|Eerie, Indiana rewatch 2015: episode nineteen: Reality Takes a Holiday
||[Dec. 5th, 2015|04:00 pm]
|[||Tags|||||char: dash, char: edgar, char: marilyn, char: mars, char: mister radford, char: simon, char: syndi, comm event: rewatch 2015, discussion: character, discussion: episode, ep: reality takes a holiday||]|
This is it, guys; the final episode! Reality Takes a Holiday, possibly the one episode besides Foreverware that everyone remembers!
2015-12-07 01:52 pm (UTC)
Network nukes Omri, Dash X to replace falling star
Aw, I love this one! Definitely in the top five favourites.
Although like 'Loyal Order', it's another one without much resolution - iirc, they were genuinely considering rebooting the show?
It feels like it doesn't really have a specific place in the timeline in terms of relationships with the characters - it could have done with being the season 2 premiere if it hadn't been cancelled; rather than the finale of S1.
The lack of explanation for how it's all pulled off is a little confusing, too - Dash is his most villainous for being willing to kill Mars, but as it's a meta episode, it's hard to assign his actions much responsibility - Mars isn't at risk if there is no Mars at all.
Plus the other actors seem to be afraid of Dash and the power he wields over the writer, but why he seems to have that power is never answered - when Marshall accuses him of pulling the strings, he looks genuinely baffled and says he's 'no more real than you are'.
It seems more in character for Dash to be profiting from the circumstances rather than causing them, if for no other reason then he's generally pretty powerless in Eerie, and being fictional where everyone else is real doesn't seem to lend him any prescience - he's entirely reliant on the script, like Radford.
(Interestingly that Radford too is shown only as a fictional character, rather than as John Astin.)
Deifire's 'The Kid Who Shot Marshall Teller' is basically now my canon for how the whole plot works.
Anyway, love the postmodernism, I remember as a kid being fascinated with the actors playing themselves.
I love the way they play with the tropes - spoilt child star, pretentious actor, even lampshading the lack of roles for women (although noting how little Julie Condra got to do is a bit 'Glee' style - look, we're acknowledging our faults, but not actually doing anything different! Still - it even passes the Bechdel test, probably for the first time.) and the self-mockery ('it isn't as if we're doing Shakespeare here!') is cute.
It reminds me a lot of the Boy Meets World episode 'Eric Hollywood'. (Especially since Jason Marsden played a character called 'Jason Marsden' on BMW!)
It's another episode I wish I had good caps of, particularly as we see the continuity shots and promos on the walls of the writers office, and held by the girls surrounding Dash.
It's funny that Dash's idea has him already placed as Mars' friend, a role he's not quite at in the show. I wonder if that's Dash's awareness of tropes - if they're bff, it makes Dash less culpable, and also in a more centralised role from which to take over - or what. (Marshall's family are still retained, so it would seem like he'd be replacing Marshall not just as the star but also within his own life.)
His characterisation grasp is good, his motivation being a bounty once again.
(I also love that he ends up letting Mars escape because of his vanity and desire for fame.)
Interesting that it's Justin who helps Dash: 'I'm tired of being second banana on this show!' I think Mars subconsciously mistrusts Simon, lol.
I also love the prop guy Lyle, and how he's so done, walking off with Dash to evil laughter. I like to think of him as a forerunner to Bludworth in Final Destination, he's Team Death for anyone at this point.
Julie Condra for MVP! I love all her lines: ‘All men are animals!’ to the depressingly still-accurate part about better scripts for women. Any kids tv episode referencing 'the male power structure' is definitely a winner.
Dash/Mars wise, Dash knows Mars well enough to immediately recognise find his hiding place, and this is obviously the first and last episode where they come to physical blows. (And hilariously continue their argument straddling each other.)
It's also interesting that when they're alone, Dash drops the 'Omri' and returns to 'Marshall' - indicating he's aware that Mars isn't crazy and it's 'Eerie' that's the real world to them rather than 'NBC'.