-I couldn’t go to bed without talking about this show and how wonderful the debut season has been. It’s crafted some brilliant characters and is home to some of the best acting and writing on television. Thank you, Michelle Ashford and co.
-On Bill Masters: One of the fundamental aspects of his character is his desire to separate emotions from life, but that doesn’t mean he’s heartless; why would he need to separate those emotions if he didn’t have them in the first place? Anyway, I think this episode does a nice job of tearing down the success that Masters thought he could obtain and showing us the consequences of the bad aspects of his character. Everything’s been stripped away after that presentation, and he heads to the only two places/people he knows: his office and Virginia. For him, Virginia is the only person who can truly understand him and what he cares about, and they fill each others’ needs for acceptance more so than do “perfect” spouses like Ethan and Libby (Libby really is perfect, though); yet, this mutual trust can only develop in the situations they’re in at that moment. So, the final scene, albeit a little cheesy, ultimately works because it’s such a huge step for Masters; in addition, it doesn’t skimp on the importance of Virginia having a choice.
-Oh man, is that Scully storyline–give Beau Bridges and Allison Janney some awards–heartbreaking or what? in fact, it’s a contrast to Bill-Virginia; Barton and Margaret may deeply care about each other, but then they attempt to remedy their lack of passion through awful “treatments” and such. Instead of separating sex and emotion, they see them as essentially the same thing. They have the perfect marriage on paper, but not in real life.
-It’s great to see Bill take the fall for Scully like that; Scully’s someone he truly respects, and I’m not surprised he does this.
-Hey, Lester and Jane kiss.
-Lillian’s slowly grown into one of the best, most complex characters on the show. At the start, there was a mutual grudging respect between her and Virginia, but their bond strengthened over the weeks; it’s now a deep friendship. For Virginia, Lillian represents both opportunity and the lack of opportunity, and she’s a big part of Gini’s evolution.
-“I can spot a statistically average masturbator from a mile away.”
And with that, I bid you farewell until next season, Masters of Sex. I’m looking forward to it.
Nicholas Brody was never going to make it out alive. Nicholas Brody knew he was never going to make it out alive. Nicholas Brody has accepted his fate.
As we close out the third season of Homeland, I’m finding myself impressed by the ability of the writers to still reach into our bodies and crush our hearts, to craft a poignant, contemplative episode that ties up Nicholas Brody’s storyline while still being emotionally resonant. After I finished watching this episode, I realized how perfect a series finale this could be; our characters have all moved on with their lives, all of them in a relatively happy place. Yes, even Brody.
Even though he ends up being hanged by the very people that first turned him, he’s made peace with his destiny; we saw some of those feelings doled out over the course of the season, from the seemingly hopeless prison in the Tower of David to his conversation with Nazir’s widow last week. In “The Star”, we get them full-on. For example, Brody reminisces about his father and tells Carrie he was born in the desert, evoking the idea of coming full circle; it’s similar to last week’s choice of beginning his redemption in the “place where it all started”, but this time, he ends his journey in, symbolically, the place where he started.
Another great scene I’d like to mention is Carrie’s and Brody’s right before Brody’s arrested. It’s a well acted scene–great acting all around in this episode–for Danes and Lewis, and it’s brilliantly written. For once, the “star-crossed lovers” shtick season 2 was forcing on us doesn’t seem tacky or manipulative; instead, we see two psychologically broken people drawn to each other in the moment. Carrie remarks that the reason she was put on Earth was so that their paths could cross, and Brody responds by saying that this idea is “the only sane thing left in the world”. It’s true, isn’t it? Brody’s not going to indulge in escapist idealism, but he’ll indulge in one final goodbye. I mean, let’s face it: he’s not going to have any kind of life in the United States, regardless of what Carrie says. He also can’t expect to stay in Iran when he’s just killed the head of the Revolutionary Guard. So he’ll, say, allow Carrie to stay on the line for a few more seconds, and he won’t put up a fight when she says she wants to witness the hanging, but he’ll also slowly help her on her own path to acceptance.
