Archive | September, 2013

Brooklyn Nine-Nine “Pilot” Review (1×01)

18 Sep

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Brooklyn Nine-Nine’s pilot is one of the most enjoyable sitcom pilots I’ve seen in a while. It’s not laugh out loud funny, but it’s enough to put a smile on your face all the way through (especially after the horrid “Dads”). The series revolves around Jake Peralta, the best detective in the Nine-Nine, but also a bit of a buffoon. However, when a new CO, Ray Holt, arrives, the atmosphere of the station changes.

Whether or not you’re a Samberg fan, there’s no denying that he’s reined in his character enough to seem human. He still has that same SNL slapstick humor going, but he’s toned it down just enough to play a sitcom lead. An essential part of that is Braugher’s character, a no nonsense person that can still dish it out as good as he can take it. I love the fact that he’s aware of his sense of humor, and I love the fact that the show doesn’t go down the standard “He’s serious but he’s unaware he’s funny!” trope that we see all too much. In addition, I’m pleasantly surprised with the revelation about his homosexuality. It’s not something that defines him, and it’s something that’s never tackled with enough nuance in other sitcoms. However, Schur and co. already seem to have a good handle on his character.

In the background, we have Charles Boyle (Joe Lo Truglio, who I still find funny), Rosa Diaz, and Amy Santiago. The show has built up a great supporting cast, and while the Samberg-Braugher relationship is the focus, I’d love to see the show touch on the interactions amongst the other players.

Grade: B

Other thoughts:

-The reveal of the first clue (Newspaper headline reading “NYPD Appoints Openly Gay Man As Captain”) is hilarious, and an inversion of the standard sitcom joke construction.

-“They have adorable chubby cheeks.” Andre Braugher’s delivery of that line is amazing.

-“I will tell you on six conditions. Number one: Let me use your office to practice my dance moves. Second…”

-“It’s like a white noise machine.” “Okay, first of all, that’s racist.”

-This is a great cast.

Credit to FOX and Brooklyn Nine-Nine for all pictures. I own nothing.

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“Mad Men” final season to be split in two, and AMC executives let out a collective sigh of relief

17 Sep

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In just one of the steps leading up to a world in which every single TV season is split into two, yet is called one season, AMC has decided to split Mad Men’s final season in two. AMC executives reportedly spent about 6 seconds deliberating, then made this decision while rolling in piles of money and giggling like little schoolchildren. In a statement read to the press, AMC president Ilike Money announced, “Because we’re AMC and our new shows suck, we’ve decided to do this because we don’t like sucking. We also like Emmys.” AMC will spend the next couple years holding onto Mad Men as they drown in a sea of mediocrity, and will probably renew “The Walking Dead”, and its spinoff, for at least 36 more seasons.

Each half-season will consist of 7 episodes, with the first batch titled “The Beginning” and the second batch titled “The End of an Era”.  So, the first batch will presumably be just a bunch of clip shows of Don Draper as a kid, frolicking around in a whorehouse while gaping at naked women. The second batch will consist of seven episodes of Matthew Weiner feeding his child, Ego.

“We plan to take advantage of this chance to have a more elaborate story told in two parts, which can resonate a little bit longer in the minds of our audience,” Weiner said, in a statement that makes no sense because they could’ve easily just have slapped “The beginning of the end of an era” on the final season and told an elaborate story that resonated in the minds of their audience. This is a show that usually takes a couple episodes to really get going, so by the time each really gets going, we’ll already be at the finale.

Anyway, I guess it’s time to speculate who’s going to end up on the toilet in Season 7A’s finale. Or, maybe an army of Bob Bensons will destroy everyone before we can get a chance to say goodbye.

Or, maybe Jon Hamm will finally get that Emmy he deserves.

“Not a chance.” -Emmy voters

Credit to AMC and Mad Men for all pictures. I own nothing.

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The Newsroom “Election Night, Part 2” Review (2×09)

17 Sep

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This could very well be the last episode of The Newsroom. Speculation is running rampant about Aaron Sorkin’s desire to continue the show, and contrary to what Jeff Daniels believes, it’s possible that we won’t see a season 3. Now, as an episode of television, “Election Night, Part Two” is perfectly fine, but as a series, if not season, finale, I can’t help but feel disappointed.

