The first season of Banshee stumbled right out of the gate, but it slowly grew into one of the most entertaining shows on television; the plot was absolutely ludicrous, but there was a manic energy that injected life into the proceedings, whether it be the brutal violence or the steamy sex scenes. Surprisingly, the show tones it down for the season 2 premiere, and it still delivers a great, more contemplative start to the season.
The big change in season 2 is the introduction of the fantastic Zeljko Ivanek’s Agent Racine, a chain-smoking, cancer-ridden, no nonsense guy whose main purpose is to find Rabbit; to do this, he’s willing to use the people of Banshee as bait. Right off the bat, his character is an intriguing antagonist, a guy hellbent on revenge who’s still a bit bound by the constraints of the law. Yet, there’s something simmering there, and Ivanek brilliantly portrays a man just about ready to crack. In fact, he also succeeds in sticking his nose into the Banshee police department, raising questions about what exactly they’re doing; why are they following the will of a few people? Why hasn’t everything tumbled down yet? Those look to be intriguing questions heading into the rest of the season.
Moving on in life is a difficult thing to do, especially so for the people of Pawnee, the small town that’s been the one constant in all these characters’ recent adventures. Parks and Recreation‘s 100th episode deals with this idea in a funny, touching manner that serves as both a conclusion and a new beginning.
In fact, it seems like a lot of storylines have run their course, and we’re getting closer to the series’ inevitable end. For one, we definitely wouldn’t have needed to see Leslie running for city council again; that would’ve frustrated me beyond belief. Thankfully, the writers take a step back and zero in on Leslie and Ben, highlighting exactly what’s great about their relationship. It’s understandable that Leslie wouldn’t want to let go of her past, but Ben is a smart guy; he realizes that she’s destined for greater things, a greater future that elevates her beyond Pawnee’s borders. So, he brings in Kathryn Hahn’s Jen Barclay for a little motivational speech, so to speak. The “I don’t care enough about you to lie to you” line is very telling; Leslie’s often bogged down by her emotions and her interpersonal relationships, and she not only needs her husband to motivate her, but also someone with little emotional ties to the situation.
Going the route of a concept episode after the brilliant, toned down character work of the premiere is certainly an interesting choice, and it results in a deeply flawed, yet highly watchable, 21 minutes.
The thing that separates “concept” from “gimmick” is character, and this episode walks a thin line between the two. On the one hand, the show does a nice job of paying homage to shows like Hannibal and directors like David Fincher, and the very idea of an Ass-Crack Bandit is hilarious. On the other, the character work falters a bit here; for one, although I do like the Jeff-Annie dynamic, their plot in Numismatics feels shoe-horned in. The waxing and waning of a relationship is realistic, but we’re past the point where I’m completely invested in their flirtation; now, I want to see them interacting like they did in the premiere. Jeff brings out a stronger spirit in Annie, and it’d be interesting to get down to who they are and why they’re friends, not to dance around a romance that should’ve either 1) happened a long time ago, or 2) not been over-teased as a reality.
-Man, how great is Saul Rubinek in this episode? He goes through the full range of emotions–wonder, curiosity, fear, sadness, you name it–in the span of 42 minutes, and it all culminates in a truly heartbreaking scene in which the Machine acts as the gateway Finch wanted to be to his father. This whole storyline raises intriguing questions about the relationship between humanity and technology, and in Finch and Arthur’s conversation in the bank vault, we see the Samaritan tech being referred to almost as a child, a fully fleshed out being worth protecting and destroying.
-It’s really an addition to Root’s ongoing storyline with the Machine, and once again, Amy Acker blows it out of the park here. Her interactions with Control are absolute dynamite in “Aletheia”, and it’s chilling to watch her not only endure torture, but to slowly turn the tables on her torturer.
It’s been a long wait, but we’re finally back in Harlan.
Well, not exactly; in fact, the episode takes us to places like Florida and Detroit, expanding the show’s universe a bit and introducing new sides to the Crowe family and the mob. It’s really impressive how the show manages to remain as entertaining as ever while it’s spending its time place-setting for the remainder of the season. In fact, each character, however peripheral he or she is, is utilized magnificently in this fantastic premiere.
