Well, we're finally on the back of the wave of programming created for what the television calls "sweeps" and what I call intensely annoying. For the past month my DVR has been smoking with the friction of mad recording frenzy, as it struggles to keep up with the flurry of new episodes being aired by all programming as they close out their seasons (in most cases not to return until the fall).
Of course, I know that it felt so frenetic for me partly because May was a very busy time for me with my most recent show runnning at Appleseed, followed by the last show of the year at Corcoran. The result was that my poor DVR was usually weeping under the weight of the backlog of recordings we have yet to watch, and several times found itself shouting out warnings as we neared the 30 hour capacity with many hours in the queue to be filled the next night. We combatted it with several strategies, including a couple of surreal "we have to stay home and watch television tonight" plans, a couple of instances of sacrificing the least important recordings in the queue, and eventually the final surrendur to the knowledge that we can't watch it all before the space runs out, dubbing six of the final seven episodes of "The West Wing" onto an old fashioned VCR tape (the seventh is still on the DVR), a task that eventually ultimately convinced me to purchase a DVD-R.
But here's the main reason I'm writing - what really got me frustrated with the season finale sequences this year (at least 60% of which I still haven't seen and only know from the commercials) is the overkill. And here I don't just mean the usual overuse of cliffhangers, a phenomenon I've been frustrated with for years... I actually mean Over Kill. A ridiculously large percentage of the shows we watch decided this year that they have to place at least one primary character in a hospital under mortal peril, and an unreasonable number of them went ahead and killed off a character. Sure, it's got to be done occasionally to be realistic and support the plot, but the cumulative effect was draining and exhausting, both from the standpoint of an audience member engaged in the plot and an artistically based fan of television engaged in the quality performances of particular actors. The cumulative effect, also, is that it feels ultimately UNrealistic... when every story the television tells you in the same one month period puts people in the hospital and morgue. Sure, I know, it often feels (although this is a psychological illusion) that "fate" often delivers these tragedies in batches in real life, but not this pervasively.
I also can't help but mention that I think that the very sad real-life passing of John Spenser, the outstanding actor most recently playing Leo McGarrity on The West Wing, strongly contributed to my not caring for seeing other unnecessary television character offings, all of which feel sort of shallow and tacky next to The West Wing having no choice but to deal with death in its final episodes ever, simply out of necessity. It's how draining I'm percieving the final sequence of episodes of The West Wing will be that has made me thus far select it first for temporary relegation to videotape to save for later.
Four of the most frustrating mortal peril or death moments (remember, in isolation, any one of these might have been okay - but together in the same month, it's just too much and hurts all the shows in believability and entertainment value):
(1) LOST - Okay, Michael goes wacky and turns out to be acting for the moment as a double agent - I'm okay with that development. I even think I understand killing off Anna Lucia (in real life, the actress can't keep herself out of jail, which might be worrying the show's producers). But as a charter chubby member of the chubby hero fan club, of which Hurley is currently one of the favorites on all of television, they were developing a whole subplot involving Hurley and his place in the group, his struggle with friendships, his struggle with addiction, all largely built around the foil of his emerging "girlfriend" - so we're gonna kill her off too? I suppose it was getting too threatening that we might not be spending enough screen time on the pert little thin people. Ugh. I will prevail on the writers, while they are busy writing the next Star Trek movie during the offseason this summer (no joke there), to carefully consider where Hurley fits into this larger picture, and make sure he's not getting a demotion in favor of attractive, less interesting and less real characters. In the grand scheme of things, I will give the folks at Lost a "pass" on this one because I still appreciate their selection of the last victim, the most annoying whiney supermodely character in the main cast.
(2) GHOST WHISPERER - Now, I will grant you, isolated from the larger television context of many other deaths, the skillful writing of Angela's death was a real Shyamalan-worthy twist, normally a very difficult to execute device that I respect and adore. However, even so, this was perfect for the end of season four or five, not so early. Just long enough so far to really appreciate the character and performer, not long enough yet to feel it makes sense for the actress to move on or the show to need a "change". I now find myself with a dicotomy of a reaction to this development... on one hand, I don't want to see the actress written out of the show (likely to move on to a new, pathetic show - a-la Debra Messing moving from Prey to Will and Grace), but on the other hand, every plot development I can imagine now to deal with these circumstances cheapen a story that has thus far had such impressive writing as to make me continue to choke down Jennifer Love Hewitt performances on a weekly basis (no small feat, indeed!).
(3) CSI - I am very glad that they didn't do something really stupid in the end, but I don't mind sharing that I did not enjoy watching the two episodes following Lt. Brass' shooting much at all. Sure, it was suspense, but for me the suspense was more "I really hope these writers don't blow it because I'll be really pissed" than any artistic type of suspense. In the end, CSI simultaneously gets big demerits for wasting the final two episodes of the season like that, while it gets credit for dodging both the primary stupidity temptation to kill him off and the secondary stupidity temptation to make us wait until next season to find out.
(4) NCIS - I was very ticked when The West Wing first hired the very entertaining Mark Harmon on and fully developed him in the pretty interesting Secret Service agent role and subplot, then promptly killed him off. Now, I never watched JAG (where Harmon's NCIS character first began), but I gave NCIS a try solely as a Harmon fan, and wasn't disappointed. So, let me just say to the NCIS writers: putting Harmon in the same status as CSI had Lt. Brass for the last two episodes evoked only the following reply from me: I am not amused. Especially after you already have one giant strike against you for killing off Sasha Alexander ("Caitlyn") in a previous cliffhanger and replacing her the next season with the much less entertaining and rather contrived Cote de Pablo (Ziva), making me literally fear what stupidity in end-of-season writing you are capable of.
And remember, those are just the most notable of them, and the ones I've watched so far (I know for a fact I've got a few more waiting for me on the DVR.
So, television writers: stop trying to hold my viewership hostage by threatening the lives of my favorite characters! This TV terrorism has the same effect on me that real terrorism does on the general public - I turn against you rather than more to your side, and often it makes me even less interested in doing your desired outcome (in this case, watching your shows).