What’s elevated this season above the last is the Genoa arc. I’ve praised it before and I’ll praise it again; throughout the season, it’s allowed for cracks in this perfect little world Sorkin’s created, paving the way for possible consequences for the news crew. However, this episode completely strips that all away, heaping all the blame on Dantana’s shoulders. Even though Jerry shoulders most of the blame, it just seems like a cop out to avoid the legal and moral consequences of their actions. Everyone is flawed. Everyone makes mistakes. The show just doesn’t seem to want to deal with the bigger flaws and the bigger mistakes. It’s telegraphed from a couple episodes beforehand that the Lansings were never going to accept the resignations, and that in itself absolves the situation of any tension whatsoever. That is a big mistake.

Speaking of a big mistake, we also have Jim going around inspiring all the women around him, coming across as more of a condescending a-hole than a caring friend. I hate his “authentic” speech to Lisa, and I hate that he’s the one that spurs Maggie on to talk about Africa. Maggie can make her own decisions, thank you very much.

It’s all tied up in a nice, neat bow, much like the Genoa arc. Sloan and Don kiss. Mac and Will get married. Everything’s great. In fact, I don’t really have much of a problem with that final sequence to close off the season. The moments are well handled, even the Will-Mac one, and the show’s earned sap. What I don’t like is how contrived everything feels. For example, Will and Mac have been on and off again, but it’s never amounted to more than a few arguments. Why are they getting married now? Oh yeah, it’s the finale.

Still, there are some aspects of the episode I do like. I’ve been surprised at how much Don and Sloan have grown on me; rescuing Don from that terrible love triangle with Maggie and Jim was the best thing anyone could ever do for his character. He’s become more fleshed out, and his relationship with Sloan feels genuine. They’re no Mac-Will, that’s for sure. So, I’m much more lenient about the whole book nonsense because Sloan’s actually a good character. Many time, she’s been the subject of the show’s derision toward women, but Olivia Munn has really grown into her role, injecting complexity, nuance, and humor into her performance.

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We end season 2 uncertain about the show’s future, and if this is the end, I have no regrets about watching the show. Season 1 was a trainwreck, but season 2 has really made efforts to improve and expand this world. I appreciate the effort.

Grade: B-

Season Grade: B

Other thoughts:

-I like Will and Mac leaving their posts to let Elliott and Don, respectively, try out as the new team.

-Mac gets her Wikipedia page changed. Okay.

-The crew not pursuing the Petraeus story is a nice touch.

-Of course, we end with a montage, as expected.

-I’ve enjoyed covering the show. Hopefully I can do it again next year.

Credit to HBO and The Newsroom for all pictures. I own nothing.

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Emmys Dream Ballot+Predictions-Outstanding Lead Actress in a Drama Series

17 Sep

Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a week away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING LEAD ACTRESS IN A DRAMA SERIES

Tatiana-Maslany-of-Orphan-Black_gallery_primary  TATIANA MASLANY, “Orphan Black”

Maslany burst onto the scene this year for her brilliant work as various clones of herself in Orphan Black, showing off her wide range as an actress. No other person in this category impressed me more than she did, and she’d be entirely deserving of recognition here. Even when the show was on its off days, Maslany was the glue holding everything together.

images  EMMY ROSSUM, “Shameless”

It confuses me as to why Showtime’s comedies garner more recognition than this show. It’s terrible, though, because Emmy Rossum isn’t getting enough attention. She’s a gorgeous, talented actress that is capable of acting the hell out of her role as Fiona Gallagher.

Keri-Russell  KERI RUSSELL, “The Americans”

Playing a Russian spy, Keri Russell was perfect as Elizabeth Jennings, a cold yet complex character that was a joy to watch unfold. Her interactions with Matthew Rhys’ Philip were compelling, and Russell took her character down a dark, terrifying path that culminated in the explosive season finale. Her acting in that episode was flawless.

Claire-Danes-of-Homeland_gallery_primary  CLAIRE DANES, “Homeland”

Last year’s winner Claire Danes was no less wonderful this season, and the only reason her character could be frustrating was because of the writers. She continued to terrifically portray the determined, yet kind of crazy, Carrie Mathison, and “Q&A” was one of the best television episodes I’ve ever seen. Her interrogation scenes with Damian Lewis’ Nick Brody were compelling, raw, and frightening. She is completely deserving of another nomination.

