09-24-2014, 02:06 AM
Fortunately I missed the opening sequence with Sheldon in the train station as that alone could have driven me off to do something else. In Canuckland BBT aired before Gotham so I didn't exactly have an alternative from a television perspective. As for the program itself, I found it rather boring not just for the content but also the overall pacing. The whole reason for the cut-aways and our favorite atoms spinning is so we can cut the crap and get to juicier scenes. That didn't happen. Nothing substantial happened at the police station, most certainly not worth building an entire set for it (and wasn't one of the comments about not having Penny succeed as an actress was that they didn't want to spend the $$$ on sets?).
It seems as though TPTB's notion of what makes people adults is affecting much more than the characters--something which we've all effectively lamented over what with the disappearance of the guys' hobbies and interests--as the very way the show is physically put together is suffering. As I said above, the quick flashes speed up the story so we can get from one comedic moment to the next, in a way creating a montage of humorous experiences. Things were dynamic, in flux, and this motion continued in their use of multiple cameras so that there was 'movement' even as Sheldon and Leonard sat at their desks working on their laptops. Now with the inflated cast what was simple machine-gun fast banter has slowed as there are establishing group shots followed by two or three shots which slow down the scene. These dinner scenes at 4A are positively mind numbingly s-l-o-w and formulaic.
Which brings me on to how being an adult is expressed. They characters themselves are no longer doing anything dynamic. They eat at 4A. They go to restaurants. They do things where they are sitting and can converse. They are at work, but are sitting at desks (remember when Sheldon stood before a whiteboard, a lone warrior against the universe?). Granted they need to communicate in order to create banter for the show but there was so much more they were doing to create the illusion of action around them like the breathers they took in the paintball shack. Or Penny stepping out of her apartment in fancy duds because she's on her way to dance with her friends. As the characters have become bogged down with their relationships so has the show mechanics.
The framework that made the first three seasons work like a well oiled machine is not suitable for the kind of romance they're trying to impose upon it. This does not mean, however, that romance can't be added to it as there are quite a few fan fictions out there that have successfully amalgamated the two. The problem is that the writers *SUCK* at writing romantic comedy. Just plain ol', balls out, in your face blow goats. And yet they've decided to put all their eggs into one basket and ride the relationships for the foreseeable future.
Balls, I've digressed. Back to the episode, it just seemed as though they didn't have enough plot to create a full episode so they kept cutting back and forth to stretch out what they had to make a full episode. I mean, it was stupid from a writing perspective (*snort* Like I'm an expert) to have characters in both plots driving around and talking. One should have been somewhere the hell else to create a 'meanwhile, back on the farm' feel as opposed to 'while at another intersection'.
There was a whole heck of a lot of travel and yet I felt as though they didn't get anywhere. I know I didn't feel moved. The (mis)Education of Sheldon Cooper continued with his admission to Amy that he didn't want her to see his failure. With the way she puts down nearly everything he does/acts/says how could he possibly want to disappoint her further? In a less cynical bite, Sheldon did have a life in Pasadena prior to meeting Leonard. Sure, it might not have been as expanded as it became when the boys showed up but at least Sheldon didn't get mugged on his way to Siam Palace or wander the streets without his pants. In other words, he was strange but *competent*. Now he's a toddler in need of correction, who can't even ride a train without needing to be bailed out.
All I know is that I should have 'bailed out' by season five.
It seems as though TPTB's notion of what makes people adults is affecting much more than the characters--something which we've all effectively lamented over what with the disappearance of the guys' hobbies and interests--as the very way the show is physically put together is suffering. As I said above, the quick flashes speed up the story so we can get from one comedic moment to the next, in a way creating a montage of humorous experiences. Things were dynamic, in flux, and this motion continued in their use of multiple cameras so that there was 'movement' even as Sheldon and Leonard sat at their desks working on their laptops. Now with the inflated cast what was simple machine-gun fast banter has slowed as there are establishing group shots followed by two or three shots which slow down the scene. These dinner scenes at 4A are positively mind numbingly s-l-o-w and formulaic.
Which brings me on to how being an adult is expressed. They characters themselves are no longer doing anything dynamic. They eat at 4A. They go to restaurants. They do things where they are sitting and can converse. They are at work, but are sitting at desks (remember when Sheldon stood before a whiteboard, a lone warrior against the universe?). Granted they need to communicate in order to create banter for the show but there was so much more they were doing to create the illusion of action around them like the breathers they took in the paintball shack. Or Penny stepping out of her apartment in fancy duds because she's on her way to dance with her friends. As the characters have become bogged down with their relationships so has the show mechanics.
The framework that made the first three seasons work like a well oiled machine is not suitable for the kind of romance they're trying to impose upon it. This does not mean, however, that romance can't be added to it as there are quite a few fan fictions out there that have successfully amalgamated the two. The problem is that the writers *SUCK* at writing romantic comedy. Just plain ol', balls out, in your face blow goats. And yet they've decided to put all their eggs into one basket and ride the relationships for the foreseeable future.
Balls, I've digressed. Back to the episode, it just seemed as though they didn't have enough plot to create a full episode so they kept cutting back and forth to stretch out what they had to make a full episode. I mean, it was stupid from a writing perspective (*snort* Like I'm an expert) to have characters in both plots driving around and talking. One should have been somewhere the hell else to create a 'meanwhile, back on the farm' feel as opposed to 'while at another intersection'.
There was a whole heck of a lot of travel and yet I felt as though they didn't get anywhere. I know I didn't feel moved. The (mis)Education of Sheldon Cooper continued with his admission to Amy that he didn't want her to see his failure. With the way she puts down nearly everything he does/acts/says how could he possibly want to disappoint her further? In a less cynical bite, Sheldon did have a life in Pasadena prior to meeting Leonard. Sure, it might not have been as expanded as it became when the boys showed up but at least Sheldon didn't get mugged on his way to Siam Palace or wander the streets without his pants. In other words, he was strange but *competent*. Now he's a toddler in need of correction, who can't even ride a train without needing to be bailed out.
All I know is that I should have 'bailed out' by season five.
Let's go exploring!