-Cristin Milioti once again kills it as the Mother. Sure, it’s a little farfetched that she’d so accurately gauge Barney’s situation, but it’s a fantastic scene that works on so many character levels. Barney really needs this. Someone for once has the confidence not just to approach him and call him out, but to spur him on to look for that stable relationship. She’s in a similar situation here, but she doesn’t need a bunch of transient relationships just to get through the day. The fact that she understands that that is what Barney’s going through, as well as her willingness to listen and help, already makes her a great fit for the group and for Ted.
-I’m happy we get to see the group back at MacLaren’s, in their element. It’s a refreshing change from the plodding pace over at Farhampton.
-The Ted/Robin stuff actually doesn’t really bother me much in this episode. It’s much better handled here than in recent episodes; a major part of that is how inherently depressing Ted’s situation is. The only consolation is that we know he’ll meet the Mother; in fact, the whole storyline with Barney is almost a foreshadowing of what’s to come with Ted.
-If Ted was on Breaking Bad, Heisenberg could’ve been stopped early on…
Walt: I am the one who knocks!
Ted: …no.
Walt: Okay, okay, but if someone else were to knock, try and think of me, okay?
-Cranston is fantastic here, though. He’s channeling Heisenberg a bit; it’s amazing how he can switch between comedic and dramatic sides.
-“You’re waiting for a movie star…is it Clooney? DiCaprio? Zabka? Ryan…Reyn..Phill..Seac…Gosling!”
-It’s enjoyable watching Barney try to pick up the girls using dolphin sounds and unable to use “e”s. CHALLNG ACCPTD.
-Also, the girl waiting for Ryan Gosling (Stephanie Lynn) is insanely gorgeous. I have a thing for redheads.
-Final thought: Having the Mother emulate Ted’s characteristics a bit is a much better and more nuanced way of crafting the her character. Instead of making every moment a Ted-Mother moment or having them be separate all the time, we should see some of Ted’s personality traits in her. Each is essential to the other, but that doesn’t necessarily mean they have to be around each other for us to recognize their compatibility as a couple.
GRADE: B+
Credit to CBS and How I Met Your Mother for all pictures. I own nothing.
-I think it’s really nice seeing how both Javadi and Quinn question Saul’s tactics past and present; as much as Carrie/Saul are a great team, there’s no doubt that he put her through a whole lot of shit. It’ll be interesting seeing that Saul-Quinn dynamic play out with Carrie caught in the middle and Lockhart off doing whatever in the middle of nowhere.
-Going off that last point, Lockhart’s cartoonish, but he makes legitimate points (not to mention being pretty hilarious). Underneath that exterior is a voice of reason, but he isn’t seen as a legitimate threat, more of an annoying child that needs to be in a timeout; this might come back to bite Saul in the ass sometime. Or, at least hopefully it does, because Saul shouldn’t always come out on top. Nevertheless, it’s a nice parallel drawn to Quinn’s storyline, where the police just ask him point blank if the CIA’s actions are really justified.
-That Quinn interrogation is a really fantastic scene. What I like about it the most is that it’s an interrogation that consists of absolutely no BS. No one’s trying to manipulate anyone into saying what needs to be said; it’s just one person bluntly asking another, “Why the hell are you doing all of this?” Also, nice cameo by Clark Johnson there.
-That stuff with Saul and Dar locking Lockhart in the conference room? Priceless.
-However, I’m not entirely sold on the whole Javadi plan. Frankly, it’s a bit implausible and way too easy, not to mention it undercuts many of the previous scenes.
-“Senator Lockhart managed to get himself locked in the conference room. Can you get facilities to let him out?” I’m really happy they’re strengthening the dynamic between those two bearded folks, even though I do feel like Dar’s a guy that’s just going to play sides.
-I like the focus on Saul this season, but I’m not sure we need to see all that cheesy homefront stuff.
-I’m happy they’re organically bringing Brody back into the fray, rather than coming up with some quick contrivance to do so. I’d rather have him not here, but I admire the restraint by the writers; or, who knows, maybe they just don’t have anything for him to do.
-No Dana, Jess, or Chris. This is a good thing.
GRADE: B+
Credit to Showtime and Homeland for all pictures. I own nothing.
So I’m trying something different today. All times central.
8:06-So it seems as if Hershel’s coming into the “Carol” role now: actually making sensible decisions and taking control of situations. He’s always been the voice of reason; it’s nice to see him doing stuff.
8:08-Hey, it’s Maggie.
