Chuck Versus The American Hero (3.12)

HeroesandZeroes

Sarah and Her Heroes or Zeroes

Going in I thought this could be a tough one for me to write.  This episode fell a bit flat for me when it first aired, and hasn’t done particularly well upon re-watch.  But despite many of my complaints, which I still stand by, this episode has aged far better than I expected.  And it has me thinking a lot about the show, the direction it took, season 3 and the fan-base.  I’ll explain more later.  For now join me and Joe for another look at Chuck Versus The American Hero, after the jump. This time, we’ll start with Joe’s take.

Ack!

Ack!

Ack!

For those of you keeping score, I’ve been quietly singing the praises of Season 3 to anyone willing to listen. I’ve pointed out the rough spots that others have screamed about (like Three Words and Fake Name) are actually pretty enjoyable, and noted that “The Misery Arc” really has some merit to it. I’ve stated that, although this season is much darker than the first two, that’s alright with me. It adds depth. I’ve been saying that some of the specific complaints may be valid, but not in the episodes often mentioned.

Never mind. I take it back. Dave, Uplink, Jason, all the others who speak out in the “alternate” threads, YOU WERE RIGHT! Above and beyond even 3-D, Chuck vs. The American Hero is the bottom of the heap. How bad is it? For my money, all those complaints leveled at “The Misery Arc” belong right here in this episode! It makes a liar out of me when I said in “Saving Agent Walker” (about Final Exam) that we’ve come out of the depths and that salvation was around the corner. It reached back into other episodes and turns they internal logic into ragù! It confirms the biggest complaints others have made – the characters we love, especially Sarah Walker, are destroyed. They’re left for dead right here. That’s how bad it is.

Way back when, ATCDave wrote this:

I do believe you are right about most of your points regarding Sarah, and things will play out well in the next couple episodes exactly for the reasons you outline. But to me, it will never justify the journey they have taken us on. As I said on another thread; I like redemption stories, we already got a redemption story for Chuck this year; and it seems we have one coming for Sarah. But the season can not be redeemed.

You were right, Dave.

I can’t say it’s the story line. There’s a Ring Agent running loose in NSA headquarters who seems to be after half-digested tracking devices. Oh, and he’s after Shaw. Does he want to kill Shaw? No, he just wants to introduce him to someone named “The Director.” Oooo-kaaayyyy. A bit forgettable, but okay.

I can’t say it’s Morgan. He’s very “Morgan”, like usual.

Morgan: What are we waiting for? Let’s help the guy get his girl back! Com’mon!
Devon: Yeah. So Ellie and I can go to Africa.
Casey: And I can get out of Burbank.
Morgan: And I can finally go see Rome. Meet a nice Italian girl. See the Vatican. Pay my respects to the Pope…

Actually, Morgan continues on his journey to adulthood rather nicely, as he rallies Casey to not accept his fate as the newest “made” Buy Moron.

Morgan: Really? Is that what they teach you in the Marine Corps?
Casey: Hmm?
Morgan: Roll over and die?
Casey: This isn’t exactly combat, Morgan.
Morgan: That’s where you’re wrong, Casey. Because love… Love is a battlefield.

It’s not the comedy, not at all. Even Casey joins in the fun this time.

Ellie: Hold on for a minute. You guys expect me to believe the three of you got my husband beat up and tossed in jail to save my brother’s love life?
Morgan and Devon: Yes, we did.
Casey: We’re as shocked as you are.

And it’s definitely not Ellie! This is one of my favorite Ellie speeches ev’a.

Chuck: Hey, um… Look. I can explain.
Ellie: Chuck, listen to me.
Chuck: I know exactly what you’re gonna say. And you’re absolutely right. It was completely immature of me to get everyone involved like this.
Ellie: Chuck – you’re not listening!
Chuck: “Stupid?” Maybe “stupid” is the word you’re looking for? I get it. I went too far.
Ellie: You didn’t go far enough, Chuck. Sarah is special. I know it, you know it. If you love her, if she’s the one then you don’t stop. You don’t quit. You never go too far. You are a Bartowski, Chuck. Start acting like one.

