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  •  You will like it (11+ / 0-)

    but go back and watch it from the beginning.  There is so much that unravels episode by episode, yet it's really subtle.

    "The first rule of pillow fight club is that you do not talk about pillow fight club" -- Keith Olbermann

    by juliewolf on Sat Apr 25, 2009 at 05:19:19 PM PDT

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    •  I'll follow that advice, too. ;) n/t (7+ / 0-)

      "The truth does not change according to our ability to stomach it." -Flannery O'Connor

      by Meteor Blades on Sat Apr 25, 2009 at 05:27:57 PM PDT

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    •  And more layers than this post suggests (16+ / 0-)

      There is political commentary and metaphor, musings on philosophy and metaphysics (the whole thing is much more about the nature of identity and what makes a human being an "I" than it is a commentary about television); our instinctive, evolutionarily-trained but often misguided reactions to what we perceive as helplessness, childishness, etc.; a deliberate tweaking of our dual prurient-puritanical cultural groundings (no coincidence Dushku is from Massachusetts, she gets this instinctively); and, since it's Whedon, a clever updating of the classic thriller/spy/cop/chase/cliches with contemporary pop culture and a never-present wink.

      Since it's Whedon, it's also excellently cast (Olivia Williams, who plays the increasingly complex Adele, is an alumna of the Royal Shakespeare Company, in addition to her better-known film roles) - Whedon has used the same casting directors on all his series and film), written, edited and well-paced. And, one of the most beautifully architected sets ever (I was amazed to discover it wasn't a real spa or conference retreat they had taken over, but rather built from scratch in a studio).

      Even if there were nothing original in it, it would be a pleasure to see a quality product of a craftsman who gets the medium. But, it manages to surprise with unpredictable twists - embedded amidst the TV cliches - more often than expected, which is a rare delight these days of predictable, safe television. Just when you think, "oh, he's fallen into that hoary old rut," Whedon pulls the rug out from under you.

      It's definitely pop TV - we're not talking Dickens here - but it is a cut above 90% of everything else on prime time.

      And, Dushku is beautiful, and revels in her femininity. Nothing wrong with enjoying that aspect of the show, in underwear or more (or less). You forgot to mention that the cast member you noted as having the most "Whedonesque" self-consciously ironic repartee, November, is also the only one of the dolls who is not a "perfect" skinny-model type - her beauty and sexiness shines through despite not fitting Hollywood (or television) stereotypes.

      Finally, one of the best things about this show is that it makes intelligence sexy. In fact, it points out the emptiness (literally) of superficial beauty when it is nothing but an empty shell.

      Whew, overanalyzed that one to death, didn't I. Doesn't help that my daughter is an actor, I can't help noticing the craft behind the entertainment. Just didn't want the show sold short as nothing more than a self-referential critique of television as a medium. (Also, as any Firefly fan will understand, I get a bit irrationally defensive about Whedon's inevitably prematurely canceled shows...)

      One day posterity will remember, this strange era, these strange times, when ordinary common honesty was called courage. -- Yevgeny Yevtushenko

      by RandomActsOfReason on Sat Apr 25, 2009 at 06:14:24 PM PDT

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