In fact, much of this episode is about tempering Carrie, the pregnant idealist who loves to disobey orders. For example, Javadi asks her why she wants to burn everything she’s worked for to the ground and why she would torture herself like this; this brings us back to Brody. The episode asks “Why? Why is Carrie giving up her life for Brody?” It also asks “Why can’t she let him go?” Throughout the hour, we see Carrie and Brody clashing over the merits behind his actions; Carrie says she’s thought about the present situation weeks in advance, and she tries to justify his actions by telling him that for Marines, the rules are different. Yet, Brody responds by bringing her back down to Earth; no, for Marines, the rules aren’t different. He needs to pay for his actions.
So that brings us to the final theme of this episode: legacy. We jump four months after Brody’s hanging–a strangely beautiful scene–to find ourselves in a whole new world: Carrie’s about to have her baby, Saul’s become more successful outside of the CIA, and Lockhart decides to promote Carrie to station chief in Istanbul. Now, it’s all about the future and the part Brody has (or doesn’t have) in it. Carrie wants to immortalize him on a wall of stars, but understandably, Lockhart won’t budge; the fact that she doesn’t drag on the issue is a sign of change, a sign of acceptance. She’ll start a new life in Istanbul, but she can’t be connected to Brody through his child. She’s afraid, both of the future itself and of the potential corrupting of it by the past, but she needs to move on; like Quinn says, if she doesn’t, she’ll regret it.
So instead, in one final act of compassion, she adds a new star to the wall of the CIA; she doesn’t need to defend him in front of everyone else anymore. It’s for both herself and Sergeant Nicholas Brody: a hero, a traitor, and a star.
GRADE: A-
OTHER THOUGHTS:
-Kudos to Lesli Linka Glatter for her direction in this episode. That final scene is absolutely gorgeous.
-The final scene works emotionally and thematically for me, but let’s not forget that Carrie used a Sharpie to draw a star on a memorial wall in the CIA.
-Saul has shades of Carrie throughout the proceedings; in fact, Lockhart and Adal have to temper him.
-Speaking of, I thought Lockhart and Adal would play more prominent villain roles in the show, but thankfully, they come across as sensible CIA agents.
-The final scene, as well as Saul and Carrie’s goodbye, reminds me of the season 2 finale. Yet, instead of the contrast of hundreds of dead bodies and the reunion of the two, they say goodbye while those dead bodies are immortalized on the wall.
-It’s awful that Carrie doesn’t have any consequences for her actions in Iran; how in the hell is she still part of the CIA, getting a promotion, and why does she even want to remain a part of it? Oh well, it looks like in Istanbul, she can break all the rules she wants.
-How can Brody just walk out the front door after he kills Akbari?
-Why does no Iranian think of interrogating Brody? Also, it was kind of stupid for Carrie to expect Javadi to give her anything.
-Now that I think about this, the plot continues to be so ludicrous that, if I wasn’t in a better mood, would knock this grade down a few notches.
-Also, Saul’s plan worked. Ha.
-The show’s portrayal of Iranian people probably isn’t very kind; last week, pretty much everyone was cheering for Brody, therefore categorizing every Iranian as being fine with terrorism.
-No Dana or Jess; in fact, Saylor and Baccarin aren’t regulars next season. It makes sense, given Brody’s death, and I like how they still hang over the proceedings in the episode. As for Chris, he’ll be playing with his rubber ducks.
-I’ll miss Damian Lewis. Brody was sometimes a frustrating character, but Lewis was magnificent.
-See you all next year. I have no idea where the show’s going next, but I’m looking forward to it. The season was choppy, but it ended beautifully. Thanks for reading.
