“My eyes were wide open, sir. My eyes were wide open.”
The fallout of the Jason Street injury isn’t a pretty sight; although the community can pray together, our characters deal with it in different ways. For example, Lyla’s relentless optimism arises from the seemingly perfect nature of her former situation: she was dating QB1, and she had her whole life mapped out. She was ready to fly around with Jason Street, NFL star, and slide down rainbows while the sun danced in the sky. Now, though, she’s holding on to a sliver of those crushed dreams; she believes she’s doing the right thing (and she does have a bit of point. You can’t wallow in self pity, or you won’t get anywhere, and it’s nice seeing her be the first one to really support him. However, wishful thinking can also be detrimental). Yet, she doesn’t understand that maybe the right thing for Jason isn’t what she’s doing.
I haven’t yet covered Arrow this season, but I’m loving what I’m seeing so far. Season 2 has brought us a marked improvement over the first season, delivering action, character chemistry, and downright fun through the integration of flashbacks and present day sequences.
As for this episode, it’s yet another solid installment that paves the way for some intriguing future storylines. It revolves around Moira’s trial and the return of Count Vertigo (Seth Gabel entertainingly hamming it up), and it’s a showcase of both the strengths and weaknesses of Arrow.
Let’s start with Vertigo. Back when he was used in season 1, as much as I love Gabel, I really disliked the character; he didn’t seem to fit in with the show and was way too over-the-top, emulating the Joker most of the time. Here, though? His motivations are clearer and his vendetta makes sense; he’s still cartoonish, but he serves his purpose.
Of course, this leads into Oliver breaking his “No kill” rule, an act that’s handled extremely well by the show. He can make the distinction between a strict rule and a strict guideline, and he doesn’t spend time beating himself up over it because what he did was necessary. He needed to save Felicity. On that note, I’m happy the writers expand on the Oliver-Felicity connection and do it in this fashion; a lesser show would find a way to shoehorn in some deep discussion about it or just throw it in a random place, but here, that last scene between the two arises organically and makes sense after the events that have transpired. She cares about Team Arrow and he cares about Team Arrow, so they’re looking out for each other. It’s very simple.
Now as for the weaknesses, this show just isn’t very good at writing for Laurel; first of all, the court sequences are absolutely ludicrous, and second, she isn’t that great of a character. The concept of her is fine, but the execution comes across as soap opera-esque.
That’s really the only complaint I have about the episode, though, and with the reveal of Malcolm Merlyn’s “alive” status (this was an extremely well kept secret, show. Kudos), we’re sure to be in for a ride in the last two episodes of the year.
GRADE: B+
OTHER THOUGHTS:
-Less workout scenes this season.
-I really like the Thea-Roy boxing scene, which just speaks to how great this show is; this relationship has actually developed into something endearing, and it ties in nicely with the other characters. Thea-Roy is everything SHIELD wants Skye-Ward to be.
-We also get some brief island flashbacks; I’m enjoying the portrayals and teamwork of Shado and Slade, and this episode leads to some intriguing questions.
Credit to The CW and Arrow for all pictures. I own nothing.
9:06-Still, as one-note as his character has been, Peters does fantastic work with the Frankenstein-esque Kyle. It looks like the character is starting to have his own flashbacks, and I hope we obtain more information about him.
9:10-This is a very on point monologue. “I was like, let’s go for Jamba Juice.” Roberts is great at delivering it, and it’s miles better than Murphy’s attempts at touching on racism, that’s for sure, but I’m not entirely sold on the profoundness of the speech. The monologue doesn’t hit as much as Murphy wants it to.
9:12-LaLaurie and Queenie going to a drive through is the best thing ever. This relationship is hilarious in a twisted way, as is pretty much every relationship on this show.
9:13-“Let me guess, cause I’m fat?” “No, it’s cause you’re black. Black as coal.”
9:13-“I’m starting to understand why you’re so damn enormous.”
9:16-Although the last episode didn’t impress me, I do like Huston’s portrayal of the Axeman here; last week, he was more of a horror prop. This week, they’re playing more off his relationship with Fiona.
9:25-Flashcards for Your Angry, Taciturn Frankenstein.