Nope. This time, it’s Chuck and it’s Sarah. That’s what I don’t like. How many times did he go to her to explain himself and fail? How many times did she start to forgive him, then come up with a weak reason for not doing that?

Sarah: That’s why I can’t be with you. Okay? You’re not… You’re not the same guy that I fell for.

In another mystifying exchange, Chuck starts begging and Sarah throws a new one at ’em.

Sarah: What do you want me to say?
Chuck: I want you to say that you’ll come with me to Rome.
Sarah: Well, you know that I can’t and you know why.
Chuck: Look, Sarah. I don’t wanna have to make a scene in front of all these people but I will literally do anything to change your mind.
Sarah: Well, then tell me what really happened. at the train tracks. If you didn’t kill the mole, then who did?

Ah, so now, it’s not because Chuck isn’t Chuck. It’s because he’s been keeping a secret. No, wait. She offers yet another reason for acting the way she’s been acting.

Sarah: Chuck, I’ve made a commitment, and not just to Shaw.

So now it’s about the job. Nothing personal.

Oh, I’m not done yet. I have to ask why Shaw? Yes, that is, finally, the heart of the matter. Not “Why not Chuck.” Even if Sarah’s “confused” about Chuck (and boy, is she confused, uncharacteristically so), the question is much more, “How could she possibly be interested in this overbearing, self-aggrandizing Pinocchio of a spy who actually thinks he’s a self-effacing hero? Worse, why is Shaw such a lousy hero to begin with??? He’s going to sacrifice himself to bring down the ring? Really?? And Sarah buys that???

Frustratingly, just when Chuck actually has an opportunity to contrast himself from his newest nemesis and make the speech to win Sarah (again), he blows it.

Chuck: Don’t go. Don’t do it. Leave with me instead. Tonight at 7:00. Union Station. We go to Mexico, and after that, anywhere that you want. I would like to go and see the Eiffel Tower at some point if that’s at all possible – Don’t answer now. Don’t say a word. I don’t wanna have to convince you. I just want you to show up. I’m gonna kiss you now, if that’s okay.

No words, huh. This is Chuck? The destruction of the characters is complete.

I left Final Exam with a feeling that a miracle was about to happen. That, my friends, was great. In contrast, I finished American Hero feeling like a miracle needs to happen.

– joe

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I’m presently on vacation and wasn’t sure I’d get to review this one, basically because I wasn’t sure I’d get to re-watch this one.  Joe offered to cover the bulk of it, and I was ready to let him.  Then late last night I started to watch.  Then I stopped and started to write, and write, and write.  I’d written about 500 words before I went back to watch some more, then I stopped and outlined a bit more I wanted to address. (All of this offline).  Some time around midnight I admitted to myself that I had something I wanted to say, but it wasn’t going to be totally ready by Sunday, and it wasn’t confined to this episode even though a lot of it leads to this episode and it’s events, and it’s mood, which in some ways I now see as the bookend to Chuck Versus The Lethal Weapon and symbolic of season 3 in general.  There are your standard Chuck parallels and metaphors, and there is quite a lot that some segment’s of the fan-base will never accept as even possible (much like season 3 in general).  So in my head I decided that I’d do another post The alternative to Dave’s Alternatives post?) some time later this week, maybe as late as Saturday.

Then I read Joe’s post.

I may still do my longer more involved reflections on this as a view of the front 13, an alt-alt-post, or … something else, but I wanted to address what I’d read.

Short version, in my opinion Joe get’s every detail right, and comes to the exact wrong conclusion.