OBAMA COLD OPEN: So our weekly political cold open is poking fun at the sign language interpreter at the Mandela memorial service. Thompson is very entertaining here, and Kate McKinnon does a nice job, once again, as Angela Merkel; I love the “serious” and “fun” pictures they take. It’s a solid and silly cold open. GRADE: B
MONOLOGUE: “All I Want For Christmas Is Booty”. That’s great, guys, but this monologue isn’t all that entertaining. There isn’t much to the song, which I guess is the point, but come on; I expect a little more effort. Hey, it’s great seeing Goodman back, though. GRADE: C+
GUY FIERI’S FULL THROTTLE CHRISTMAS SPECIAL: Even the audience doesn’t seem that into it. Kate McKinnon as Big Ang is absolutely brilliant, but the rest of the sketch is a dud. The impressions aren’t particularly great, and the production of the sketch is awkward and choppy. GRADE: C-
DEARBORN COMMUNITY PLAYHOUSE HOLIDAY PAGEANT: Now, this is great. It’s a simple, creative sketch that combines some great movements and facial acting from the cast members with some increasingly absurd voice over. “On the way here, I hit a man with my car. I didn’t stop because I thought this was more important!” I love this. GRADE: A-
THREE WISE GUYS: Jeez, how awesome is it seeing Goodman, Stallone, and De Niro in the same sketch? They’re all fantastic, even given how awkward the sketch is; it’s way too choppy for the awkwardness to be endearing. Still, they do a great job, especially with a good amount of one-liners about camels and Jesus and whatever they want. GRADE: B
WEEKEND UPDATE: Well, it’s Seth’s penultimate episode here, and we’re finally seeing some transition to Cecily; I like her interactions with Black Santa Claus, and Meyers does some good work with Drunk Uncle, as always-““We got ‘Black Friday’ now? Wasn’t ‘February’ enough?” In addition, the jokes are pretty solid. GRADE: B+
Second “Inside Llewyn Davis” promo tonight. God, those are beautiful.
GENEVIEVE CIVIL SUIT: Okay, John Goodman’s outfit already makes this sketch. In addition, Killam’s toned-down character suits the sketch well, and Beck Bennett does some awesome dancing at the end of the sketch. The Goodman-Thompson dynamic in particular is brilliant. GRADE: B
FIRE SAFETY: I liked this well enough back in Norton’s episode, and this one is a step down, most likely due to the lack in novelty. Still, it takes a while to get going and doesn’t gel as great as it did a few weeks back. Pedrad’s energy is always great, though, and it’s fun watching the kids exasperate Goodman. GRADE: B-
HALLMARK CHANNEL COUNTDOWN TO CHRISTMAS: Eh. Thankfully this is short, because the concept is just “Let’s roll out a bunch of funny titles and see which one sticks”. At best, some are mildly amusing, but this is a mediocre segment all around. GRADE: C-
KINGS OF LEON: I like the guys, but are they half asleep or something? Anyway, these are perfectly pleasant songs to listen to; they’re not great or anything, but they’re an enjoyable group of guys. GRADE: B
THE CHRISTMAS WHISTLE: Basically, this boils down to a bunch of people yelling at each other, and I’m not sure where the overarching humor is. For some reason, though, there’s something endearing about all the yelling; I can’t quite place it, but the sketch is good for a few laughs. GRADE: B-
H&M SHOPPER: Well, this is a catchy song. It’s not hilarious or anything, but it’s a good use of a few minutes; it’s really entertaining, and Pharoah does good work here. It’s a very well-done jab at H&M, and in addition, Wale drops by. GRADE: B+
DONNELLY’S: These are always great, and Goodman’s fantastic in this role. McKinnon, as always, is on fire, and to be honest with you, this is a scenario you could probably see happening in real life. Anyway, there are some awesome lines (“We could 66. That’s you and me upside down in bed watching TV”), and it’s really entertaining seeing the two and whipped cream and whatever the hell. GRADE: A-
GRADE: B
Next week, Jimmy Fallon, Justin Timberlake, and Seth Meyers’ last night on the show. I’ll be on the west coast then, so my live blog will follow accordingly, which is on a three-hour delay. So, expect it to start at 2:30 Eastern/1:30 Central, although I don’t know why you would still be up by then.
Credit to NBC and Saturday Night Live for all pictures. I own nothing.
8:05-Yeah Alex, reject Owen/Sam, please. I like the sassiness; you don’t need him.
8:06-The Amanda-Nikita relationship is paving the way for tensions in both teams: The Shop doesn’t want Amanda’s personal connections harming their plans, and Nikita’s team has been pulled to the brink many times before, all due to Nikita’s rash decisions.
8:08-Yeah, that’s not going to work. Nikita’s not someone who can be bought off; in fact, I’d say she craves the thrills of her current life to an extent. She may lament the detrimental effects of her actions on both her and her team, but that doesn’t stop her. A tropical island free from danger may be a temporary escape, but she’s always going to be drawn back into a life as a spy.
8:11-I’m liking all the Percy references; next up, a Xander Berkeley cameo needs to happen.
8:12-It’s Ramon! To be honest with you, I barely remember who he is.
8:14-“He’s an idealist who lost his way.” Sound like someone we know?