A Murder of Crowes is fundamentally about family, whether it be through Boyd’s vendetta against pretty much everyone or the crazy relations of the Florida Crowes. Michael Rapaport is introduced as Darryl Crowe, and accent aside, he fits into the role well as the man who’s had huge weights on his back, but is only just breaking now. The premiere has a fairly engaging storyline involving Elvis and Wendy, and the murder of Dilly Crowe illustrates the various messed up shit people will do in the name of “family”.
And what a great “something” it was. After a tumultuous fourth season, Community is back to being the show we’ve always loved. It’s always hard to clean something up once someone else has made a mess of it, but Harmon does it efficiently, hilariously, and brilliantly in these first two episodes.
“Repilot” is impressive because it not only is able to reference season 4, but it’s also able to strip these characters down to their bare bones. It unites the characters both physically and emotionally, and it’s a surprisingly dark opening to the season. Of course, there’s evidence of actual character growth. These are human beings who’ve endured similar types of problems, and this “Repilot” is now bringing them all full circle; yet, they’re wiser, more appreciative, and even sadder.
Obviously, any premiere has to navigate some tricky waters, and “Repilot” is no different. For one, the whole “Jeff returns to save Greendale” plot is entirely predictable and a bit contrived, but then again, the important thing is what we get at the end. Adding on to the episode’s problems, it could sometimes get lost in the shuffle of being a premiere, much less one after such a season as season 4 of Community. It has to juggle 50 different things at once, and that’s a hard task.
If I had to sum up this show in one word, that would be it. Everything about Treme is so rich, complex, and compelling, and it’ll be hard to say goodbye. Still, at least we get a brilliant send-off with “…To Miss New Orleans”.
This episode is all about life, which is pretty much the essence of the show, isn’t it? It’s about evolution, rebirth, and death, but it’s also about capturing a slice of these characters’ lives and letting us participate in it. One of the great things about this show is its ability to balance the bleakness of certain situations with a perpetual sense of hope; even though traditions may never change, the people who come together and participate in them do. When Davis talks about the fact that we can find something very different in a song we’ve heard a million times, it ultimately speaks to every character in this show.
8:01-How fitting that the final episode of the series opens with a Nikita-Amanda origin scene.
8:03-…which is immediately followed by Alex and Nikita teaming up for a badass take down of Jones; man, am I glad we get to see this dynamic again.
8:04-To be honest, I’m not all too surprised they eliminated Jones this early; it’s the safe way out, and it’s understandable that the show would want to focus on Nikita and Amanda’s relationship. Still, I do think the Jones-Nikita dynamic would’ve been interesting to explore a bit more; Jones is emotionally distant, essentially a robot who isn’t compromised by personal connections. He’s even more callous than, say, Roan, and if this was a longer season, I know we would’ve seen more.
8:07-“Now, she could destroy…the world.” Dun dun dun.
8:10-So, here we see the resurgence of former relationships; Michael’s always been the one wary of Nikita’s power, and it’s now his job to stop her. Amanda’s always wanted to harness Nikita’s power, and now she’s being encompassed by both her former protege and her current associations.
8:14-The tennis ball-smoke grenade sequence was pretty cool.
8:16-We also got a nice Nikita-Alex scene earlier. Nikita acknowledges the impact Alex has had on her–and vice versa–but they don’t get overly sentimental or emotional; they’re, first and foremost, two women on a job.
8:22-“Amanda wants you to do her dirty work for her.” We’re back to the fundamental aspect of their relationship, coming full circle from Division times.
8:26-One last desperation call by Michael. Both people are still clinging onto some sliver of hope, reaching out for anything from the person they once knew. That’s really the mark of the entire series; there are some truly desperate people here fighting to stay alive.
8:29-“What do you care? There’s no profit in it for you!”
8:30-“It’s about your heart.” Groan.
8:31-True, Nikita’s mind is the clearest it’s ever been, but it’s simultaneously the most muddled. She has a clear purpose, but that purpose has brought her to the precipice of her emotional stability. She’s now willing to murder to get what she wants, and Fonseca does great work with her reaction to Nikita shoving the poison down the guy’s throat.
8:35-It hurts to see Nikita and Alex fighting each other. It’s also awesome.
8:40-Okay, so Amanda being all powerful like this is a bit too easy, but I’ll forgive this plot point for now.
8:47-Well, the tables have turned now, haven’t they? I feel duped, but pleasantly so. Deception>brute force, indeed.