This is Chuck and Sarah at their core, not new or misunderstood characters.  They are who they were in season 2, but a lot has changed.  First of all there is a more mature Chuck and a Sarah who has regressed without the emotional connections to the Chuck she thought she wanted, you know, the one with a pain threshold of 1 who would never break her heart.  The safe one.  This is Sarah as we’ve seen hinted at and will see again in the future, the one who thinks she can travel light by leaving her baggage behind, what she’s done, who she’s hurt, who’s hurt her, run away from it one more time.  This is the Sarah that as Joe points out,  is constantly finding reasons she can’t be with Chuck, why she can’t take that chance, let her guard down and have her heart broken, again.  But this isn’t like season 2 where she could always count on the job as the reason to push Chuck away, and he’d always accept it, even if there were hidden fears and reasons to not let him too close.  She can’t hide behind the job anymore for several reasons, not the least of which Chuck won’t let her.  And he’s not going to do what she usually would expect, defer to her and back off to keep from upsetting her.  He’s going to push her to deal with her baggage, not just move on.  This Chuck won’t back off to not risk losing or upsetting Sarah so that he can not have the relationship he wants with Sarah, which was the season 2 pattern.  This is Chuck and Sarah stripped of their excuses, and granted Sarah comes off poorly, but then we’d seen a lot of hints of that before.  This isn’t safe Chuck, this is the Chuck that challenges Sarah to be better.

This Chuck is not safe, emotionally, but he’s still there laying his heart on the line for her, and not taking “complications” as an excuse from Sarah.  In addition, he’s not into macho brinksmanship like Shaw or Cole (though Cole was far more charming about it), but he will put his life on the line, even for a rival, if he thinks it is what Sarah wants.  With Shaw it’s all about what he wants.

And then, in the end, a miracle happens.  Sarah decides to trust Chuck.  Despite the fact he’s become an accomplished liar as a spy, despite the fact that he doesn’t need her for the dirty work, and despite the fact that he, like her, wants a few secrets of his own.  Sarah decides to trust Chuck and is packing to leave with him.

Then a second miracle, she finds out she’s right to do so.

The third miracle will happen next episode, and that one will probably be Dave’s post.  I may still have more to say on this episode later, the alt-alt post could still happen, but this is my fallback, I didn’t want only negativity (not that Joe isn’t entitled) or the points I’ve made to go unsaid for so long, and while not the best or favorite episode, and suffering from some of the common season 3 maladies, this episode had a story to tell.

I’ve finally learned to ignore enough of the extraneous to let them tell it.

~ Ernie

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About Ernie Davis

I was born in 1998, the illegitimate brain child and pen name of a surly and reclusive misanthrope with a penchant for anonymity. My offline alter ego is a convicted bibliophile and causes rampant pognophobia whenever he goes out in public. He wants to be James Lileks when he grows up or Dave Barry if he doesn’t.  His hobbies are mopery, curling and watching and writing about Chuck.  Obsessively.  Really, the dude needs serious help.
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17 Responses to Chuck Versus The American Hero (3.12)

  1. mr2686 says:

    Ernie, I agree this episode had a story to tell, and combined with the other episodes in the first half of season 3, it was a good story. I disagree with those that say that Chuck and Sarah were acting out of character during this season, on the contrary, they were acting completely in character for two people that were trying to change their lives. Unfortunately, the changes were in different directions, and it took Chuck being lambasted by Hannah and Sarah becoming vulnerable to Shaw, for both of them to bounce back and come to the middle where both could be good spies while also being good people.
    I will say that the one thing I was confused about in this episode was when Shaw saw the playback of his wife’s murder. The impression you get is that it was a complete surprise to him, however; during the scene in another episode where he’s giving Sarah a rather creepy shoulder rub, his expression was one that said to me that he knew and was setting her up. Now, maybe this was just bad acting, or maybe that was the direction they were going to go and changed their minds. Either way they played it, it ended with the same payoff in the next episode so I can overlook it and don’t sweat it too much.

    • Ernie Davis says:

      I’ll agre that Shaw scenes are often tough to parse out. The safest guy in the world was played alongside the scene where Vasili told the Ring that Shaw was still alive. Only to be subsequently executed for his failure. The tension was that Shaw was Ring target #1 again just as he was getting close to Sarah.