8:12-Alright, so Rick’s now out looking for validation. That’s not anything bad, but it’s really emblematic of him as a character; he’s so indecisive that he actually hurts the group more than he helps it.
8:15-Okay, so here’s Guy #3 with a monologue about the hopelessness of everything.
8:21-So is the rest of this episode just going to consist of a bunch of people we don’t care about dying painful deaths? I actually think that might be what the whole show is about.
8:22-Death montage!
8:24-So here’s another Rick thing. Okay, sure, it’s the apocalypse, but can you accomplish something when you don’t believe there’s anything at the end of the tunnel? Hershel technically is wishful thinking right now, but then again, he’s a guy that has to believe to keep going. Rick has to keep moving; he can only see what’s in front of him, and that’s how he survives. He can’t stop and think. This is really a show all about the various ways we survive in the midst of utter despair, which makes me glad that this season, some people are actually, you know, cracking smiles and all that.
8:25-Alright, here we go. Walkers are opening their eyes now.
8:32-Glen’s going all Walter White now, and here come the walkers.
8:33-You know, Rick, they really could use you right now.
8:38-I swear, whenever I see a “Low Winter Sun” segment, I burst out laughing.
8:39-Oh, typical Walking Dead character: falling down while in the presence of a zombie.
8:40-There ya go, Hershel. That’s how you kill ’em.
8:41-Okay, one thing this show never fails at is crafting well-shot, intense zombie sequences. The camera work and the tension here is fantastic. Also, Carl carrying a gun makes me laugh for some reason.
8:44-But…here’s a Hershel pitfall. He isn’t willing to soil that “savior” image in front of the kids. Whereas Carol was willing to do whatever was necessary, Hershel isn’t; that might end up causing his downfall.
8:47-“I didn’t want you to know.” “I had to.” Serves to support the above point.
8:49-So that’s why you don’t send a bunch of your best fighters away.
8:51-Hershel’s sobbing by himself in a cell. It’s heavy handed symbolism, but it works: he’s trapped in his own cell in a prison and isolation’s permeating the environment. He was able to survive the ordeal, but that was a cathartic and devastating moment for him. Still…Daryl: “You’re a tough son of a bitch.” Herschel: “I am.”
8:58-Rick still wants to garden! Honestly, what’s the point with his struggle over Carl right now? Jeez, grow up and realize what world you’re in. I get you want to protect your kid, but he’s shown you he’s matured.
9:00-And the Governor!
All in all, it’s a very solid hour complete with some great zombie action and a very well-done revelation at the end. Hopefully the Governor doesn’t turn into a cartoonish presence again; the plague was a good exploration of the unknown, and it transitions into that all-encompassing big bad. In a way, he embodies the plague. Anyway, I’m looking forward to see where we go from here. Please don’t mess up the season like last year, writers.
GRADE: B+
Credit to AMC and The Walking Dead for all pictures. I own nothing.
It’s Always Sunny wraps up its ninth season with an enjoyable, but fairly average episode that brings back a multitude of guest stars: Gail the Snail, Bill Ponderosa, the McPoyles, etc. While the point of the episode is to pile on as much as they can to get the Gang to that final conclusion of “No, we do not want to squash our beefs”, the plot could’ve used a little work because the Gang is inherently funnier due to their own antics and beliefs. The others are a part of it, but this episode loses a bit with its main characters due to the guest stars.
Still, although the script itself is shaky, there are still some hilarious moments: Dennis considering giving away someone’s eye a better option than apologizing, Frank and Hwang swaying and staring daggers at each other, and Frank setting his rent money on fire. It’s not an episode for consistent laughter, but it’s enjoyable; I’m always a sucker for food fights, especially when flying hatchets and Nose Clams are involved.
The ending is once again pretty dark, coming full circle from that premiere. I wouldn’t put it past Dennis to leave them all in there to die, and it’s an ending that the show is able to pull off because honestly, the characters are pretty awful people. It’s nothing new, but it makes sense.
GRADE: B-
OTHER THOUGHTS:
-This was a surprisingly great season. Not many shows make it to their ninth season, much less continue to be good at that point, so kudos to Sunny for crafting a great one. “The Gang Saves the Day” is easily the highlight for me.
-This episode runs 19:27. It’s the season finale; can’t we at least get 20 minutes? Jeez.
-“Well, Frank, once something’s in writing, that means it’s set in stone. Then no one can do anything to stop me.”
-“What?! GODDAMMIT!! Beef!! No, I got beef with that!”
-“I am not honking.”
-“I may have started a money fire.”
-“I hate people who are different than me. Why pretend?”
