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Pushing Daisies Watch: When This Dandy Lion Is A-Rockin'...

RON TOM / ABC
OK, I can tell this improbable petit-four of a show is going to walk that fine line between winning my heart every week and annoying the crap out of me. For instance, the lime-green Dandy Lion SX. Pro: A car that runs on dandelions! That's too cute! Con: A car that runs on dandelions. No, seriously--that is too cute.
I kid Pushing Daisies, but this was a better second episode than I expected, even if its Seuss-for-grownups vibe will require me to find it in my two-sizes-too-small heart to repress my natural snark reflex. First, there was some development from the pilot. Like The CW's Reaper, Pushing Daisies is shaping up to be a procedural, albeit a weird one, but at least we did learn something further about the characters this go-round. Emerson knits and went to art school! Chuck hates secrets and speaks languages! A refrigerator is a "cheesebox"!
The production values and art direction weren't quite as stunning as in the pilot. But with the exception of the first scene, of Young Ned standing under the tree at boarding school--which looked like it was shot at the Sears Portrait Studio--they were good enough, which is to say, any sparing of expense wasn't noticable enough to be distracting. Although, gauging by the trade press reports, this episode would have been made before Warner Bros. seriously started closing the money spigot and reining in Barry Sonnenfeld.
More important, the writing stayed at the same scintillating level--my notes are mainly one arresting turn of phrase or oddly moving quote after another. "We're from the government safety place." "The fun part is counting my money in the bubble bath." And: "Olive Snook definitely did not want the truth. But her heart was so full, it reached up and pulled her head." That last one reached down and poked my heart. (That said, still not sure where Olive fits in the story, though her Hopelessly Devoted to You number was inspired--you've cast Kristin Chenoweth, so waste not, want not.)
[Update: this essay, referred via new fan site The Piemaker, reminds me of something I meant to ask: Is anyone else distracted by the possibility that Ned might, um, kill Chuck at any second? "We know damn well the characters won't actually touch, because the female lead would die and the show would be over, but we're still watching for it. Instead of listening to the sometimes-witty dialogue or following the clever plot or admiring the solid acting or falling in love with the characters, we are nervously wondering if… maybe… this... time… they… might… actually… Phew! Scene over. She's still alive."]
But plot, character, writing, even--are any of them really the main point of this show? What struck me about this episode is how much of the story seemed to grow from the concept of individual, cool images: an evil crash-test dummy; a model dressed up like a dandelion, walking against the rotation of a car platform to surreptitiously eat pie; a singing woman and floor waxer moving against a green checkered floor.
Two episodes in, there's an art-for-art's sake element to this show that's unusual for TV and may make Pushing Daisies worth it in itself. A lot of people (myself included) have compared it with Tim Burton, but maybe the better comparison is to the movies of Wes Anderson. Like Anderson's films, this show may be less about any story than about the creation of a private world, the display of gorgeous esoteric jewels, the evocation of emotion through image.
I don't know if I'll do a weekly Watch on Pushing Daisies, because I could see this becoming like reviewing a sitcom every week: Wasn't this line great! And wasn't that line great! And didn't they find a clever latex-y thingy for Chuck and Ned to kiss through this time! But we'll see where it goes. Some people will consider Pushing Daisies priceless and others precious, but for now I want to keep seeing what it wants to show me.
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1
I wasn't crazy about the "pie-lette" episode as much as everyone else was. I thought the second episode was much better. I was really nervous that it was going to suck because all of the critics had only seen the first episode. I thought they did a good job of mixing the procedural element with the characters (better than Reaper has done). However, I kind of agree on the too cute aspect especially with Ned and Chuck's flirting or whatever that is. Over all, the show held up and I am praying that it held up in the ratings.
I have a feeling with shows like Pushing Daisies and Reaper will eventually move away from the "case of the week" as time goes on and they have a steady audience. Maybe they can do longer arcs or someting. But I am not going to worry about that right now.
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2
I like Pushing Diasies, if only becuase the visual style is so differnt. I'm glad the really high concept shots are limited to the flashbacks and narratives since a full show of that would burn me out quickly. The fact that it is so vibrant makes it a welcome break from the dark, zooming and smokey dramas that make up what feels like 75% of the prime time lineup.
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3
I remain cautiously optimistic about the show, finding myself (like James) simultaneously transfixed and annoyed. What a beautiful shot! Why won't the da*n narrator shut up! What a touching, tragic romance! Knitting is an affectation, not characterization! I'm glad James made the comparison to Reaper, since what's good for the goose is good for the gander: both shows are simply high-concept procedurals, and both could use a dose of more than just the concept to really drive them forward. Oddly, while Daisies is the pedigreed show and the more ambitious, and I can certainly appreciate the latter in TV, if I were to drop either Daisies or Reaper anytime soon, it will likely be Daisies. There's something more enjoyable (or is it less annoying?) about the slovenly unpretentiousness of Reaper ("we're just trying to have fun here") than the possible art-house condescension of Daisies ("we dare you to have fun here"). Here's hoping Daisies finds the right balance of outre style and accessibility to keep me coming back.
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4
I really enjoyed it. The show has a dark sense of humor that pops up at just the right moments - I was practically about to go into a diabetic coma from Chenoweth's musical number when the show stabbed that feeling in the heart with the "Digby thought about how much he loved salt" line. And hey, who doesn't like Bulimia jokes! (That stern faced nurse at the end killed me.)