      In a sense Shaw was setting Sarah up, just not intentionally.

  2. resaw says:

    Joe, I’m bewildered. This is it. The turning point has finally been reached. Sarah’s finally setting aside her old ways, she’s abandoned her usual assortment of excuses and is going to trust Chuck. Casey’s admission that he killed the mole only served to confirm that her decision in light of Chuck’s impassioned speech was the correct one. Or …are you saying that the destruction of the problematic elements of Chuck’s and Sarah’s respective characters is complete?! That is, as Chuck states, the guy Sarah met back in the Pilot was a person who hated himself, and now he knows himself, knows his destiny and knows with whom he wants to share this life. Sarah, for her part, the cold spy whose default response is to run away from attachments, who trusted Chuck once and was betrayed, confirming once and for all, she thought, that her approach to life and relationships was the right one all along, has finally come to the point of jettisoning that element of her character; Chuck has somehow dismantled every one of the arguments in her arsenal, and left her with the opportunity to make a positive open-hearted choice for Chuck, for trust, and for love.

    On a totally different matter, I recognize that turning to Shaw was kind of a safe, default choice for Sarah, but Shaw’s response to Sarah’s protestations against his possible sacrifice to take down the Ring seems to me to suggest that neither Shaw nor Sarah “fell” for each other in any serious way. Shaw says to Sarah, ““Are you asking if I’d trade my life for the man who killed my wife? I would.” So, whatever the romantic inclinations Shaw may have for Sarah, they pale in comparison to the grief he is still feeling over the loss of his wife. Does this all help to explain some of the “stiff as a board” acting that Routh provided for Shaw? He is only marginally capable of feeling anything at all, as grief is the only feeling he really has. The dialogue continues:
    Sarah: “Well, what if I don’t let you?”
    Shaw: “It’s not your choice.”
    In any real relationship, the other person is a crucial matter in one’s decision-making, in one’s actions. For Shaw, the other person is still his dead wife, not Sarah.

    It probably goes without saying that, although Shaw is identified explicitly as the “American Hero” by both Beckman and Casey, in this story, and in Sarah’s eyes, Chuck is the true hero.

    I’ll give you this, Joe. I believe a “miracle” has occurred, as this show would define miracle, but certainly, the end of the episode clearly indicates that a miracle is going to be needed, because we are given every indication that Shaw is going to avenge his wife’s death by killing Sarah.

    No surprise, then, that I continue to think that this was a great episode.

    • joe says:

      Those are good points about Shaw and Sarah, Resaw. But at the same time, Sarah seems to be enjoying herself quite a bit on that “date.”

      What really confuses me about the whole thing is *Sarah’s* confusion. It’s almost as if Yvonne was deliberately not told how to play the character here. Will she go with Shaw or will she stay with Chuck? Sarah wiggles and waggles between the two continually throughout this episode! It’s WT/WT all over again, only worse this time!

      • resaw says:

        Sarah’s in the midst of an existential crisis. Who is she? Who will she be? Where is there meaning in her life? Can she make a lifelong attachment to someone like Chuck? Is Chuck still that someone with whom she can find a new purpose in her life? Or does she stick with what she knows? Does she try to find whatever pleasures a spy is allowed to have in a relationship, such as it is, with Daniel Shaw? It is WT/WT all over again, a kind of recapitulation of the series thus far, ramped up to critical proportions, requiring extraordinary decisions on the part of Sarah, and Chuck. Shaw is in the same situation,, too, since his all-consuming grief can finally, he hopes, be resolved, even if it is at the cost of his own life. That’s my take on the confusion, anyway.

  3. Joel says:

    The overall plotting of this episode is pretty problematic. The plot twist of Shaw’s wife doesn’t work, and “I’m going to rescue him because I know how much you care about him” is kind of eye-rolling.

