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When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Brace yourselves, Raising Hope fans: there are some major changes headed to Natesville next season. Maw Maw will still be viciously honest, Jimmy will remain awkwardly adorable, and Hope will still hold the title of the cutest baby on your TV screens — but the show’s creator Greg Garcia will not be back for its recently announced fourth season.
Hollywood.com confirms that Garcia will be stepping down as showrunner of his FOX comedy and naming Mike Mariano as his successor. As first reported by Deadline, Garcia, who recently inked a four-year contract with CBS Entertainment, is stepping down to work on his two new pilots — Super Clyde, starring Harry Potter’s Rupert Grint, and a comedy centered around Will Arnett.
RELATED: ‘Raising Hope’ Renewed for Season 4
But let’s address the most important question: Is this showrunner switcharoo going to affect the always-eccentric adventures of the Chance family? Nope!
Mariano is already familiar with the outrageous characters Garcia created, having served as an executive producer and writer on the comedy since 2010. And if you're worried that our beloved My Name is Earl reunions and Easter eggs will soon disappear, we have great news: Mariano also worked with Garcia on the short-lived yet still-missed NBC comedy, so we’re pretty confident that he’s still got Jason Lee’s number on speed dial. Phew!
Keep in mind TV viewers, this change-up is completely different from the Dan Harmon fiasco that plagued Community. Garcia’s decision to step down from the show was his choice, and it’s clear that he has left our favorite dysfunctional family in very capable and familiar hands. So let’s all exhale a collective sigh of relief and just enjoy the fact that the Chance family will be faced with an entirely new set of hilarious problems next year.
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[Photo Credit: Jordin Althaus/FOX]
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