Kerry-Washington-of-Scandal_gallery_primary  KERRY WASHINGTON, “Scandal”

She held the first season and the first part of last season together, the character of Olivia Pope quickly becoming one of the best characters on TV. She’s just so much fun to watch, and as the show moved in a more serialized direction, she got better as the supporting cast got better. She’s an anchor in the breakout show of last season.

peggy-olson  ELISABETH MOSS, “Mad Men”

Peggy Olson is one of my favorite characters on TV, and she’s a deserving nominee. Her role in the sixth season was just as good as her work beforehand, and Peggy’s arc of independence allowed Moss to bring out new aspects of her character. When the two companies merged, Moss deftly portrayed a woman caught between two lives.

Who should win?

Maslany by a hair over Rossum, with Danes close behind

Others considered: Khandi Alexander, Vera Farmiga, Julianna Margulies, Glenn Close, Connie Britton, Michelle Dockery, Robin Wright, Nina Dobrev, Maggie Q, Mariska Hargitay

On to the real nominations…

Connie Britton, “Nashville”

Claire Danes, “Homeland”

Michelle Dockery, “Downton Abbey”

Vera Farmiga, “Bates Motel”

Elisabeth Moss, “Mad Men”

Kerry Washington, “Scandal”

Robin Wright, “House of Cards”

Who should win?

Moss

Who will win?

Danes

Analysis: It’s about time that the wonderful Elisabeth Moss won something, but still, Danes is fantastic, and I’m confident that the voters will award her a second award in a row. “Q&A” was just so great.

Credit to BBC America, Showtime, ABC, FX, AMC, Mad Men, The Americans, Scandal, Orphan Black, Homeland, and Shameless for all pictures. I own nothing.

 

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Dexter “Monkey In A Box” Review (8×11)

16 Sep

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Well, we’re heading into the final episode of Dexter, and we don’t seem to be anywhere near a satisfying conclusion. Yes, Saxon’s on the loose and Deb’s been shot, but it doesn’t feel as if we’re nearing an ending. First of all, Saxon hasn’t been an interesting character since he’s been a character, and the writers haven’t been able to milk any tension at all out of his relationship with Dexter. There are just so many plot inconsistencies and so much subpar acting that any interest I had originally is gone.

That’s not to say I don’t like the idea. There are many ideas I like, but the show’s problem is that it doesn’t fully expand on them. Oliver-Dexter COULD be a fantastic dynamic to explore. Deb getting shot COULD have felt like more of a significant event. The show COULD have been better. It just isn’t.

In this episode, we have Dexter saying his goodbyes around Miami Metro. Hall does what he can, and his reaction to the realization that he’ll miss everyone is fantastic. The only person truly conveying a sense of finality in the episode is Dexter, and I can only wish we had seen more exploration of his character. His decreased compulsion to kill could’ve been interesting, but instead, we’re hit over the head with constant reminders of how Dexter has changed. In fact, he’s changed so much that Ghost Harry’s gone! It seems as if this show’s idea of character development is telling us that they’ve developed.

Anyway, his character still remains frustratingly stubborn, especially with the notion that he has to kill Saxon. What’s wrong with just walking away? Why not? He doesn’t even end up killing Saxon, anyway. Dexter’s a guy that has to choose between two lives right now, and he says himself that Hannah’s more important to him. Get out of Miami, man! Still, I’ll reiterate the fact that the show shouldn’t be just exploring the “two worlds” concept; they should be exploring his motivations as a killer. The only thing now that could possibly do this is Deb’s death, and it’s certainly a possibility given the fact that she ends the episode shot in the stomach. It’s obviously meant to make Dexter feel guilty, but it just doesn’t have the weight it should. It feels tacked on, and it shouldn’t. Everything shouldn’t revolve around Dexter; Dexter should revolve around everything.

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GRADE: C

Other thoughts:

-Dexter probably won’t get caught. It’s a shame, because that was one thing I was looking forward to this season.

-Masuka and his daughter are there still. Elway’s snooping around. Harrison eats donuts.

-Wow, Lem (still sticking with this name). U.S. Marshals don’t watch the news? Untying Saxon, that wanted man on the TV, is kind of stupid.