    But I still like this episode because of good stuff with the secondary characters. Team Casey/Awesome/Morgan (plus Ellie’s reaction) is great fun, and Jeff and Lester get their best moments of the season in the second half. While I actually agree with some of the harsher criticisms of S3.0’s overall story, I still like S3.0 to an extent because can set it aside and still enjoy other parts.

    • Wilf says:

      Actually, for me, the Shaw’s wife plot twist did/does work. A bit far fetched? Sure, but then, isn’t the whole Chuck story? I agree that “I’m going to rescue him …” is pretty sick-making! Overall I disliked most of 3.0, but this series of re-watches and its animated discussions has eased the pain of it to some extent for me, so a big thank you guys (and gals).

  4. Abed says:

    You know what confuses me about this rift between the love-season-3 and hate-season-3 folks? It’s so much passion about what is essentially a totally disposable season.

    From a storytelling standpoint, Chuck and Sarah at the end of Other Guy are EXACTLY where viewers were told to assume they were at the end of Colonel: Together and happy to be together.

    Morever, we’ve been told by the showrunner himself (Chris Fedak) that he created Season 3 AFTER he decided on the ending first. In other words, everything in Season 3 is essentially filler and construct by the showrunner to get the main characters exactly to the point they were 14 episodes earlier.

    With some minor exceptions (the Shaw character, the Casey name reveal) nothing that happened in Season 3 is even discussed or referenced at length again. And the one truly important event in Season 3 (Chuck rejects Sarah and her run-away plan at the Prague train station) is immediately reversed at the start of Season 3.5 when we see Chuck and Sarah on a train running away. So even the showrunner is telling you that the events of the previous 13 episodes are unimportant and, from a storytelling sense, never happened.

    Like it or hate it, Season 3 seems to me to be totally disposable. I do understand people who viewed it in real time and dealt with the agony of the Season 2-to-Season 3 hiatus and then the Olympic break on the unintended cliffhanger of Mask might have had real problems at the time. But it IS more than three years later. Why keep fighting the same battles now, especially since it’s been shown they aren’t important?

    Isn’t it really time to call Season 3 disposable and move on? If you like it, cool. If you don’t, cool. But it really has very little bearing on the 35 episodes that went before and the 43 episodes that came after. So why sweat it?

    • mr2686 says:

      I’m not sure if I’d call it disposable since I like those episodes, but I know what you’re saying and for the most part I agree 100 percent. So Chuck and Sarah are together by episode 48 instead of 36, heck, Castle and Beckett aren’t together until episode 84 and Tony and Ziva are still not together and we’re nearing 200 that Ziva’s character has been on NCIS. What I’m saying is it wasn’t exactly drawn waaaaaay out and besides, the show was about all kinds of relationships. Sure, Chuck and Sarah were key, but so were Chuck and Ellie, Chuck and Morgan, Morgan and Casey, Jeff and Lester, etc etc. The sum of all the parts is what made this show whole, and made it a great show.
      Either way, you’re right. It’s been 3 years, we know the outcome and can watch the episodes back to back to back, so why all the fuss.

      • Joel says:

        Chuck and Sarah did get together sooner than a lot of will they/won’t they couples. But they also had stronger chemistry than most, and Colonel pushed them just inches from being a couple. So it is understandable that people were upset, and even those who weren’t super-invested in their relationship found it to be a drag.

        I agree that there is more to the show than Chuck and Sarah’s relationship, and that is why I can still enjoy season 3.0 even if it’s the worst.

    • Ernie Davis says:

      From a storytelling standpoint, Chuck and Sarah at the end of Other Guy are EXACTLY where viewers were told to assume they were at the end of Colonel: Together and happy to be together.

