-The best part of this episode is easily the Matt-Shelby-Lorraine storyline. It’s not something we haven’t seen before, but it works because a) it’s realistically not something that will go away, and b) all three actors are brilliant. It’s devastating watching Matt lose control of the one thing that’s remained constant for most of his life: his ability to take care of his grandma. I also have to compliment Kim Dickens here for making Shelby likeable; she’s excellent here portraying a woman who not only has to be there for her family, but also has to be willing to take the verbal abuse from Matt. She deserves it, and she knows it.
-The major theme of this season is how much the Machine influences people, good or bad, and I like how ambiguous everything’s become; for it to be everything, it has to include Finch and Reese. This is a show that lets it’s plot unfold organically; it has a structure, but it isn’t afraid to completely shift the dynamics. As much as I like the Finch-Reese focus earlier, I also like the expanding of the world.
-I love the continuity regarding Shaw; although Root and last week’s POI aren’t the same person, they’re both people Shaw can relate to and even connect with. Both relationships started off with some distrust because that’s just who she is, but they grew into something more; yes, Root’s an antagonist (although the show’s really blurring the lines here, which I love), but there’s a mutual respect between the two.
-Also, Root and Shaw have the same name: Sam.
-Usually, these all-powerful groups are introduced into shows, and they end up being annoying. Yet, Vigilance doesn’t seem “all powerful”: they’re a group, they have a goal, and they’re carrying it out. Person of Interest has lots to say about privacy and information, and it’s providing some nice social commentary without coming off as condescending.
-I don’t have any idea what the Machine’s endgame is; Bear could be behind everything, for all I know. It’s using everyone, though, that’s for sure, (save for Root, but then again, just because the Machine is communicating with her doesn’t mean she isn’t just a pawn), and it’s really interesting seeing the transition away from previous seasons. As our view of the Machine changes, each character’s place in this all changes as well.
-So good to see Kirk Acevedo’s still around. In fact, I wouldn’t mind seeing a Fringe-POI crossover in which the POI women and the Olivias go around kicking ass, Finch and Walter argue about things, and Bear and Gene strike up a heartwarming friendship.
-I wish Fusco was playing more of a part in things.
-We also have a short storyline with Laskey and Carter this week.
-“I suppose it’s too much to hope that she tased herself?” “Knowing Shaw, it’s possible.”
-Shaw fighting the guy while Root ate the apple=awesome.
Credit to CBS and Person of Interest for all pictures. I own nothing.
Consequence sometimes takes a while to latch on, but it always does. I’d argue that Sons takes a bit too long dishing out realistic consequence, though, as it almost always means violence. However, I like that this episode takes a step back and asks, “Hey, remember all that shit we did? Yeah, about that.”
For example, much as it’s great that Nero finally decides to just take the blame, it’s also great that Patterson decides to let Nero off the hook. After Toric died, she started to embody some of his character traits, becoming overwhelmed by a desire for justice rather than using her brains. Now, she’s both using her smarts and listening to her conscience, and the mourning parent committing suicide is a cathartic moment for her.
On the other hand, I wish the guy didn’t commit suicide. It essentially absolves the Sons of their sins. Sure, Patterson’s now really bent on taking them down and they feel some guilt at the scene, but come on, these guys deserved worse than this a long time ago. They’re just as much at fault for the shooting, and there should be consequences…you know, not just the “obligatory season finale event that makes all these biker dudes sad for a bit”.
As for the rest of the episode, it’s mainly taken up by the Tara-Gemma storyline. I’m glad Unser acts as a medium here, calling both women out on their actions, as well as their subsequent weak family justifications (shades of Walter White there). For Tara, while it’s understandable she feels guilty about leaving her life behind, she also needs to leave; otherwise, this whole storyline would result in absolutely nothing. Still, I think she’ll leave. Her husband is her weakness, and she’s trying to escape from his influence; him finding out about the plan shouldn’t deter her one bit.
-Man, Juice has got some issues. Next week, he jumps off a building, then changes his mind halfway through.
-I can’t help but feel bad for Wendy.
-Just break out of prison already, Clay.
Credit to FX and Sons of Anarchy for all pictures. I own nothing.
Cinemax announced today that its critically acclaimed show Strike Back has been renewed for a 10-episode final fourth/fifth season of explosions and sex. It will air in fall 2014, and once again, not enough people will watch it, instead electing to go out and spend time with people on their Friday nights; oh, the nerve.
Anyway, the final season will presumably once again not allow Stonebridge to have a sex scene, instead pushing him to the background to masturbate to Scott and whatever new woman he’s picked up. In addition, the “awesome action scenes with explosions and shooting” will be returning in a recurring role, consisting of the dispatching of a bunch of terrorists and Scott and Stonebridge prancing through a field of bodies in tutus while sipping strawberry lemonade. Scott will then choke on his straw, and Stonebridge will punt him off a bridge; this will segue into some more fantastic action scenes.