-The callbacks they attempt come across as lame and unnecessary. Prado’s sister returns for some reason, Dexter name drops Astor and Cody all over the place, and everyone’s reminiscing about the past. That doesn’t sound like a penultimate episode of a show, does it?

-That last voiceover…jeez. The light metaphor just goes on and on and on, and that last shot seems like a reference to the opening credits or something.

-Deb and Hannah looooove Dexter. Cool. If Hannah wasn’t here, imagine how much more time Deb and Dexter could have together. It’d be a much different show.

-Quinn has a ring. I care because…?

-Next week, the storm blows everyone away and destroys Argentina.

Credit to Showtime and Dexter for all pictures. I own nothing.

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Breaking Bad “Ozymandias” Review (5×14)

16 Sep

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“You’re the smartest person I know, and you don’t even see…he made up his mind 10 minutes ago.”

In one of Hank Schrader’s final lines, he perfectly sums up the character of Walter White. Walt’s flaw has always been his stubbornness, refusing to let go of his family or his money. All throughout this episode, he’s continuing to use the “family excuse” to the point of desperation, even sacrificing his money to try and save Hank. Alas, his plan fails. Hank goes down with a censored f-word, and Walt drops to his knees and falls over, shocked and dismayed. Cranston does wonderful work here, bringing his character through a full range of emotions that culminate in a seething, terrifying look of hatred toward Jesse.

Of course, Todd “saves” Jesse, deciding to use him as a meth-cooking teacher. He imprisons him, attaching him like a dog to a leash and putting up a photo of Andrea and Brock. Todd’s a psychopath, but he craves approval; he’s sucking up to Walt and trying to impress Lydia, and he’s not motivated by greed like the rest of Uncle Jack’s crew. It’s all a heartbreaking sequence of events, and it reflects how with Jesse, there’s no going back for Walt.

However, that doesn’t stop Walt from trying to bring Skyler and Walt Jr. to his side. It’s a doomed plan, though. Skyler and Marie have already told Flynn about his father’s criminal activities, and he’s at a breaking point. When Walt goes to the house to whisk them away, everything explodes in a wrenching, tragic scene in which Skyler pulls a knife on him and Walt Jr. calls the police. Walt snatches up Holly and leaves Skyler in the dust, but later, as he’s changing Holly, he hears one word that strikes him to his core: “Momma.”

This is what truly beats Heisenberg. Much like Walt only can focus on one thing at a time, he can only give up one at a time. Last week, he realized that Hank and Gomez had him beat. However, this week is when his true family has beaten him. He realizes that he has nowhere to go, but he has to go somewhere. Walt calling Skyler at the end is absolutely wonderful to watch. Gunn and Cranston play that scene beautifully. Walt’s not a stupid guy, even though he’s making stupid decisions, so he definitely knows the police are there. It’s one final, heartbreaking act for Walter White. He’s lost his money, and he didn’t get anything out of it. He’s had both his real family and his imagined family turn on him, and he finally breaks down, sacrificing all he has left for what’s left of it. At heart, he’s always been that kind of guy. Yet, he’s able to throw in a “You stupid bitch” as well, something he also really wants to believe in. It’s both a despicable and decent act, exemplifying why he’s been alone for so long. Now, he finally realizes it.

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We’re heading into the next episode with Walt on the run, one barrel of cash left from his now ruined empire. It’s fitting that he ends up this way, and it seems inevitable where his arc will take him. Still, the show can surprised us, and no matter what happens, Walter White will remain alone.

Grade: A

Other thoughts:

-Rian Johnson is amazing. The way he films the opening half hour is better than his “Fly” direction. The fade ins and fade outs are a thing of beauty.

-Hank has joined Mike in the “going out with a censored f-word” club.

-Marie goes from confident to broken in a matter of seconds. What a devastating performance by Betsy Brandt.

-The last shot is fittingly a rabid dog, crossing the street after Walt drives through. Walt’s leaving behind a crazy wave of destruction.

-The tension in this episode is off the charts. It’s like “Crawl Space” stretched out into 45 minutes.

-Walt rolling the barrel through the desert is a great shot.

-“HANK. HIS NAME IS HANK.”