9:27-Angela Bassett is amazing. “Over there, they probably feed you Shake N Bake and watermelon for dessert.” Also, it seems like they’re now trying to play Queenie between Laveau and LaLaurie, which is a fantastic strategy.
9:35-Man ass!
9:42-Yeah, not a very good strategy to tell the love of your life that you’ve watched her her whole life and viewed her as the daughter you never had.
9:44-I like how she just finds the tongue. Also, I never need to see that again.
9:47-I hope this isn’t the last we see of Spalding. Denis O’Hare does fantastic work making him as creepy as possible, and it’d be a shame if this was his end.
9:55-Well, now we get a Kathy Bates showcase. That flashback is chilling and seriously messed up, but Bates is having a blast playing this character. Of course, it still feels like Murphy’s using the relationship with Queenie to almost justify his right to revel in those slave scenes.
10:01-Okay, is this going where I think it’s going? I would be fine with this if afterwards, we get a scene in which Zoe tries to explain to Kyle what just happened using crude drawings on flashcards.
10:05-Yeah, that went there. Anyway, Dylan McDermott should come back. We need another man ass here.
GRADE: B
FINAL THOUGHTS: I’m not sure what this show is doing right now; on the one hand, that’s exactly the feeling this kind of show evokes, but then again, Asylum showed us the show could craft a cohesive storyline with well-formed characters. Right now, we’re jumping all over the place with character motivations that make little sense; for example, I dislike how quickly Queenie turns LaLaurie over to Laveau. Queenie’s not much of a character this season, but rather more of a prop used by Murphy to justify his more shocking scenes. What I mean: he’s bringing up race as much as possible, and he thinks that if all the black people band together to take down the immortal racist slaveowner, everything else will somehow be fine. In fact, I find that I sympathize with LaLaurie, which is strange considering who she is.
Also, as much as I like Roberts and Lange, their respective characters are seemingly in a holding pattern that I’m not very interested in. Madison isn’t exactly different now, as much as Murphy wants us to believe there’s been a change.
Credit to FX and American Horror Story for all pictures. I own nothing.
What a ride this has been. I’m not even going to bother with some fancy opening because that was my reaction after this episode. Wow.
It’s hard to write about an episode that kills off one of the best female characters on television, not because it’s necessarily a bad decision, but because it’s so gut-wrenching when it happens. Taraji P. Henson created a character that was layered, complex, witty, and downright awesome, and her presence will be sorely missed.
Then again, I still don’t know what to think an hour after the episode ended. On the one hand, her storyline was essentially closed off; she’s grown from a regular cop into a determined, powerful woman, and her vendetta has come to an end. Yet, I can’t help but feel emotionally manipulated; why does Carter have to be killed off? Is this just sweeps bait? Still, my opinion will fully form on this matter over the weeks; it entirely depends on the execution by the writers. The fallout of this is key; right now, her death may feel a little manipulative, but if the show handles it with nuance and delineates the deep-reaching effects on the other characters, I may feel a little better about it.
Still, no matter what you think about those final five minutes, I think we can all agree that what comes before is one of the most thrilling, intense episodes this show has ever produced. Watching this show is like watching an action movie, and when we see these characters in different situations, we’re actually afraid for them. When Reese and Carter bond over their pasts and their almost impending doom, we’re scared they won’t make it out alive. When Fusco is tied up and taking a beating, we’re terrified for him and his kid. It’s really a mark of a well-crafted show when every single character can elicit such an emotional response from the audience.
Also, the character work is impeccable here; Shaw maintains that quiet demeanor because that’s how she moves on in life; she’s crushed that she can’t save Fusco, but she can’t let it show. Fusco remains steely at first, throwing out witty remarks to cover up his fear. Reese continues to believe in the strength of his comrades even while accepting his own death. The episode does a nice job of conveying acceptance of reality and emotional vulnerability amidst the facades we put up to help ourselves escape. For example, it might seem strange to see Reese and Carter kiss, but it’s understandable; they really do share such a powerful connection, and their shared hardship leads into it. It’s a kiss of compassion, not of lust. Of course, her death cheapens that scene a bit.
