I have become very fond of “iZombie,” a show with writing that did not settle for the obvious with the premise[s]. Mystery Writer Brain is quite satisfied with the less than obvious solutions and occasionally very devious means of murder. The cast settled into their roles and hit their strides in about five episodes [compare “Buffy,” where they found their comfort level in Season 2], and the lead, played inevitably by a New Zealander playing an American better than most American actresses, rings changes on the personality shifts brought on by ingesting murder victims’ brains [yes] with subtle touches rather than over the top caricatures.
Except, except, except … I am perfectly happy to accept any fantasy/sci-fi/non-reality world as long as it follows its own internal rules. [See previous rant about Steven Moffat’s writing for “Doctor Who” in my FB note.] There is a character on “iZombie” who is assuming an alias while leading her double lives. I just picked up that her name in one life is Gilda, while in the other, Rita. Rita Hayworth played “Gilda,” of course.
While it is perfectly possible for a character named Gilda to adopt the Rita alias in tribute to her namesake, it also throws me out of the world. It’s the writer signalling the viewer that, “Hey, this is written! Here we are! Are we not clever? And how clever are you for noticing?”
This has popped up in a few other shows and/or movies that I’ve enjoyed. In “Angel,” the “Buffy” spin-off, John Rubinstein had a recurring role as the head of the demonic law firm [no redundancy joke here, please] Wolfram and Hart. In his last scene, immediately before his demise, he’s shouting, “I want my corner of the sky!” Being about two decades older than the target audience for the show, I spotted the reference to the song, “Corner of the Sky.” From the show, “Pippin.” Which I saw twice on Broadway. With John Rubinstein as … Pippin, singing that song.
It’s cute, it has nothing to do with the plot, and provides a self-congratulatory wink. Yes, there are people who like that kind of thing, but it takes you momentarily out of the world, and the gain, the smugness of feeling you’re on the inside with the writer, is outweighed by the annoyance of being distracted.
Last example: “Captain America: The Winter Soldier.” The Marvel movies are filled with Easter Eggs and shout-outs to the loyal fans, making them all part of the big, happy club. Nothing wrong with that. I am not geeky enough to know or spot all of them, but I have been going to and for the most part enjoying these interconnected movies. So, there’s a scene where Cap reconnects with Nick Fury, who has [spoiler alert, but you’ve seen this by now] faked his death. They meet by Fury’s grave. Carved on his tombstone, the Biblical quote beginning with “The path of the righteous man …” that was used by Jules in “Pulp Fiction.” Both Jules and Nick Fury were played by Samuel L. Jackson.
Again, cleverness rears its head. See? says the writers. We’re so cool that we can reference other movies while inside the movie! But it jolts you outside the zone they have [hopefully] put you in.
As always, I am guilty of that which I critique. In my book, “Jester Leaps In,” a character named Simon is later revealed to be a former member of the Knights Templar. “Simon’s a Templar?” exclaims another character. And those of us old enough to remember “The Saint” will no doubt see the halo appear over Roger Moore’s head.
Forgive me. I was young.