-Walt twists the knife with his confession to Jesse about Jane. It’s an act of desperation and malice, and it’s hard to root for Walt after that.

-“If you knew about it, then you’re just as bad as him.” Amen, Walt Jr.

-It’s fitting how Hank is buried in a ditch dug for Walt’s money.

-Gomez didn’t even get to die on camera! RIP, buddy.

-I’m so excited for the final two episodes.

Credit to AMC and Breaking Bad for all pictures. I own nothing.

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Emmys Dream Ballot+Predictions-Outstanding Lead Actor in a Comedy Series

15 Sep

Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING LEAD ACTOR IN A COMEDY SERIES

Dream Ballot

LOUIE: Louis C.K. stars in LOUIE on FX.  LOUIS CK, “Louie”

Season 3 of Louie was a masterpiece of writing, directing, and acting, all done by Louis CK himself. He was as hilarious as always, and his interactions with the guest stars were brilliant, whether it be with Melissa Leo, Parker Posey, or others. His acting in the season finale was wonderful.

Alec-Baldwin-of-30-Rock_gallery_primary  ALEC BALDWIN, “30 Rock”

Jack Donaghy is one of the greatest sitcom characters of all time, and Season 7 did nothing to change that. In fact, the final season only strengthened that sentiment, allowing Baldwin to be hilarious as always. His relationship with his mom paved the way for some brilliant lines, and the central Jack-Liz relationship ended in a perfect manner.

Jake-Johnson-of-New-Girl_gallery_primary  JAKE JOHNSON, “New Girl”

While season 1 highlighted Max Greenfield’s Schmidt as the funniest male character, season 2 really allowed Johnson to shine. Other shows would’ve messed up the long-awaited Jess-Nick romance, tumbling into rom-com plots and turning up the cheese. However, this relationship was genuine, hilarious, and moving, and I couldn’t get enough of it. Jake Johnson was truly the breakout star of the 2012-2013 television comedy landscape.

Adam-Scott-of-Parks-and-Recreation_gallery_primary  ADAM SCOTT, “Parks and Recreation”

Although I wouldn’t count Scott a lead actor, he submitted himself as such. Still, he definitely shined in the moments he had on screen. Before Ben married Leslie, he was doing his own thing, hanging out with April and going through kidney stones. He was really perfect, though, during the build-up to the wedding, and was an essential part of the endearing relationship that was Leslie and Ben.

arrested-development-season-4-pic  JASON BATEMAN, “Arrested Development”

Bateman’s always been great in Arrested Development, and although the new season focused on different characters in different episodes, he still was a hilarious presence. Michael and George Michael is still one of the best dad-son dynamic on television, and Michael’s interactions with Gob, Buster, and the rest were still comedy gold.

big-bang-theory-season-5-16-the-vacation-solution-amy-farrah-fowler-sheldon-cooper  JIM PARSONS, “The Big Bang Theory”

I’m not a huge Big Bang fan, but there’s no denying that Parsons is consistently great as Sheldon Cooper. The most recent season made him out to be too much of a jerk, but his relationship with Amy saved everything; his work in the finale was magnificent.

Who should win?

CK

Others considered: Garrett Dillahunt, Johnny Galecki, Peter Capaldi, Rob Corddry, Joel McHale, Elijah Wood

On to the real nominations…

Alec Baldwin, “30 Rock”

Jason Bateman, “Arrested Development”

Louis CK, “Louie”

Don Cheadle, “House of Lies”

Matt LeBlanc, “Episodes”

Jim Parsons, “The Big Bang Theory”

Who should win?

CK

Who will win?

Parsons

Analysis: I’d love to see CK win. He’s absolutely magnificent. However, I feel like the top two candidates right now are Parsons and Baldwin, both respected actors with long-running shows. I could see it going either way, but I give the edge to Parsons. Don’t be surprised if CK wins, though.

Credit to CBS, NBC, FX, FOX, Netflix, Arrested Development, The Big Bang Theory, Louie, 30 Rock, Parks and Recreation, and New Girl for all pictures. I own nothing.