All in all, this is a roller coaster ride of an episode that barrels into the midseason finale with many interesting threads to tie up. Again, I don’t know what to think of Carter’s death without having seen the next few episodes. Perhaps it’s a symbol of the effects of corruption; such a powerful person can be brought down in the shabbiest of ways. Perhaps it’s a masterful way of closing out a fantastic character. Perhaps it’s cheap. You decide for yourself. Whatever the case, that final scene is a masterful handling of emotions, tension, and love, and moving on will be incredibly difficult to do.
GRADE: A-
OTHER THOUGHTS:
-Using Fusco as misdirection? You’re killing me, writers. I must’ve had 100 heart attacks.
-Root and Finch also share some fantastic scenes. Finch also has to accept here; he’ll essentially give up Reese to prevent Root from escaping, and Emerson does some fantastic work detailing the struggle in his mind.
-That phone ringing over the final scene is chilling.
-I want one of those fortune cookies.
-This show, man. This show.
Credit to CBS and Person of Interest for pictures. I own nothing.
9:06-Yeah, forgiveness is impossible at this point. These characters are at a junction in their lives where they can’t go back; still, I like how Nero respects Gemma’s decision here. If you think about it, he and Unser are the most clear-headed ones left in town.
9:13-See? Unser gets the kids!
9:14-“She seems really sad.”
9:19-Hopefully this is the only montage we get in this episode.
9:28-Unser’s asking all the tough questions here; this show needs someone like that to prevent everyone from tumbling down those paths of immorality. The love he has for Gemma, as long as it doesn’t actually turn into a full-blown romance storyline, is a sweet, grounded character motivation that fits in well.
9:35-This is a pretty well-done action scene, something Sons has always been good at.
9:35-Aw, not Bobby.
9:44-So Jax is going ahead and eliminating everyone. It just goes to show you; even though he wants to get out of guns, we’re at the point where there just really is no way to do it without violence and bloodshed.
9:48-So it seems like we’re getting a scene that’s emulating the earlier seasons; everyone’s together in one place, Tara’s putting aside her beefs and reprising her role as the “Mob Doctor”, and Clay’s in the presence of the club. However, everything’s different now; that tension is simmering on the surface, and everyone’s carrying the burden of past events.
9:54-I gotta say, I’m pleasantly surprised that the show’s ridding itself of Clay. Perlman’s a great actor, but the guy’s been dead weight for a while. It’s as good enough a swan song as he’ll get; Clay gets in a few words with Gemma and comes to terms with the club’s decision. In fact, I’m sure he accepted it a while back; he can’t have been expecting much sympathy, even from his wife.
10:00-It’s nice to see everyone bonding over Clay’s death; he’s wronged them all in some way, and before the other shit goes down, they’re taking some satisfaction in what’s happened.
10:12-I’d like to see Nero adopt Jax.
10:20-These Justified and The Americans promos are getting me pumped.
GRADE: B+
This is a solid episode that gives Clay a nice send off and paves the way for some interesting roads in our final two episodes; there’s probably more tragedy to come. It may not be death, but with Tara still, understandably, putting her family first, things are bound to get messy.
Credit to FX and Sons of Anarchy for pictures. I own nothing.
So begins the story of the Dillon Panthers. It’s week one of the new football season, and the atmosphere is buzzing with excitement. There’s a new coach in town and a quarterback phenom, both ready to anchor a team expected to win the State Championship. There’s a coach’s wife, a hard-working second string quarterback, a loud-mouthed running back, and a slacker fullback. There’s a bunch of characters that can’t really be defined in one word like I’ve done above, because all of them are unique in their own way. Yes, that sounds cheesy, but it’s true; what the pilot does so well is establish each of their relationships, each of their mindsets, and each of their places in Dillon.
-The show can still deliver entertaining spy sequences, as exasperating as it must be to see Carrie yet again disobey orders. Then again, I feel like her relationship with Brody has transcended the normal “We love each other so much!” angle. Now, it’s mostly about being right. Carrie places a burden on herself to save literally everyone from everything bad, so that’s why she spent so much effort in season 1 to try and take him down. After their season 2 relationship, her reputation and support system took a hit.