8:17-So we have missiles and everything. I don’t know how to feel about this; should we have more of a personal story or a big conspiracy?
8:22-Although it’s a bit out of nowhere, I do like the conversation about Alex and OwenSam’s former lovers. I’m not as invested in OS as I am for most other characters, but there’s no denying that these two crazy kids have a reasonable emotional connection to explore. Again, though, I stress: no romance!
8:25-In fact, with the reintroduction of Ramon, this episode seems to be exploring the concepts of the past, regret, and lost opportunities.
8:28-It’s always nice to see Nikita dispatching some baddies.
8:30-“You’re better at following orders.” Yup, spot on. Still, I do think Michael’s starting to move past that phase; we saw it earlier when he permanently ended his relationship with Nikita; he seems surprised here, though, with the fact that Ramon reads him this well.
8:35-Oh, okay, so OS is up to something.
8:44-This is probably the 5,674th time Sam’s emphasized his name change.
8:45-So, is Ramon’s purpose just to get Michael to reaffirm his love for Nikita? I get the sentiments, but that kind of cheapens the recent progression of his character. Ramon makes good points when he scolds Michael, but Nikita has hurt this relationship just as much as Michael has.
8:46-“Where are you not allowed to go?”
8:48-Well, Amanda’s gone off the deep end. I’m not surprised, considering she’s had to play second fiddle to Jones all this time; she may use others for personal gain, but at the end of the day, it has to be all about her.
8:50-“Did you really think either of us was going to win?” Man, am I glad to see Maggie Q and Melinda Clarke back together. Anyway, this is a fundamental truth behind this dynamic; when two similar people clash, that conflict may be in a perpetual static state. Nikita still tries to reason with her here, but this time, it won’t work.
8:53-That’s a pretty terrible looking CGI explosion.
8:58-“She so desperately wants it to.” Right on again, Jones. Well, I knew I shouldn’t have underestimated Amanda. At the end of the day, she knows Nikita best, and she know how to manipulate her. What makes Jones, on the other hand, so dangerous is the detachment from those around him, something that’s been both helpful and detrimental to Nikita. Still, I feel like Jones and Amanda are a bit too confident, and I feel like Nikita’s a bit too naive here, so much so that this feels too much like a complete reset.
9:00-Well, Mikita is back. I guess I’m not too surprised.
9:01-Preview for next week looks awesome. Thank God, Nikita and Alex are going to be in the same place.
GRADE: B+
FINAL THOUGHTS: The episode explores ideas of responsibility and the prices we pay for our actions, whether it be through our past catching up on us or the desire to escape, to be bought off. Some of the ideas here don’t quite work–Ramon returns, but doesn’t do much–but the episode ultimately ends nicely. It’s an exciting final 15 minutes that sees the return of Nikita-Amanda, and I’m so glad to see us focusing on the personal relationships now rather than a global conspiracy. As much as I like Alex, she needs to return soon–it looks like she will–because we’re at the final endgame. Only 2 left. I’m excited.
-The Birkhoff/Peller reunion is well handled, as well as the President rescue.
Credit to The CW and Nikita for all pictures. I own nothing.
“You. Are. A. Boy. I’m a man. I have worked for every single thing I have ever received; I have fought, scraped, and bled for every inch of ground I walk on. I was the first in my family to go to college; my daughter went to boarding school with the children of kings. I made that happen! You cry yourself to sleep because daddy hurt your feelings, because Papa banged his secretary, because it hurts to have so much money, you SPOILED, ENTITLED, UUUUUUNGRATEFUL LITTLE BRAT! You have EVERYTHING handed to you on a silver platter, and you squander it! You’re given the world, and you can’t appreciate it because you haven’t had to work for ANYTHING!”
A round of applause for Joe Morton, please. I took down most of this speech because it is an absolute masterpiece of writing, and it’s extremely satisfying to see Rowan absolutely rip Fitz to shreds here. Yes, it’s so on point because Rhimes knows the character, but it’s also on point because everyone sees Fitz for who he really is. Everyone sees the boy in him, the spoiled kid who leeches off of others for personal gain, the kid using Olivia Pope as an escape from his past. Continue reading →
Oliver Queen’s always been a moral guy; he’ll do what needs to be done, but he’d prefer to do it the right way. Yet, considering all the pain he’s suffered and all the tough decisions he’s had to make, it’s certainly understandable why that pent-up guilt would manifest itself in the three “ghosts” he sees here. Although the concept is a bit heavy-handed and clunky, it serves as an effective bridge between his past, present, and future; it’s only fitting that this episode brings Slade into the present day picture.