      I disagree. A lot of viewers assumed Chuck and Sarah were together and happy at the end of Colonel, but we weren’t necessarily told so. Even in Colonel there was the uncertainty about what the future held for them, shown pretty definitively by the looks they exchanged in the Crown Vic while escaping the Bakersfield airstrike. This was reinforced in Ring with Sarah’s reaction to Chuck being offered an analyst job, then with her telling him she was leaving with Bryce the next day. People want to dismiss all those scenes as irrelevant because there are other scenes, like waking up in Barstow, the “two beds” comment made when facing prison and a bunker, and the “it is real” where Sarah essentially tells Chuck her feelings for him are genuine. You can cherry-pick scenes if you wish but it isn’t the fault of TPTB if you misinterpret something because of that. I’d contend that:

      1) They are not “together” in any meaningful sense.

      2) While they have admitted to (and acted on) real feelings for each other they both still see real barriers keeping them apart.

      Morever, we’ve been told by the showrunner himself (Chris Fedak) that he created Season 3 AFTER he decided on the ending first. In other words, everything in Season 3 is essentially filler and construct by the showrunner to get the main characters exactly to the point they were 14 episodes earlier.

      Also a very misleading interpretation. Chris Fedak and Joss Schwartz stated that they designed season 3 with a very specific goal in mind, Chuck had to become a spy and kill someone to save Sarah and Chuck and Sarah had to end up together. I’ve stated often enough that there were problems executing the season when it felt as if they were stalling just to delay that to the very last episode.

      With some minor exceptions (the Shaw character, the Casey name reveal) nothing that happened in Season 3 is even discussed or referenced at length again.

      With some minor exceptions nothing that happened in seasons 1 and 2 is ever mentioned in seasons 3 through 5, so you could say the same of seasons 1 and 2.

      And the one truly important event in Season 3 (Chuck rejects Sarah and her run-away plan at the Prague train station) is immediately reversed at the start of Season 3.5 when we see Chuck and Sarah on a train running away. So even the showrunner is telling you that the events of the previous 13 episodes are unimportant and, from a storytelling sense, never happened.

      I reject your assertion that the one truly important event in Season 3 is Chuck rejecting Sarah in Prague. In fact I’d say it betrays a certain bias common among many fans that Chuck & Sarah is the only truly important part of the show (which is fine if that is what they enjoy). If that is the case, then clearly nothing happened as far as you are concerned, but the Chuck and Sarah who planned to give it all up for each other if necessary in Honeymooners, then finally found a way to express what they wanted, are very different from the Chuck who finally saw his shot at making a difference in the world and becoming more than a loser nerd in Burbank and the Sarah who, having missed her shot at having something real with Chuck due to her fears of intimacy and abandonment tried to get Chuck to give up everything for her, without so much as an ILY (her words were essentially “this is what you want” instead of listening to what he wanted). But that requires that you look at Chuck and Sarah as separate entities for most of season 3’s front 13.

      This isn’t just a rationalization on my part, a lot of professional critics were saying much the same thing as the season progressed in real time.

      Like it or hate it, Season 3 seems to me to be totally disposable.

      And there’s the rub.

      But it IS more than three years later. Why keep fighting the same battles now, especially since it’s been shown they aren’t important?

      They aren’t important to you, which is fine, but to some of us it is very important to understand the insight this season provides to the characters, stripped of a very limited and artificially limiting relationship and the changes the characters are undergoing because of that and the decisions they’ve made. I’d agree that after three years a lot of these arguments should have been played out, but to me it seems the people who say there is no purpose to, or making sense of, these episodes who would have moved on. The whole purpose of separate threads this re-watch was to allow those of us who do want to discuss these episodes, absent the same arguments and the need to re-fight the same battles.

      Isn’t it really time to call Season 3 disposable and move on? If you like it, cool. If you don’t, cool.

      And here is the second rub. Your statement is self contradicting. Isn’t it time to all agree with me and move on? Isn’t it time to all agree that the entire structure of the series collapses without 3.1 through 3.13 and move on? They are exactly the same sort of statement. You can call it disposable and are welcome to move on. If you don’t like it, cool. What I often see though comes across as an effort to make others who are still finding and working through the seasons call it disposable and move on rather than understand it’s place and purpose in the series as a whole.