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Emmys Dream Ballot+Predictions-Outstanding Lead Actress in a Comedy Series

14 Sep

Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES

Dream Ballot

Tina-Fey-of-30-Rock_gallery_primary  TINA FEY, “30 Rock”

Tina Fey’s always been one of the funniest people on television, and the final year of 30 Rock really put a bow on her wonderful run as Liz Lemon. She did especially amazing work in the two part finale, conveying both sadness and and delight as she closed out her relationships with Jack, Tracy, and Jenna.

Zooey-Deschanel-of-New-Girl_gallery_primary  ZOOEY DESCHANEL, “New Girl”

After an average first season, New Girl blew me away this year. Jake Johnson had the breakout performance, but Deschanel was consistently great as the awkward, endearing Jess Day. Her relationship with Nick was one the best handled, and funniest, relationships I’ve ever seen on television.

enlightened21f-1-web  LAURA DERN, “Enlightened”

Amy Jellicoe was a flawed, narcissistic character that just wanted to improve the world. Dern was amazing at her portrayal of Jellicoe, transforming her character into an unlikeable, yet relatable person that you could sympathize with. Her character was so real, and so unique, and was one of the best on TV.

Julia-Louis-Dreyfus-of-Veep_gallery_primary  JULIA LOUIS-DREYFUS, “Veep”

Her performance as the sarcastic, bumbling Vice President was top notch this year. The profanity-filled, glass door-breaking shenanigans were absolutely hilarious, and her relationships with her ex-husband and her daughter Catherine had very few dull moments.

11GIRLS-articleLarge  LENA DUNHAM, “Girls”

This performance, as well as the show in general, is extremely polarizing. However, in the second season of the show, Dunham brilliantly portrayed a woman spiraling downward due to her OCD and relationship troubles. There will always be detractors, but that shouldn’t stop her from getting a nomination.

1818369  AMY POEHLER, “Parks and Recreation”

Poehler is TV’s second-funniest lady, right behind Tina Fey. Leslie Knope is such a lovable, heart-warming character that we love to see every week. Her wedding with Ben was one of the most beautiful things on TV this year, and she even got to meet Joe Biden!

Who should win?

I’d love to see Dern win, as it’s her last year of eligibility, but I’d be just as happy with Poehler or Fey. Poehler has to win sometime, though. We don’t want to see another Steve Carell situation.

Others considered: Sutton Foster, Edie Falco, Martha Plimpton, Dakota Johnson, Krysten Ritter, Courteney Cox, Portia de Rossi

On to the real nominations…

Laura Dern-Enlightened

Lena Dunham-Girls

Edie Falco-Nurse Jackie

Tina Fey-30 Rock

Julia Louis-Dreyfus-Veep

Amy Poehler-Parks and Recreation

Who should win?

See above.

Who will win?

Fey

Analysis: I believe Fey can pull it off one last time. It’s between her and Louis-Dreyfus for the win, but I think we’re going to see some final season nostalgia culminating in Fey’s win. It’d be well-deserved, though.

Credit to HBO, NBC, FOX, Veep, Girls, Parks and Recreation, 30 Rock, New Girl, and Enlightened for all pictures. I own nothing.

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Strike Back “Shadow Warfare, Episode 5” Review (3×05/4×05)

14 Sep

1185816_669725489706595_1893072589_nIF YOU’RE LOOKING FOR MY SEASON FINALE (EPISODE 10) REVIEW, HERE IT IS: https://polarbearstv.com/2013/10/19/strike-back-shadow-warfare-episode-10-review-3x104x10/

After the major events of last week, Strike Back was bound to take a step down. However, that’s not to say this episode is bad; it just moves slower, resulting in more of a table-setting episode than usual.

Before we get to the episode…I know I said that I would only be posting reviews every other week, but I decided to bring back my weekly reviews. Last week’s recap was extremely popular, and I wouldn’t want to take episodes off, especially considering the short length of the season and lack of many recaps around the internet. I just thought it wouldn’t be fair to all those that want to read commentary on each episode after it airs.

Anyway, this episode shifts focus to Mairead MacKenna, the IRA agent responsible for the murder of Agent Dalton. Section 20 pursues and captures her after receiving word that al-Zuhari’s forces and the IRA will deliver a joint attack on an unnamed target in the West. This is a segue into a sequence of interrogation scenes, delivered by Philip Locke, a person onto which the show has been shifting focus over the past few episodes. While Dalton was spiraling downward, Locke was doing the opposite, and now that Dalton’s gone, he becomes more of a presence in the show.