I do like the idea of Oliver facing his past here in the present, because although we see glimpses of it in his flashbacks, it’s always been something he can distance himself from; for him, fighting to save the city is a way of redeeming himself for his past mistakes. Now, though, he can’t convince himself that it’s all behind him–it’s a nice move to have Slade’s ghost appear during a time in which Oliver’s supposedly in his element: using his bow and arrows–because it isn’t; I thoroughly enjoyed the dynamic created by Bennett and Amell, and I’m looking forward to see it play out in the present day.
I’m also looking forward to the Barry Allen/Flash transformation; like I said last week, I’m genuinely surprised at how endearing Gustin’s become in this role. It helps that he has a strong supporting cast–in particular, he has Felicity to play off of–around him, but he’s also brought the right amount of charisma, charm, and general personality needed for a role like this. In fact, we start to see shades of a more emotionally and intellectually sound person in this episode; although he’s still starstruck by Oliver, he’ll still stand up for Felicity and do what he thinks is right. It’s a nice parallel to Oliver’s personality, and it’s going to be mighty interesting to see the tension and grudging respect between the two develop further.
Elsewhere, we get some Detective Lance-Laurel stuff, as well as a continuation of the Thea-Roy-Sin team up. I like that the show’s trying to integrate everyone into the overarching storyline; it’s not always successful–I still can’t bring myself to care about Laurel–but it’s emblematic of an ensemble show that doesn’t feel overstuffed.
All in all, it’s an exciting finish to a surprisingly wonderful half-season; Arrow has become one of my most anticipated shows each week, and it has a clear grasp on all its characters and the places they occupy in the grand scheme of things. I’m looking forward to where we go next.
GRADE: B+
OTHER THOUGHTS:
-Slade, acting all badass up in here. Manu Bennett was channeling from his Crixus days when he ripped out that heart.
-It’s nice to see Tommy back; both actors do some great work in their hallucination scene, able to make it a poignant and meaningful reunion.
-So Oliver essentially chooses Sara; it makes sense, although it’s absolutely devastating when Shado’s killed.
-There are still problems with Blood’s character; revealing that he’s just a pawn in Slade’s game doesn’t erase the nebulousness of his motivations and plan.
-See you on January 15th.
Credit to The CW and Arrow for all pictures; I own nothing.
9:04-Okay, so we have fire and stuff to open the episode. Sadly, these openings do nothing for me anymore.
9:10-One thing this show always has going for it is the incredible acting (by the more experienced actors). Bassett and Lange are always a joy to watch, especially when they’re exchanging insults while Kathy Bates’ head interrupts.
9:12-“Could people not move things? Some of us are blind.”
9:16-So Hank’s part of this secret cult of witch-haters who hate witches. I’m supposed to care why? This character’s been a nebulous presence all season, seemingly serving no purpose but to have sex in a pile of snakes and polish his huge gun.
9:20-See, now this is emblematic of the problems of this season; not only do dead people come back to life, but the blind woman can even get her eyes back. The status quo this season just hasn’t changed one bit; I’m not advocating unnecessary plot twists, but I want that sense of “anything goes” this show was known for.
9:22-Oh yeah, Justified.
9:28-Oh great, limb washing. Next, I fully expect Spalding to show up naked slow dancing with a monster made out of dog crap.
9:32-I almost burst out laughing at that scene in the hospital; right there is a bunch of actors trying way too hard.
9:34-“What are you going to do, chew it up and shit it out of your neck?”
9:37-So, we’ve got Queenie forcing LaLaurie to watch Roots. On the one hand, Kathy Bates does some great face acting there and it’s hilarious to watch. On the other hand, I once again sigh at the blatant race references that Murphy loves so, so much. Is Queenie seriously just going to be a prop for all of Murphy’s race “justifications” from now on? Yeah, probably.
9:40-“Marie Laveau sends her regards.” I wouldn’t be surprised if Murphy decided to recreate the Red Wedding, but this time with more blood and some boobs.
9:40-The Following is returning. I’m ready for that hate-watch; join me on the 19th.