I’m not entirely sure she actually wants a family at this point–she’s indecisive right now–but she needs an end goal to keep functioning, and the idea of a happy ending is what she wraps her mind around. She therefore has to prove Brody’s innocence and has to prove they can be a couple, because that’s what everyone was criticizing her for. It’s like an “I’ll show you!” attitude that’s connected to her need for emotional connection, in this case to Brody.
-Nevertheless, I cheered when Quinn shot her. Danes also does fantastic work with the fallout from that (“No shit, you shot me.”).
-I like the Fara storyline, even if it’s not terribly exciting. It’s intriguing seeing her home life and her internal conflict, and not only do I see a Carrie parallel, but I also see a Brody one. It’s actually a fairly similar situation as Brody’s, aside from the whole bomb thing: she’s caught between her two countries, Iran and America, and there’s a family element in there.
-I’m rolling my eyes at Mira’s lover being a spy of some sort; it just reeks of “PLOT TWIST!” Is he the bomber? Honestly, I don’t really care.
-Saul and Mira’s relationship is alright. On the one hand, it’s a good personal story that reflects how Mira’s his weakness, but on the other hand, I find myself bored by those scenes.
-Yeah, this whole Javadi plot is really implausible.
-I’m curious to see what Saul’s plan with Brody is. I assume we’ll be seeing a lot more of Brody from now on, and hopefully the writers can craft an intriguing storyline that effectively brings him back into the fold.
-I have a feeling this pregnancy is going to end in a miscarriage.
-Sorry for the lateness of this post, as well as the rushed points; I would like to expand on some, but it’s been a long day for me. Anyway, just a scheduling note: next week’s review will go up a day or two afterward, as the “Boardwalk Empire” finale takes precedence.
GRADE: B+
Credit to Showtime and Homeland for all pictures. I own nothing.
8:02-I don’t know why, but the idea of the Governor in a tent makes me laugh.
8:07-I guess watching the Governor as more of a human being is actually more interesting than seeing him as a cartoonish villain. I really hope we get to see that other side of him here; we saw a sliver of it with his daughter last season, but it ended up descending into craziness.
8:11-I fully expect the Governor to whip out an AK-47 and start shooting up the place.
8:22-Ah, folding your face out of sight, Governor. Symbolism!
8:24-These new girls are pretty attractive, I have to say.
8:25-So the show’s doing something really interesting here. Instead of rushing right into the clash with the prison, they’re delineating the Governor’s story and attempting to humanize him. I’ll have to wait to the end to see if it works out, but I think this illustrates an important aspect of the man’s current state of mind: he’s almost going through the motions, much as he was last year (obviously the situation is vastly different here, but still). It seems as if, as much power as he seemingly yielded last year, he’s really just a puppet to be manipulated. It may just be a weakness, but it’s a fatal one here.
8:33-This must be the story of how the Governor decided to shave.
8:35-“What happened to your eye?” “It’s gone.”
8:36-This little girl and the Governor are a better fit for each other than Rick and Carl ever will be.
8:37-Off topic: I’m so excited for The Wolf of Wall Street.
8:42-“You can lose a lot of soldiers and still win the game.” Pretty heavy-handed reflection of the Governor’s situation there. Oh, also metaphors! Chess metaphors!
8:44-So the Governor’s starting to become attached to this family, especially to the daughter. When he smashes the guy’s head in, it’s not out of malice; it’s because he cares. I think the symbolism and connection to his own family is a bit overt here, and I just don’t buy the quick turnaround. Of course, that scene also shows that primal nature within him, but it just feels a little too saccharine now.
8:46-What’s up with all these fist bumps?
8:49-You can tell he doesn’t want to leave, but he’s the kind of guy that needs validation for everything he does; that’s why he indulged in his role as the Governor. He doesn’t necessarily want to help people now as much as he wants to satisfy himself. When his family died, he lost a big part of himself, and now, he’s essentially just looking for a fix.
8:56-That stuffed animal will give you power, Megan.
8:58-Oh man, these walker kills are pretty damn cool. Whether it be ripping out the throat or ripping a head off with a bone, I love it.
