Television Tuesdays: iZombie

Up front, iZombie has a lot going on. It’s a procedural, but it’s a zombie show, but it’s a fake-psychic show, but, but but.

But it’s delightful.

Overview

The show follows Liv Moore (I know), who in the first five minutes of the pilot transforms from a promising young med student to reluctant zombie after a boat party goes awry. In order to sate her newfound need for brains, Liv abandons her surgical residency to work as a medical examiner in the morgue (alongside the beautiful, charming, hilarious Ravi).

Brains aren’t the only big change in her life. She’s now preternaturally pale and depressed as hell. In order to avoid infecting her perfect fiancé (Major Lilywhite), Liv dumps him. Once you’ve seen his face, you’ll understand what a travesty this truly is. Her family is under the impression she is simply suffering some mild PTSD after witnessing the veritable massacre that was the boat party, but Liv is struggling a lot more than that.

Thankfully, Liv is given some purpose again with the realization that the brains she consumes give her flashes of the deceased’s life and their graphic deaths. Using this new information, Liv joins forces with the local police department, partnering with skeptical Detective Babineaux to solve the murders.

Perfect for…

  • Veronica Mars lovers. It’s got the same procedural roots, witty characters, and snappy writing that viewers have come to expect from Rob Thomas and Diane Ruggiero-Wright. It’s current and polished and refreshingly diverse. And great news Veronica Mars-lovers: Major is not just another Duncan Kane! He is so, so much more.
  • Fake-Psychic show obsessives. It’s hard to believe there’s still a market for this very niche genre, but iZombie fills the Psych-shaped hole in my heart.
  • Those who’ve missed seeing Sark / David Anders on their screens. (I’ve just started watching Alias, so his presence is especially delightful.)
  • Fans of Merlin – Bradley James (Arthur) makes some recurring appearances as rock star/Liv’s hot British boyfriend.
  • Science! – Ravi tries to reverse engineer the zombie virus as well as attempting to create a potential cure.

What Else I Love

It’s not just a fake-psychic show. Or a zombie show. iZombie has the added bonus of a deftly implementing a twist in which perimortem flashbacks aren’t the only side-effect of Liv’s condition: she also temporarily exhibits some of the victim’s personality traits, from kleptomania to a peppy cheerleader persona. What could be an annoying trope has been cleverly used as a nice comedic tool.

Season 2 premieres October 6th on The CW.

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Relationship Theory

Every time I search the “relationship theory” tag on this blog I’m surprised I haven’t published this yet. It’s literally been years since I first wrote most of this. So, finally, as Amanda and I sit around watching Studio 60 again for the [embarrassingly high number] time and mostly written three-ish years ago, is my Relationship Theory. Get ready for a lot of convoluted Taylor Swift and Studio 60 on the Sunset Strip references:

I love about pop culture –  watching tv, picking apart plots and dialogue and finding out that some actors are just as hilarious (if not more so) off screen than on. But every once in a while, I realize that pop culture is slowly killing me. Somehow, this vicious media frenzy is making me too idealistic.

I’m rarely idealistic. I’m more the pragmatic sort who wishes she had more of a devil-may-care snark-tastic attitude. Anyway, I tend to be a realist, if not an outright pessimist. Which is why becoming fixated on heart-wrenching moments during scripted television shows kind of kills me. But, at the exact same time, it gives me hope than I can write great stories, great plots that can make other people hopeful, too. I don’t want to be all doom and gloom. I’ll never be bright and shiny, but I’m not dark and twisty, either.

The one line that get’s me – every goddamn time – is courtesy of Logan Echolls towards the second season finale of the unjustifiably short-lived Veronica Mars. Logan, a little tipsy and a lot heartbroken, pours his soul out to his ex, Veronica. He tells her, “I thought our story was epic, you know? Spanning years and continents. Lives ruined, bloodshed. Epic.”

Be still, my heart. I wish that I could put him on my Amazon wish list. I just… I want epic. I don’t need romance, I don’t even want it. All I ask for is something pure, real, scary, and bigger than myself. Well, okay, maybe that’s a pretty big wish, but a girl’s gotta dream.

It all goes back to the Relationship Theory, based off of Taylor Swift (stay with me). My friends and I usually apply it to Studio 60, though it works for many other fictional stories.

My freshman year of college, Taylor Swift was kind of a big deal. [Hahaha, she’s only gotten so much more popular. This is weird. Then again, that was 2009.] Her music, though juvenile, was catchy, poppy, and fun to sing along to. Anyway, one of the bigger hits at the time was “The Way I Loved You.” It’s a fairly simple song, but it ignited a major schism to form between my roommates and myself: which boy each of us would prefer?

I thought it was obvious – you choose the ex-boyfriend. You know that you’ll (probably) get hurt, and it won’t be easy, but you’ll be consumed by passion, completely in love. Love wouldn’t be very spectacular, let alone epic, if you didn’t have to fight for it.

Amanda, however, reasoned that she wanted the current boyfriend for exactly those reasons. She wanted to be sure of her relationship and be comforted by the warm feeling it instills in you. She wanted something she could trust.

But, for those unfamiliar with the song, let me give you examples of the two different options.