And I think you're totally accurate with the Wes Anderson comparison. I keep comparing it in my mind to The Royal Tenenbaums (although part of that may also be due to the everpresent narration there as well) with their shared character eccentricities.
But yes, I can't imagine doing a weekly Watch on this, both because I expect it to be canceled any hour now and because I question how much week to week forward movement this show will have.
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5
@Jim and Tom Shaw: Wes Anderson! Yes, that's a perfect parallel.
I think, in the end, this show won't do it for me. There's something alluring in shows like Lost and Twin Peaks that allow the unreality to build upon the mystery and intrigue. Here, the unreality feels like a means to an end.
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6
Agree that the narrator has to shut up. It gets annoying when every 3rd line is a description of a character's age down to nanoseconds.
The overall feel is cute but looks more for the sake of it, just like Anderson's movies actually. And what's with all the cleavage and boobage? Lady put it away. -
7
I agree, I really want to like it more than I do. The writing and the visuals keep me coming back, but if it goes away I won't mourn like I did for other late great shows.
I am completely distracted by the touching thing and not in a good way. I find myself scanning the screen every time, and even wondering if they had to redo scenes if the actors accidentally touched. That really pulls me out of the magical Willy Wonka world too much.
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8
Why do all comments end-up bashing/hating/complaining?
I enjoy the show, will DVR it when I can't sit for it live, and am constantly looking for Ned to touch Chuck accidentally.
One morsel I am a little worried about is that THE DOG is still alive! UNAGED! This means Chuck will never age. This means that she is basically doomed to live forever... yikes!
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9
@kevbo - I thought about Digby....I think Chuck just touches Digby whenever Digby "dies" and Digby comes back. Sure, he's aged (probably the oldest dog ever) but every time Digby is reanimated, it kind of "restarts" his organs so that he is no longer "old" on the inside.
I love this show, and this week only strengthened my strong feelings...Chuck and Ned have amazing chemistry, Emerson Cod is brilliantly funny, Olive's song was phenomenally well done (dancing around holding one of Digby's paws?), and the art direction on the show is still top notch. Simply put, after two weeks, one of the most inventive and DIFFERENT shows on television. Some will love it, some will hate it....I am firmly in the former camp.
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10
@Chaddog - I think you meant Ned, not Chuck, above.
In any case, I'm fairly certain kevbo is right - the narrator has mentioned in both episodes that once Ned touches a reanimated creature for a second time, it dies...permanently.
So, if we take it at face value that Digby's unaltered appearance is on purpose, and not just due to a production oversight (given that ~19 years have elapsed, it would be a big oversight), it seems logical to conclude that creatures Ned reanimates don't age normally.
Which doesn't actually worry me too much, per se. It's not something that will really become an unavoidable question in Chuck's case, narratively, for quite some time yet.
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11
I want to like this show. Although I think the basic set up is grim, I do find it clever and charming especially some of the dialog and everyone is acting up a storm, but for the whole second episode I kept thinking "Why isn't she wearing long sleeves!!!"
Really, if you knew that even the merest glancing touch by someone would kill you instantly and you felt a need to hang around anyway wouldn't you at least stay on the other side of the room or as I kept wondering wear long sleeves?
They seem to want to have their pie and eat it too, making a fuss about each of them holding their hands behind their back, etc. while they are standing inches away from each other. It just doesn't work for me and is distracting me from the flow of things. I'm not sure if it will work for me in the long run, if they don't deal with this better, and I am not sure how they can.
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12
I thought it was clear that anything Ned touches does not merely come back to life, it then remains ageless (pointing out it is the same dog, and that the fruit will never spoil).
So yes, I imagine (and if I was Fuller, given my previous history with television, would film first after the pilot and contractually guarantee it shows up at the end of the last episode) the following scene:
Narrator: After 82 years, 4 months, and 16 days, Ned died.
(We see an extremely old Ned sitting on a porch overlooking a field of daisies in Couer d' Couer, while a still young Chuck busies herself in the background, arranging pictures of their kids and grandkids.)
Narrator: Chuck noticed her husband's condition, and for the first, and last, time, kissed him.
(Chuck literally dies in Ned's arms with smiles on their faces; the camera then pans to a shining midday sun.)And yes, the concept that Ned will not as much as bump into Digby or Chuck for twenty years, especially given that he didn't know the rules with Digby, is ridiculous. However, this show is a fantasy: lighten up.
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13
I love this show. I find myself leaving cynicism at the door and giggling wildly the entire time. I love the art direction (did you see how bright white and red that morgue is? a pretty cheery place to house the dead). I also very much like the actors. Like the titular character on Chuck I feel that The Pie Maker here is played as a more realistic nerdy guy rather than a caricature.
I too was moved by the aforementioned narrative quote about Olive's heart being full, moreso that a show with that dialogue will also unapologetically poke fun at a girl with an eating disorder. That's my kind of humor.
It must be mentioned, since I've not seen it mentioned anywhere else, did it seem like every female character in this episode was dressed and lit to show off cleavage above all else? I'm not complaining, but it bordered on gratuitous.
This is officially my favorite new show of the season.
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