      You’re always welcome to comment so long as you can avoid inflammatory language and name calling, but I and others reserve the right to be unconvinced by your opinions and assertions. I’ve been hearing this argument for three years, it hasn’t changed much, and I remain unconvinced. But thanks for chiming in.

      • resaw says:

        I wasn’t immediately hooked on the Charah ‘shipper thing, but it certainly grew on me over time. But the thing that makes season 3 so important in the series is the incredible personal journey that Chuck and Sarah underwent. I can’t agree at all that 3.1 – 3.13 was just running in place. There was a great deal of maturation going on, establishing a foundation for the central relationship. The frailties, flaws and mistakes revealed in their characters throughout the season are important and made the show well worth watching, in my view.

      • authorguy says:

        Very true, Ernie. This season is far from disposable, it is in fact crucial to everything C&S are to become. The Chuck and Sarah who get together in that Paris hotel room are not at all the same couple who almost got together in Barstow.
        Even the locales give it away. Barstow is the small town, Paris the big city. C&S in Barstow were a strong couple, but their baggage would continue to undermine them and the relationship would have been much frailer. The fact that S3 happened is a sign of how frail it really was.
        C&S in Paris was the full blown, eternal version.

  5. JC says:

    Even though my opinions about S3 and the show in general are totally different than Joe and Ernie’s, I wanted to pop in and say how much I enjoy reading your posts. My love for the show has dwindled but these re watches have gotten me to pop in my Blu Rays again which is amazing since June gloom hasn’t struck San Diego. Thanks again to all the authors here.

    Question, are you thinking about covering another series? I’d love to see your takes on Buffy, VM, Angel or Fringe. I know that’d be a huge undertaking since those series ran at least five seasons but they are up on Netflix streaming.

    • joe says:

      Thanks, JC. I don’t think I’ll be doing another show like this – I did Chuck because I had some things to say about it that I didn’t see being said on the NBC boards at the time (especially when I got temporarily banned from saying them!). By now, I’ve more or less gotten them out of my system 😉

      More seriously, I’ve thought about it. The only show that’s come close to capturing my imagination like this one, though, is The Sopranos, and that’s long gone. Worse, creator David Chase admitted in interviews that Tony really does die in the end, during those 10 seconds of black and silence that confused so many fans. No chance for a movie there – unless AJ takes over the business…

    • Ernie Davis says:

      Thanks JC for the kind words. And glad we could help you get back in to Chuck.

      As far as other shows I did a summer re-watch of Firefly here way back when. I have thought of doing other shows, and VM was one, but where I to do so it would likely be on a separate blog. This one is for Chuck.

      Buffy, while granted, may be the greatest expression of the Whedonesque style doesn’t appeal to me. I know it’s probably sacrilege but Sarah Michelle Geller never appealed to me and I could never get past that. I have watched a number of Angel episodes, and loved the style and mood they developed, but never tried to do the full series. As for Fringe, I’ve tried to get into it twice and failed, then I got kind of poisoned on it when some people were using it as a cudgel to beat up on Chuck for not being Fringe when Fringe replaced Chuck as their favorite show. I’ll need some time and space before I attempt that.

      I’ve often thought of doing Wonderfalls, but few people have ever seen it. I actually started a full review of Y, The Last Man, but have stalled on that. My interest in the Nerd Culture classics, while piqued, often isn’t enough to sustain me through the whole works. My guess is that going forward I’ll be a lot less involved in fandoms. Chuck may be a one-off for me.

      Still it has been a lot of fun, and if nothing else Chuck has taught me that writing is something I want to do in some capacity, and has kind of turned me into a TV geek, so there is that.

      In any case there is a lot more re-watch to go, and now that we’re past the Misery Arc, Dave will be handling the main post again, so keep stopping by, we’ll still be here for a while.

      Just an FYI, Alan Sepinwall and Dan Feinberg are doing a summer re-watch of pilot episodes and VM is apparently on their list to discuss on their podcast. Follow @sepinwall or @HitFixDaniel on twitter to keep up to date on their re-watches.

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