Ex-boyfriend: [Taylor was constantly] screaming and fighting and kissing in the rain, it would be 2am and she’d be cursing his name, so in love that she acted insane… Breaking down and coming undone it was a roller coaster kind of rush and she never knew she could feel that much, but that’s the way she loved him. He was wild and crazy, just so frustrating, intoxicating, complicated, and got away by some mistake.

Current boyfriend: Is sensible and so incredible and makes all of T-Swift’s single friends jealous. He says everything that she need to hear and it’s like she couldn’t ask for anything better.  He opens up her door and she get into his car and he says, “you look beautiful tonight,” and she feels perfectly fine. He can’t see the smile she’s faking and her heart’s not breaking ‘cause she’s not feeling anything at all.  He respects her space and never makes her wait and he calls exactly when he says he will. He’s close to her mother, talks business with her father, he’s charming and endearing and she’s comfortable.

So there you have it. Two boys, exactly the opposite of one another. Amanda championed the line where the new bf, “talks business with my father.” She thought that was, quite possibly, the most endearing thing a guy could do. She wants someone who will call when he says, pick her up, make every other girl wonder how you got so lucky.

Okay, so I understand where that is the ideal, you know? Practical and dependable. I get it. But come on. Wouldn’t you prefer wild and crazy, frustrating, intoxicating, and, most importantly, kissing in the rain? Listen, I relish in a good fight. I like being challenged. It’s fun for me. (To a point, obviously. I can handle yelling, I can be wrong, but there’s obviously that line in fighting where emotional well-being comes into question and then you have to take a step back. So, healthy fighting, I guess.)

To me, being challenged is a necessary part of a relationship; I don’t want to sit stagnant, I’d be bored out of my skull. I don’t understand how anyone could be happy with someone who always respects your space; the biggest thrills occur when someone invades your personal space and drags you out of your doldrums, kicking and screaming. (Not all the time. Obviously. Sometimes I just want to sit around in my jammies and watch Netflix and have you just accept it.)

Back to TSwift: the thing that kills me, every time, is that her ex got away by some mistake. And, even worse, her new boyfriend clearly doesn’t know her very well at all. Even if you disregard the fact that the replacement can’t tell when she plasters on a fake smile, he fails to make her feel. When she’s with him, she never get’s past “fine” and “comfortable”. He’s reliable. And yet, he doesn’t make her feel “anything at all.”

All of my favorite (fictional) relationships rest on this theory. That the guy you should be with, 9 times out of 10, is the one who makes you come alive, even if that means you want to crawl out of your skin because you’re so angry you can’t see straight. Which is where the whole Matt / Harriet thing comes into play.

If  you’ve ever sen Studio 60, you will know that there are two primary relationships. The on-again off-again Matt & Harriet and the “slow” burn Danny & Jordan. While Danny and Jordan have a turbulent love story of their own, I will always strive for the Matt/Harriet relationship. They, like literary idols Elizabeth and Darcy, are epic. Their relationship spanned millennia (technically)! I guess this will require a little bit of an explanation.

Studio 60 is one of my favorite shows of all time (haters to the left). It was one of those things that really brought Amanda and I together as friends, but once again we found ourselves divided when it came down to the relationships. There are two couples to follow throughout the course of the one-season series. On the one hand, you have Danny and Jordan who perfectly exemplify the relationship of Taylor Swift and the new boyfriend. Comfortable, reliable, endearingly sweet. And then there are Matt and Harriet who can’t get over each other. They’ve gotten together and broken up more than any of the other characters can count. They’re constantly fighting, but they also have unwavering support in the other. That is what I find enviable; they never lose faith in each other.

I’m fairly certain that Jane Austen would have known exactly what I’m talking about. She, too, understood that the best relationships are not the simple ones, but the ones filled with conflict, strife, and challenges. Deeply passionate love makes you examine every fiber of your being. There’s a reason that Elizabeth and Darcy are the heroes of Pride and Prejudice and not Jane and Bingley. It’s the same reason that Emma and Mr. Knightley are the couple of interest and not Harriet Smith and that poor farm boy. (Consequently, it’s why Sense and Sensibility is my least favorite Austen book, though I know it cover to cover.)

I constantly struggle with this little theory of mine. Because, although my heart wants epic, my mind tells me I want comfortable – that I will eventually just settle down with a best-friend type.

Now obviously the relationships we choose to idealize and covet in fiction are not always well-suited for reality. How many of the epic bonds and love stories from the page and screen are contingent on war or crazy murderers or whatever? In reality, Logan Echolls would probably not make a great boyfriend. Very few of my fictional boyfriends would probably make good real world boyfriends (here’s to you, Seth Cohen and Stiles Stilinski!). But these ‘bad boy’ characters, I like them (and the shows, to an extent) because they are escapist, they let me live vicariously through the characters.

I think it’s important to realize that there is some overlap. I’m interested in the fictional relationships that I am because I find at least some part of them interesting and appealing. The heroes, protagonists, and antagonists that I fall for, again and again, might not be great people. But they’re great characters. And I guess, as long as you or I understand the distinction, everything is copacetic. This Relationship Theory is obviously an extreme reaction to tropes and archetypes perpetuated by fiction, but there’s some truth to it. Rory chose Jess over Dean, she chose Logan over Marty, she chose action and adventure and passion over comfort and familiarity and movie nights with Lorelai. She used those relationships to help her figure out who she was and what she wanted out of life. And maybe that’s their most important function, after all.