GRADE: B
THOUGHTS: So, this episode tries to humanize the Governor, and it only sometimes works; the thing is, I feel like the ambition of the writers here ultimately hurts the episode. It’s a necessary transition piece, but the interactions with the three girls are so on the nose and the metaphors so overt that it gets a bit groan-inducing. However, I do like the change of pace and I admire the dedication of the writers to re-shaping this character.
Credit to AMC and The Walking Dead for all pictures. I own nothing.
ROB FORD COLD OPEN: This is just another one of those generic political opens that goes on way too long; sure, it’s funny watching Moynihan jump on his podium and act out, but only for a little bit. I’ll admit, though, the 60 Minutes joke is the strongest part of the act. GRADE: B
MONOLOGUE: I get what she’s trying to do with this monologue; she wants to come across as more relatable while still maintaining that personality, but for me, this monologue comes across as awkward and forced. It’s not particularly funny, and only Gaga’s voice saves it; the woman can actually sing. GRADE: C
PAXIL: SECOND TERM STRENGTH: The design of this sketch is impeccable, but there isn’t much comedy beyond the Obamacare slam. It isn’t even much of a slam; it mainly consists of a “Hey, Obama did some bad stuff!” joke that wears thin. GRADE: C+
WAKING UP WITH KIMYE: So it looks like Pharoah is back to playing his normal impressions now; that’s too bad, because I loved him two weeks ago when he was just being normal. I like Pedrad’s Kardashian and there are some great lines, as always (I liked the one about dipping her MacBook in caramel), and Gaga’s fine for the most part; still, I loathe her referencing herself like that. There’s no need for that. GRADE: C+
WHAAAT? WORST COVER SONGS: I’m a sucker for impression sketches, and this one is pretty good. Rick Ross singing “Cups” is pretty much the best thing ever, and all the impressions are pretty great. Lana Del Rey/Nathan Ray singing “It Wasn’t Me” is awesome, and I like the idea of slapping Lil’ Wayne and Susan Boyle together. GRADE: B+
WEEKEND UPDATE: Okay, I love Mr. Senior. It’s not very subtle humor, but I really like the pre-recorded segments, and seeing Thompson freak out at everyone is a joy to watch. After that, Killam is his awkward and energetic self as Jebediah Atkinson, which is just delightfully weird. The jokes themselves are alright tonight, but the two guests are great. GRADE: B
CONDO CO-OP BOARD: There’s a fantastic premise here, but this sketch really stumbles. It’s just a bunch of random “jokes” thrown in that aren’t particularly funny, as weird as McKinnon chewing on broccoli is. GRADE: C-
SPOTLIGHTZ: This is easily Lady Gaga’s best sketch of the night; the best part of it for her is the segment in which she plays Forrest’s mom, and she’s good with the Training Day speech as well. Obviously, Bayer’s fantastic, and we get yet another Breaking Bad reference. GRADE: B+
BLOCKBUSTER: This is great. I’ve already stated my love of pre-recorded segments, and this is a very topical (ironic, eh?) segment that has the look and feel of some of my favorite sketches. There are great little touches thrown in there that only a pre-recorded segment could thrown in; the attention to detail and the ambience reminds me of Sad Mouse from last year. GRADE: A-
LADY GAGA: As I’ve said, she can sing. Her first song is a duet with R. Kelly, who pretty much takes the spotlight and starts doing pushups on top of Gaga for some reason. It’s a good enough song, as is the second one, but I can’t help but hate the style. It’s just my opinion of her, but she has a great voice, and all the theatrics aren’t endearing; she tones it down here, though. GRADE: B-
TALENT PAGEANT: I understand this sketch, but I’m not sure I like it. It’s got brevity and weird dancing going for it, but I don’t really care about seeing Gaga and Milhiser dance; it’s not a very funny sketch, as short and sweet as it is. GRADE: C+
FUTURE LADY GAGA, UPPER WEST SIDE 2063: Oh, spare us the self-indulgent crap. This sketch is just an excuse for her to spout off some of her songs and pat herself on the back. Thompson is the best part of the sketch, and he isn’t even that great. Still, I give kudos to the writers for that ending; it’s strangely dark and intriguing. GRADE: C-
ROSÉ ZONE: Eh, not a very good way to close out the night. Okay, women want to see other women fighting….okay? Is that a joke, much less a sketch? I get it’s a parody of RedZone, but it’s forgettable GRADE: C
OVERALL: C
BEST SKETCH: Blockbuster
WORST SKETCH: Condo Co-Op Board/Upper West Side
FINAL THOUGHTS: Lady Gaga doesn’t make much of an impression here–certainly not as much as she wanted to. For the most part, she’s mediocre, but she shines in sketches like “Spotlightz”. There are some great sketches thrown in there, but the show in general isn’t all that great.