9:42-Oh, how I wish I could just go “With more intent” for everything I do.
9:45-“Dog.” *Snaps neck* Alrighty, then.
9:48-So we go from Nan at odds with Luke’s mom to Nan all sunshine and rainbows with Luke’s mom to Nan at odds with Luke’s mom. Great.
9:49-Hell yeah, The Americans.
9:52-Hell yeah, True Detective. Honestly, these promos have me 100 times more pumped for those shows than what’s coming next on AHS.
9:57-Oh God, so we have Hank mowing down a house of black people while we’re shown images from the Civil Rights movement. Oh, out of all the awful things this show has created, this has to be the worst; jeez, Murphy and co., can’t you at least have a good old-fashioned shootout or something without turning it into a conversation about race? Good God. Oh, and we also have Joan murdering her son, because why not?
10:00-Expect Queenie and Hank back within 6 minutes into the next episode. See you in January.
GRADE: C- (I miss Asylum)
FINAL THOUGHTS: Yeah, this show is just spinning its wheels right now. I’m all for the idea of giving underdeveloped characters some more attention, but when you devote solely one episode to start and finish a character arc, nothing good can come out of it. Instead, we have what we got at the end: an awful, tasteless, and downright offensive–yes, even for this show–segment that serves no purpose whatsoever, save for maybe “HEY LOOK, SOMETHING’S HAPPENING!”
There’s potential still, due to the brilliance of many of the actors, but the writing is just so sloppy right now; for example, I still find Kyle endearing and I find the Laveau-Fiona team up intriguing, but I just can’t help but feel like we’re going downhill.
Credit to FX and American Horror Story for all pictures. I own nothing.
So, here we are at the end of the penultimate season of Sons of Anarchy, and I feel like I’ve watched more of this show than I have the patience for. I imagine this finale is a divisive one; I, for one, am taking the negative route. I just can’t look past the blatant audience manipulation and plot contrivances that permeate this overlong, sloppily thrown together mess.
First of all, we have characters being used as mere plot devices, none more so than Wayne Unser. One of the things that have made him so endearing is his perpetual, grounded, and sensible care for Gemma and her place in this messed-up world of hers. However, now Sutter believes that a short hugging scene makes up for all the awfulness of Unser’s decisions in this episode. What do I mean by awful decisions? So…I thought Unser was one of the more sensible characters, but then he decides to head over to Gemma and tell her Tara turned on Jax. And okay, so when Unser is like “Yeah, I know you just wanted to leave and all, but you know what, I’ll leave these keys right here and head off to get your pills and maybe jerk off a little in the kitchen”, I’m able to chalk that up to sheer idiocy.
But then, when I’m expecting the next scene to be him going batshit crazy over the fact that this insane, angry drunk just LEFT, PROBABLY DUE TO WHAT HE JUST TOLD HER, he instead saunters over to get some ice cream and thinks about the situation for a bit before deciding that ABSOLUTELY NOTHING is the right thing to do.
It’s an utter disparaging of the value of his character, and it’s one more in a line of contrivances that get us to that last scene, which, by the way, is not very good. It’s a gratuitous scene that should feel powerful, but instead just feels like a character death. I lament the fact that Juice arrives to tidy it all up; Gemma seems as if she’s finally able to own up to her crimes and turn herself in, but she eventually doesn’t have to. I get her motivations behind it all–she truly believes that killing Tara is the right thing to do, because she places everything under the guise of family–and the shitty place she’s in, but she doesn’t really face any consequences here.
Okay, okay, so everyone does feel some consequences at the end, but then again, it just seems like we’re in this perpetual state of violence and misery that’s advertised as “realistic”. Yes, everyone in this show is digging him or herself deeper into a hole, but that doesn’t mean the show can’t have fun. I’m not saying everyone should smile and dance with each other, but rather we have more episodes like, say, “Salvage”, which was a thoroughly entertaining episode that hearkened back to the old days.
Anyway, that’s not to say this episode doesn’t have its good parts. The acting, for the most part, is pretty damn good, specifically in Jax and Tara’s tense reunion at the park; Siff’s wonderful at conveying the fear, loathing, and even the love she feels toward her husband, and Hunnam does great work with the stoic expression, a man with pent-up feelings simmering, waiting for the right time to explode. In addition, as much as I dislike the way the final scene turns out, I am looking forward to Juice’s storyline; so far, the writers have done a nice job balancing his arc with the friendship and tension between Jax and Nero, and hopefully that continues next year.
