A fly on the wall, a kidnapping, Tony Soprano’s talking fish dream, a battle on The Wall, a beach house, a sitcom episode form the 90s, Annie’s Boobs, every posible outcome of a speech, a flashback that shows the loss of a child in the 80s, a flashback that show the entire history of an island… These are all special episodes of our favorite series. Episodes that did not follow the scheme we have grown familiar with, episodes that focused on a simple, concrete storyline that did not continue the serie’s plot, but rather highlight a single idea or concept. And then there’s Louie (FX, 2010-?), could a show be only constructed from ‘special episodes’?
Daniel Zelman and the brothers Glenn and Todd Kessler carry the main responsibility for projecting one of the nuances of our contemporary zeitgeist into television: the experiencing of multiple temporalities simultaneously conveying a new way of exploring serial narratives.
Both female main characters from House of Cards and The Americans have lived similar traumatic experiences with unexpected consequences in the last episodes. Death, treason, marriage… what else do they have in common?
“How far would you go?” The Booth at the End asks us in its tagline, how far would you go to get whatever you want, to achieve your goals, to fulfill your dreams, to satisfy your deepest desires? That’s the premise of this petit Canadian show, another little gem in our TV landscape.
A corpse on a West Coast beach, a pair of detectives wearing sunglasses, mysteries at sunset… are some of the elements that compound a recently coined genre: surf noir. The term, originated from Kem Nunn’s novels that mixed “dark themes and a surfing setting”, has been examined in the past years by the hands of two American television gurus: Shawn Ryan, creator of probably the best crime series, The Shield, and David Milch, creator of the (no probably here) best western series, Deadwood.