8:52-“Welcome back to the basement, Helen.” Also, a nice callback to the early title cards and Nikita’s “The last word they’ll breathe before the end will be my name.” It’s fitting for Amanda to end up like this, powerless in a basement; it’s much more damning than death, and while I do feel a little cheated by the whole plan, it does illustrate Nikita’s growth as a person; Amanda’s always hated Nikita because of their similar situations, but what sets them apart is Nikita’s ability to change. Also, good work, show, for making me believe that she’d gone off the deep end.
8:54-Jesus, a commercial break now?
9:00-Well, it’s certainly a satisfying end; I like the shot of Ryan here, the person who both helped motivate her in the end and helped keep her tethered to reality. I’ll miss you, Nikita. Final thoughts to come in a few minutes.
GRADE: A-
SEASON GRADE: B+
SERIES GRADE: A-
FINAL THOUGHTS: Well, this is it. The last four years have been absolutely amazing, and the final episode wraps everything up very nicely. First of all, the show does great work playing with the viewers’ notions of who exactly Nikita is now; it’s entirely believable that Ryan’s death would motivate her to kill, but it’s also just as believable that the family she’s known for years–really known–would pull her back. I’ll admit to feeling a bit cheated at the end, but there’s some great poetry at play here; Nikita’s no longer the snarling, wild animal she was back in that flashback. She’s grown as a woman, a lover, and a sister, and although I do not like some of the decisions she’s made, it’s nice to see her win without losing hold of who she is; she’s not a hero, but she doesn’t have to be one. She still mentions that she wanted to kill Amanda, and you know what? I would’ve been totally fine with it; Amanda deserves it. However, kudos to the writers for sticking to who Nikita was at the beginning of the series and having her be more successful, both physically and mentally, than Amanda is.
So, although I lament the lack of Sonya (and a Percy cameo! Argh!), I do believe this is a thoroughly satisfying series finale; even Sam/Owen and Alex’s relationship doesn’t evolve into anything more than a flirty, grudging friendship, and that’s how it should remain.
Michael and Nikita, meanwhile, are off on on a beach, but Nikita realizes she can’t let go of her past. It’s a nice coda to this series’ themes, and at heart, Nikita’s both the same and different person. She’s been able to turn off the dark side of her, but she’s also down for some more ass-kicking.
Goodbye, Nikita. You were always better than your ratings suggested. A final round of applause for one of the most underrated, exciting, and endearing action series ever created. I salute Craig Silverstein, Maggie Q, and all the rest. Thank you, and thank you to all the readers; I’ll miss covering this show.
Treme is about life and death situations, but not in the way that comes to your mind first. It’s a show about regular people living regular lives, and although it may all seem superfluous, it in fact just injects a sense of realism into the proceedings. This season doesn’t feel so much as leftovers as much as more steps in the characters’ lives, and this episode in particular does a nice job of exploring ideas of legacy and accomplishments contrasting with inevitability; our characters will move on, but they desperately want to leave a mark.
For example, David goes on about his legacy to Nelson, who, to his credit, takes the nightclub suggestion to Liguori; Nelson is now just as sympathetic as the rest of the characters on the show, and it’s to the writers’ credit that this is the case. Anyway, Liguori essentially shuts down Davis’s dreams, reminding us of the choke hold that those in power have on us. It’s the same for Colson, someone who will inevitably have to retire even as a new wave of people are pushing through. It’s too late; everyone’s too late. Annie’s caught between her past and her future, but she’ll inevitably end up having to leave if she wants to jump start her career.
Even though this is a show that is constantly moving–life is constantly moving, after all–this episode deals in endings: the ending of Antoine’s school program, the ending of Annie’s band, the ending of Davis’s dreams, and the ending of Albert’s life.
Of that last point, Clarke Peters is brilliant in this role (as well as those around him); it is truly heartbreaking to see such a strong-willed person come to an end like this, but man, it is a pleasure to see such commitment to character here. The father-son “passing of the torch” relationship is excellently played out by both Peters and Brown, and the way the show’s integrated LaDonna into the relationship is a marvel; that last scene in particular is wonderful. Chief Albert Lambreaux will die on his deathbed, but his legacy will live on.
GRADE: B+
OTHER THOUGHTS:
-The “Sing, Sing, Sing” sequence is excellent.
-“I wrote it for you.”
-I like the parallels between Davis and Nelson, with Nelson driving a pricey car and Davis on a bicycle.