As disappointing as this news is, you can’t help but be grateful to Cinemax for allowing the show to go out on its own terms. If this were on Showtime, we would have 8 seasons of crap culminating in a final scene in which Scott and Stonebridge are working as lumberjacks for Kamali’s dead body.
Still, after the show ends, we at least still have Banshee and Cinemax’s other softcore porn series, entitled “Sexy Sex In A House” and “Let’s Go To Hawaii, Then Have Hot Sex”.
I will be covering the final season next fall. I’m looking forward to it; it should be fun.
Credit to Cinemax and Strike Back for all pictures. I own nothing.
Now I’m starting to see why many people think the twist was unnecessary; this episode does a great job of milking the tension out of the uncertainty of situations, not just for the audience, but for the characters themselves. Too much of the first few episodes floundered due to the writers’ insistence on keeping us in the dark, and “The Yoga Play” is a prime example of why they shouldn’t have done it.
First off, we have Carrie, and her scenes have more of an impact this week because she has no idea what’s going on; she’s wondering if she blew her cover, she’s looking over her shoulder, and at episode’s end, she’s whisked away by the Iranians. It’s not something we haven’t seen before, but it’s nice having the show ramp up the tension as we head into the second half of the season. This is organic tension; it’s not tension for tension’s sake.
Speaking of tension, we also have Saul vs. Lockhart; sadly, Lockhart has no beard to compete with. While Carrie and Saul’s plan gave the show more of a direction, Lockhart’s lending it a sense of urgency. The plan has to be carried out quickly, because it doesn’t look like he’ll be giving much support. However, I admit that I do find the whole plot a bit strange; for example, why would Saul be invited to the retreat by his friend only to have his job swept out from under him? In addition, while I enjoy Saul berating Lockhart, the scene comes across as a bit cliched.
Of course, no one can touch Dana Brody. Her storyline with Leo is insufferable yet again, but thankfully it comes to a close. Dana’s dream of a utopia is no more, and now we can get to the more interesting dynamics between her and Jess (as long as it doesn’t descend into more soap opera antics).
Still, the last 10 minutes or so contain some good old-fashioned tension: score pounding in the background, Carrie being strip searched, and Saul’s final trenchant line: “She’s always been alone.” And so it is, Saul. So it is.
-I like Jess reaching out to Carrie; it’s understandable that her opinion of Carrie has changed, and it’s a nice scene for Baccarin.
-Baccarin and Saylor seem to be trying to emulate Danes’ cry face.
-Saul, you should’ve just shot the guy when he gave you the news. Then, go the Cheney route.
-I was disappointed The Yoga Play didn’t involve Virgil and Max doing yoga.
-Quinn’s pretty cool.
-Sorry for the briefness. I wanted to get it up quickly.
Credit to Showtime and Homeland for all pictures. I own nothing.
What choices do we have to make to survive? Do we sacrifice our morals? Do we sacrifice others? These questions have the most weight in none other than a post-apocalyptic world like this one, and it’s ubiquitous throughout the course of this episode.
Take, for example, Carol. At episode’s end, it’s revealed that she’s the one who burned two of the sick; it seems very rash and callous of her, but because she’s become the de facto co-leader of the prison, she has to keep her emotions bottled up when she’s around others. However, when she’s alone, as we see in this episode, she breaks down, the guilt washing over her like a tidal wave.
That same guilt is felt by Hershel, but he has an opposite view: he believes that to survive, we help as much as we can, even if it means sacrificing our own lives. Carol’s all about moving forward, but Hershel’s the kind of guy that will expose himself to the contagion if it means he can help others feel better. It’s a nice thing to see someone stand up for his beliefs in this show, and while his decision may seem reckless, it’s all about perspective.
We also have Tyreese going mad over his girlfriend’s death, and his fight with Rick in the cold open is devastating to watch. Coleman does great work conveying the rage, sadness, and determination throughout, and I’m enjoying seeing the evolution of his character. I’m glad he doesn’t die when he’s surrounded by all those Walkers; it would be stupid if he did (although how does he even survive?), but I feel like that would be an easy way out for the writers, negating any sort of character buildup they’ve done with him.
Anyway, it’s a solid episode with solid character development, and the final twist stirs things up a bit; it paves the way for some intriguing character dynamics, and I’m looking forward to it.
-Carol, why did you knock over the water? Come on.
-Daryl really Lori’d it in the car.
-Carl’s huge silencer made me laugh.
-Three black people go off with Daryl, and not one of them dies? We’re making progress here, show.
-The show’s way of dealing with the new characters is to quarantine them all.
Credit to AMC and The Walking Dead for all pictures. I own nothing.