All in all, it’s a mediocre and frustrating finale with a few entertaining moments, which is really emblematic of the season as a whole. I’m not terribly excited for the final season, but I do wish for some improvement next year.
GRADE: C+
SEASON GRADE: B-
OTHER THOUGHTS:
-Jax’s storyline seems a bit rushed; I do like the idea of him trying to repent for his sins, but we don’t get very clear motivations behind his quick turnaround. Instead, we get an awfully written monologue to begin the episode and some REALLY heavy-handed symbolism with the running over of the bird (did we really need that?).
-So even Nero’s been corrupted by the Mayans. It definitely illustrates the pull of the criminal world on supposedly virtuous, even-keeled people, but of course, while I can see it happening, I wish he could make better decisions; he’s one of my favorite characters, and I don’t want to see him brought down to Jax’s level.
-I’m happy Tyne Patterson’s hasn’t descended into the cartoonish villain Toric was; Pounder’s an excellent actress, and I’m looking forward to how her character handles this.
-Speaking of acting, the show brings in Kim Dickens and Peter Weller, and does pretty much nothing with them. Unacceptable.
-Jax saying his goodbyes is a fairly poignant and well done moment.
-See you all next year for the seventh and final season.
Credit to FX and Sons of Anarchy for all pictures. I own nothing.
A loss in a town like Dillon is pretty much the worst thing that’s ever happened to mankind, isn’t it? After the Panthers drop the second game of the season, Dillon becomes a living Hell, one in which people have the audacity to insult a teenage girl due to the fact that, what, her father ruined their livelihoods or something? There’s a sense of entitlement that permeates the town, whether it be after this game, during the Reyes situation, or when Lucas Mize shows up expecting adoration and a job, and it makes me inclined to slug some of these people. While I can see the motivations behind many of them, it doesn’t excuse their actions.
Treme is a show about life, and it understands that death is just as much a part of life as everything else; yet, it never falls into a pit of despair, always striking a nice balance between the entertaining and the depressing. This is on full display in this episode.
This episode is brutal to watch: classic Pelecanos. As optimistic as the show can be at times, it also illustrates the futility of certain situations. The episode deals brilliantly with the themes of death, the past, and broken dreams: Albert gives Davina a tour of his childhood on the way to his deathbed, Annie doesn’t want to accept the “death” of her life in this town, Janette has to deal with the “death” of her name, Davis goes through the “death” of his deal and has to return to his former life, Toni breaks down over the seeming futility of all her previous work (all involving murders), and Charisse is killed, forcing Antoine to deal with the heartbreak and illustrating the sad reality of the situation.
Oftentimes, we need to hold onto something to keep us going in our lives: a restaurant, our music, a friend, a vendetta. Yet, it seems as if some of our characters are realizing the necessity of moving on; for example, Albert takes Davina on a tour of his childhood, and we can tell how much he loved it. However, he know that he has to accept what’s coming, and he makes sure to warn both himself and his children.
Of course, the show also sprinkles in some truly hilarious and entertaining moments: Antoine and LaDonna’s scene in the bar is a beautiful thing to watch, as well as Janette and Davis coming up with new insults.
I can only stand back and admire this work of art that’s unfolding, and it’s almost over.
GRADE: A-
OTHER THOUGHTS:
-“I’ve been boycotting your bank for 10 years.” “I’d been wondering where that $300 had gotten to.” BOOM.
-Speaking of, the way the show’s handling Nelson and Liguori is brilliant; they start off seeming like villains, but they grow into people we can sympathize with, with stories we’re willing to invest our time in.
-I still can’t get over The Observer being Annie’s agent.
-“All sane men are afraid to die.” You’re destroying me inside, Clarke Peters.
Credit to HBO and Treme for all pictures. I own nothing.
Some very quick thoughts coming up….
So, here we are at the end of the penultimate season of Sons of Anarchy, and I feel like I’ve watched more of this show than I have the patience for. I imagine this finale is a divisive one; I, for one, am taking the negative route. I just can’t look past the blatant audience manipulation and plot contrivances that permeate this overlong, sloppily thrown together mess.
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