Hey, guys, so I’m in LA today, meaning this live blog will begin at 11:30 Pacific time.
WRAPPINGVILLE: These are fun; there’s no question about that. The thing is, I’m already past the point of caring about them because they aren’t fun enough to scrape by on nostalgia. This specific one puts a nice spin on things with Fallon and Timberlake and has some pretty clever wordplay, but I just don’t enjoy it as much. GRADE: B-
MONOLOGUE: This is a perfectly good monologue that allows Fallon to sing, do some impressions of David Bowie, Paul McCartney, and Bob Dylan, and bring in Paul McCartney as our first guest of the night. It’s not anything original, but it’s absolutely enjoyable, and it allows Fallon to do what he does best. GRADE: B+
FAMILY FEUD: The “impressions” premise is fine enough, and I’m a sucker for these kinds of sketches. Fallon and Timberlake seem to have some kind of unique relationship that’s endearing to watch, and it’s no different when they crack up here. Taran Killam’s Ashton Kutcher is great and Fallon does a good Sheldon Cooper–Sheldon Cooper, not Jim Parsons. Thompson is also as enjoyable as ever, and oh, there’s something about Brooks Whelan not getting enough screen time. GRADE: B+
LET’S DO IT IN MY TWIN BED: And the pre-recorded segments strike again. My, this is fantastic, if only for allowing the women of SNL to shine. The song is catchy, the visual touches are amazing, and the premise is creative. Also, we get to see pictures of the cast members as seven year olds! GRADE: A-
THE BARRY GIBB TALK SHOW: Well, I’m surprised to see this sketch again. Still, it’s fairly enjoyable, and Fallon’s energy is what keeps it going; it’s also great to see Killam’s Paul Ryan back. Out of our two guests here, Barry Gibb makes more of an impression; Madonna is fairly superfluous, to be honest with you. Also, it seems like Timberlake’s a co-host. GRADE: B-
WEEKEND UPDATE: This is a nice send-off to Seth Meyers without being overly sentimental. Michael Bloomberg brings a nice dynamic to the Fallon-Meyers interactions, and I have to say, I will miss Meyers. He could get grating at times, but he was a solid weekend update host with some nice relationships with certain guests. As for the rest of the update, it’s fairly middling, even with McKinnon’s Billie Jean King, but hey, it’s solid. GRADE: B
WAKING UP WITH KIMYE: I like this sketch, and Pharoah’s Kanye is the highlight; the dynamic between him and Pedrad is fantastic, and there are some really hilarious lines in there. Oh, and of course we get a Bound 2 parody. GRADE: B-
NOW THAT’S WHAT I CALL CHRISTMAS: Well, here’s another impression sketch, and it’s very solid; Fallon’s impressions are all very good, Cecily Strong is great as Alanis Morrisette, and Kate McKinnon nails Shakira. GRADE: B
A CHRISTMAS CAROL: This brings a string of good sketches to a screeching halt. The main takeaway is that Ebenezer Scrooge was gay, and I just don’t find any of it funny at all. Not even Killam’s energy can save this sketch. GRADE: D+
BABY, IT’S COLD OUTSIDE: This is great. Fallon and Strong have amazing chemistry, and the concept is excellent; it’s a very sweet sketch that showcases some great singing voices and the ability of the writers to tell a whole story in such a short time. GRADE: A-
JUSTIN TIMBERLAKE: I like Justin Timberlake, but I feel like he got caught up by the visual aspect in the first performance. However, the second performance shows off his skill in a much more impressive way, and it’s a solid ending to the night. GRADE: B+
OVERALL: B+
This is a very good finisher to the year that utilizes Fallon and Timberlake very well, as well as incorporating some guest stars into the proceedings. It also manages to provide a send-off to Seth Meyers, and there really is only one dud in this episode. I’m impressed, SNL.
Anyway, that does it for SNL live blogs for the year. Have a safe and happy holiday season, everyone.
The first season of Banshee stumbled right out of the gate, but it slowly grew into one of the most entertaining shows on television; the plot was absolutely ludicrous, but there was a manic energy that injected life into the proceedings, whether it be the brutal violence or the steamy sex scenes. Surprisingly, the show tones it down for the season 2 premiere, and it still delivers a great, more contemplative start to the season.
Polar Bears Watch TV 