being ignored: pregnant Jan is the Godzilla to Michael’s Tokyo and I simply do not think another human being should be subjected to what will happen to him if he tries to be all baby-daddy. (Minor problem: IVF is expensive, time-consuming, and usually requires someone to give you shots, so how did Michael not notice what she was up to? And if she got pregnant while they were still together why was she getting all drunkedy-drunk at the dinner party they threw?)

Jan’s pregnancy makes me wonder if Holly will be a character next season, or if it was only a guest spot for Amy Ryan. She was great by the way. She managed to treat Kevin “delicately” without making it look offensive or cartoonish. If she stays, I am starting a pool to decide how long it take Kevin to figure out that she thinks he is mentally handicapped.

The TV Girl

Greek (5.5): If He Seems To Good To Be True…

No “possibly” “maybe” “probably” about it: he (simply) is.

Casey learned this sad lesson with the pre-med boy who kissed like Richard Gere in the preview of First Knight (okay that might be too obscure a reference, but Kathleen should get it). Evan didn’t have to send Calvin to sabotage her male prospects, because the males themselves did all the work.

Speaking of people shooting themselves in the feet, seems to me that Rebecca made a big mistake telling Cappie he would eventually have to choose between her and Casey. More than the fact that anyone with two brain cells to rub together can tell that he would/will pick Casey (wow, if he picks Rebecca I am going to be so embarrassed), this was not a bright move on Rebecca’s part because it makes her look like an immature shrew. Making the demand in the first place puts her in the position of being an undesirable option.

Undesirable could have been the tagline of the episode. Little Rusty has now experienced another first: first STD. What a wonderful display of the male ego; Rusty was convinced that she kept calling because she wanted to have sex with him that badly when really she wanted to tell him he had been exposed to crabs and shouldn’t be having sex with anyone.

The beginning (Cal and Michael, so cute) and ending (Evan, get over Casey!) of romantic relationships aside, here is the big question: is Cappie realizing that he and Evan are more successful as friends than as enemies? They are good enemies. But, Evan used his argument to win over the board and get the restrictions lifted, thereby structuring Cappie’s thought for an audience that doesn’t think like him. Evan needs someone in his life to show him how to be less of a drama queen (and therefore less of a binge-drinker). Like friends should, they (could and used to) compliment each other, helping each other be better versions of themselves. So am I seeing something not there, or is this feud about to be put to rest?

The TV Girl

How I Met Your Mother (7): No Way!

My title pretty much sums up my feelings about this episode.

Sarah Chalke cannot be the Mother! Can she? I would adore it if she is, but it cannot be a real possibility. Can it?

Before not answering that question, since I am incapable of doing so, I am going to point out something. Maybe everyone else already saw this, and it has been in the back of my mind for a while now, but I find it odd that Ted is so determined to “find the one” and plan his future, and yet he is terrified of commitment. Agreeing to go to a wedding six months in the future causes him to break-up with Stella, so I wonder if Ted has every really asked himself if he is qualified to be a husband.

Well, he thinks he is because he proposed to Stella. It was apparent what was going to happen, but I am still kind of shocked. Even though it is a wonderful way to set up the next season, (and I maybe think that she is going to say yes) I just don’t know how to feel about it.

Also odd that Ted’s snapshots of the people he loves were all painful moments. Arguments and break-up is not how I want to remember my loved ones moments before I die. Minor quibble.

And even though it took being run over by a truck while running to the hospital, Barney has his friends, and his bros, back. This is awesome, no doubt about it.

Oh, yah, and Barney is in love with Robin. This is, of course, the miracle. As endearing as his bright-eye existential optimism is, Marshall's examples were timing and luck.

How I Met Your Mother is changing. Next season will tell us if it is growing or festering. (My money is on growing.)

The TV Girl

Gossip Girl (6.5): Are We Being Punished For Something?

I am officially pissed off at The C.W.

I mean that as a blanket statement for the entire network; I am disgusted with all of you. First Veronica Mars is cancelled, then more obnoxious reality programming is foisted off on viewers (anyone who is actually watching the show I am thinking of should be deeply deeply ashamed), then there was the season finale of Supernatural (but I am preparing a reevaluation of my post, to take into account comments and a few good nights sleep), and then, then after one, maybe two, little kisses Chuck and Blair are apart, again!

Network, what have we the viewers done to you?

I can only hope that at some point in the upcoming season, which we have to wait an entire summer for, we will get to know what took place during the conversation that led Rufus onto the road and Lily to become Mrs. Bart Bass.

But I also hope that she quickly becomes single again. Divorce, widowed, doesn’t matter to me. There needs to be some divine retribution for Bart ruining Chuck and Blair. Chuck admitted that he loves her, to Nate, who forgave him for everything because of said admission. He stood up and gave a toast that, if you knew what was going on, was a public declaration that he was going to make her realize that they belong together, and then he got to tell her that flat out. She was excited, and happy, and hopeful enough to convince Serena, Chuck’s un-fan, that the two of them are a good couple. And then instead of keeping his mouth shut and letting his son mature at his own pace, Bart expounds upon how love and a relationship turn you into a hen-pecked shell of yourself that you will not recognize. It is like the adult version of “there is a bogey-man under your bed” type story that you tell kids to make them behave: terrifying, destructive, and utterly irresponsible. Yes, the rational part of my brain is telling me that if Chuck was so easily deterred then he is not ready to be with Blair. But, my rational brain also assumes that as a successful businessman Bart would be able to properly evaluate his audience, and he should have known better than to say anything.

Also there is the little foursome known as Serena, Dan, Vanessa, and Nate.

Serena and Dan needed to break-up, and not because of the you-lied-so-I-cheated dynamic that was going on. Serena spent a year lying to family and friends about her actions and emotional conditions. Just free from that she was willing to start lying to herself about what Dan did or did not do with Georgina. She tried to go from one fearful state to another. That is not a healthy situation to put yourself in, and her willingness to do so highlighted the fact that she absorbed some of her mother’s neuroses about being alone. Being horrified at the prospect of loosing someone is not the same thing as loving them, and Serena should not be with anyone until she learns the difference.

And Dan needs to learn to not be a prat. “Most understanding person” my left foot.

The wonderfulness of Nate/Vanessa is already over? I get it, they both have prior emotional commitments and unfinished situations. There was so much potential in that relationship. Obviously from where the show started Nate/Serena has to be revisited at some point, so maybe it is better to do it early, so there was no lasting damage for Nate and Vanessa and they can get back together in the future. Vanessa has got to see that Nate is the better option at this point. I wanted to extra smack Dan when he rattled off all the possible reasons Nate and Vanessa parted ways, because he projected all his issues onto her and it was completely unfair. (I apologize to any Dan-fans who read this. In the beginning I like him, but for a while he has been driving me nuts.) It was especially unfair because Vanessa probably needed some understanding after having to endure the bile of Blair. I adore seeing all her scheming turned towards toppling a foe in the name of justice, (calling Georgina’s parents, genius!) but Blair needs to retract the claws when it comes to a girl who can actually look stunning in a bright orange dress shaped like an inverted tulip. Blair should show a little more respect for Vanessa.

Is Jenny still a character?

Well, this is probably one of the most successful season finales I have seen in a while. I mean that, because I need/want Season Two to start as soon as possible in order to sort all this out. This was not a matter of giant cliffhangers and shocking reveals (Gossip Girl saves that for the rest of the season), this was a matter of general wrong-ness that from the seeds of this episode will grow throughout the summer until I cannot take it anymore. At that point I think Season One will come out on DVD. Oh, the brilliant manipulation.

The TV Girl