It’s chilling to watch him slowly turn the tables on MacKenna, using her dead brother as leverage. She starts sweating, tensing up, and clutching her fists angrily, while he maintains a steely demeanor throughout. Yet, it seems as if he’s a stereotypical intelligence agent; he has baggage, but he’s able to hide it well. For the most part. Notice his reaction after she remarks, “The Philip Locke?” He seems almost anxious, and it’s evident that she’s struck a chord. It is very likely that he has a more complicated relationship with MacKenna and her brother than is revealed here.

Over with Scott and Stonebridge, we also start to see difficulty maintaining the facade of a badass Section 20 agent. Stonebridge is afflicted with physical problems, while Scott is afflicted with the emotional toll Dalton’s death has taken. He’s not so much surprised as disappointed at the other members of his team for not feeling some joy at the Major’s death. Scott and Stonebridge have always relied on their physical prowess and ability to move on, so it’s interesting to see if these effects will be long term.

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We know that it’ll at least continue into the next episode. After a fun, yet ridiculous (more on this in “Other thoughts”) shootout in an airport, Stonebridge is unwilling to take a shot as MacKenna holds a gun to Locke’s head. Obviously, he’s afraid for his boss’s life, but we can also tell that whatever’s troubling him is really burrowing deep into his mind. He’s going to be tested, much like Locke, the seemingly unbreakable agent that is now in the clutches of the IRA. It seems as if Dalton’s death has set us up for the character arcs to come.

Grade: B

Other thoughts:

-The airport scene is ridiculous. I know that Strike Back isn’t all that realistic, but these guys (and gals) are smart enough to not let MacKenna get away so easily. Every action star on TV should follow this statement: BATHROOM=BAD. BATHROOM=BAD. BATHROOM=BAD.

-The action scenes aren’t quite as fun this week, but I do like the opening scene. It’s very well shot and intense.

-So, we have the most gratuitous sex we’ve had all season. I’m not complaining, especially since it involves two women. It’s an essential part of the fabric of the show.

-Martinez asking Stonebridge out as they’re heading toward a firefight is so great.

-Classic Strike Back moment: Stonebridge’s elbow to MacKenna’s ribs in the car, and Scott’s small smile afterwards

Credit to Cinemax and Strike Back for all pictures. I own nothing.

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PTC condemns “Sons of Anarchy” season premiere because they don’t have anything better to do with their lives

12 Sep

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Today, the Parents Television Council (also known as the GOPA, or Group of Pretentious Assholes) decided to use their oh so wonderful 1st Amendment rights to petition Congress for what is essentially a Constitutional amendment. For a TV show.

Oh yes, this group of rambunctious little worrywarts is back at it again, releasing a statement today that reads, “The Parents Television Council is calling on its members to contact Congress to express the urgent need for a consumer cable choice solution in response to the violent and sexually graphic premiere of FX’s Sons Of Anarchy, which featured a young boy committing a school shooting, simulated rape scenes, torture of women, and a man who was drowned in a bathtub of urine”, which essentially means “We didn’t like the episode, so we want everyone to conform to our highly idealistic and narrow-minded view of television in general.”

What a hoot! Last I checked, parents decided what their kids could and couldn’t watch, not a group of idiots that are getting more attention than they deserve (I’m writing an article about them, for God’s sake). What’s next? Criticizing Game of Thrones, Hannibal, or pretty much all of TV? I’m so glad there’s a council out there telling adults how to act.

Of course, all members of this group probably watch these shows in a dark room somewhere, smoking joints, giggling, and slapping each other with balloon animals. They’re so distracted that they don’t seem to notice the “TV-MA” and the “VIEWER DISCRETION ADVISED” and the “THIS PROGRAM CONTAINS VIOLENCE, LANGUAGE, SEXUAL SITUATIONS, AND NUDITY, WHICH ARE THE EXACT THINGS WE’RE CRITICIZING” disclaimers, four or five of which accompany each episode of every show on the network.

The show is on cable and at 10 pm, and it’s not a show for tiny, messy kids with inferiority complexes. Of course, going by that definition, that’s the equivalent of saying it’s not a show for the PTC.

Credit to FX and Sons of Anarchy for all pictures. I own nothing.

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