Credit to NBC and Saturday Night Live for all pictures. I own nothing.
Leslie Knope isn’t much of an enigma; she’s an inherently good person with certain flaws, one of which is Eagleton. So, whether it be her intense hatred of the town from previous episodes or her determination to fight for their rights here, something’s eventually going to come around and bite her in the ass…maybe Ben Wyatt, as long as Leslie’s wearing roller skates. It’s his crazy sex fantasy, after all.
Surprisingly, she loses the recall vote, not because Eagleton has it out for her, but because she hurt her own chances. It’s a very good choice by the writers–I applaud them for breaking from the norm–that is sure to pave the way for some interesting stories down the road. In fact, I’m completely invested in whatever crusade of kindness that will undoubtedly follow; it’s a much more realistic scenario that, while still saccharine, opens the floodgates for character development.
Speaking of, I like how the writers are strengthening the interpersonal relationships, whether it be Leslie/Ben (in a very funny, drunken, tattoo-almost obtaining storyline in “Recall Vote”), Ron/Donna, Leslie/Ann, or April/Andy. These two episodes are full of small character moments amidst the hilarity that is, say, Ron and Donna playing Big Buck Hunter.
I don’t think the filibuster itself works, as it comes across as more of a straight up parody of Wendy Davis. It’s a storyline ripe with hilarious imagery and Leslie lusting over a margarita (“Democracy is like a cake. It’s layered, delicious, chocolate, and I want some.”), but neither this nor the Erinn Hayes celebrity lifestyle storyline amount to much (I did like “Thank you. It’s genetic and unattainable.”).
Still, it’s a very enjoyable hour that serves up the laughs while moving the show forward in an interesting direction.
GRADE FOR BOTH PARTS: B
OTHER THOUGHTS:
-The first episode is a nice sendoff for Tatiana Maslany, and it opens the door for future appearances. I would’ve liked to see a bit more, especially considering she seems to have great chemistry with Ann, but she still was a great presence and fit right in.
-Kristen Bell’s back!
-That interview does not touch “You’re On With Ron”. Still, “Yes, mostly it’s used for sitting. Put it by a table and eat a meal.”
-Sandwiches made with cookies. You know Andy so well, April.
-I’m happy we got Andy back for an episode. I’ve missed him.
-“I am not a sore loser. It’s just that I want to win, and when I don’t, I get furious. EMPLOYEE.”
-“Ann, you noble and poetic land mermaid.” Also, “Your brain is almost as perfect as your face.”
-“If I know anything about Rwanda, and I don’t, I bet it’s full of rich guys who’ll buy her whatever she wants.”
-I like Youtube videos of turtles and birds becoming friends, too.
-So the Larry thing is permanent now. “Larry, everyone is miserable, and you are only making it worse.”
-Ron is still great. “Start over and speak differently.” Also, “I regret everything.”
-“Eat my shorts, Jabronis. Knope out.” Best concession speech ever.
-Not even Lil’ Sebastien can cheer Leslie up. The shot of Leslie asleep on the bench and everyone looking through the window is priceless….or Leslie Buttface Hitler the Fourth.
-“Just remember kids, nothing gold can stay.”
-“Please back up two paces so I can physically destroy this machine.”
-I loved Ben holding the chainsaw while asking if there was anything to numb the pain.
-“C’mon now. You know I don’t give a ****.” Oh, Donna.
“Truly we did steal a toy from your pregnant friend.”
“My initials are private.” Also, Ron’s laugh.
-“It is Ms. Knope; it’s not Councilwoman Knope because that chapter of my life is already over.”
-The Buttercup and Westley costumes are great.
Credit to NBC and Parks and Recreation for all pictures. I own nothing.
Polar Bears Watch TV 