-I didn’t cover the season regularly, and I hope to do so next year for Sunny’s tenth and (presumably) final season. See you next year.
Credit to FXX and It’s Always Sunny In Philadelphia for all pictures. I own nothing.
-I like Winston finally standing up for himself at the end. As much as his random subplots are hilarious, his character should be fleshed out a bit more due to the presence of Coach, a guy that seemingly fits in better with the group than Winston himself does. This is a good opportunity to make him more of a character.
-Damon Wayans, Jr. also does great work as Coach here; he’s a bit more likeable than he was in the pilot, and although the group dynamics aren’t entirely sound, he’s a great addition to the cast. Also, I miss Happy Endings.
-Also, some nice subtle work done with Schmidt this week through his interactions with Nick (he’s unable to delineate why he’s mad at Nick); it feels like he’s moving in the right direction to take full responsibility for his previous actions, except, of course, when he’s arguing about Raiders of the Lost Ark.
-Taye Diggs is delightful here; also, he’s sure to make anyone feel a little something. I’m straight, but I can recognize how gorgeous he is.
-I like how the main plot isn’t just “Jess is angry at Nick because she’s afraid he’ll get it on with some strippers”. It was more that she can’t go and hang out with everyone else, in addition to the fact that Nick can’t call her his girlfriend in front of them. It takes a tired sitcom trope and made it a little better.
-It’s frustrating to watch Cece sabotage her friend’s relationship here. While she’s justified in stating her opinions, it’s not the right thing to say to Jess at the time; I’m glad she reverts on her feelings at the end.
-“Hey, did you hear the joke about the two white guys and the two black guys who walked into a police station? The white guys walked out.”
-The guys’ drunken slapfest outside of the police station is hilarious as well.
-“Put on pants?” Also, Nick throws pizza at seagulls.
-The other great Nick/Jess exchange, aside from their last one, is early on when they’re arguing about the strip club with Coach looking on. Jake Johnson’s various facial expressions throughout that scene are absolutely perfect, and I love his emphatic “I’m REALLY sorry!”
-“YEAHHH, WE GOT BIN LADEN!!! SEAL TEAM SIX!!!”
“Huh… I thought I watched that alone.”
Credit to FOX and New Girl for all pictures. I own nothing.
So, we’re finally back on track? Yes and no. I’m happy the show is going back to its good old fashioned spy roots and trying to milk tension out of that, but I also can’t help but worry Javadi will go down the Abu Nazir villain path, especially considering the events of this episode. Hopefully there’s some more nuance and buildup for him rather than have his whole character be destroyed in one fell swoop (a la Abu Nazir late last season). I think the connection to Saul might help with making him more interesting, but I also feel like the whole “murdering the ex-wife and daughter in law” scene is a bit unnecessary.
Still, I like the focus on Saul this season; it’s not just the Carrie Mathison adventures now, and the show’s exploring his marriage problems and how he overcompensates with his job. Add on to that his ties to Javadi and you’ve got a boiling pot of Angry Beard.
As for Dana, I’m glad she’s starting to take control of her situation, but then again, this all makes her seem like an asshole and Jess an awful parent. It’s better than Dana and Leo frolicking through cemeteries and reading each other poetry, but it’s not particularly great; still, hopefully this means we’ll pull back on the Brody family for a bit.
And of course, Carrie’s pregnant. This is a really frustrating storyline already because 1) Watching Carrie Mathison, CIA agent is a lot more fun than watching Carrie Mathison, Mom. Her interactions with Javadi in this episode prove that point….and 2) The fact that she has that many pregnancy tests suggests that she’s known for a while now…you know, during that time in which she had sex with random strangers, drank a lot, and got shot up with lithium while in a mental hospital. Yes, she’s self-destructive, but come on, show; this is extreme.
Still, I enjoyed this episode; it’s a well-constructed, fast-paced episode that paves the way for some intriguing storylines.
GRADE: B+
OTHER THOUGHTS:
-Chris Brody did nothing in this episode.
Credit to Showtime and Homeland for all pictures. I own nothing.
NO BLACK WOMEN IN OUR CAST: I’m not sure what to say about this. It’s hilarious watching SNL acknowledge its lack of black women (although come on, what about the other ethnicities? Get on that, SNL, please), but there isn’t much to the sketch. Still, Washington does great and Al Sharpton’s observation that “We have learned nothing.” is funny. GRADE: B
COLD OPEN: This isn’t all that funny, and Kenan Thompson covered in blood didn’t go to the places it could’ve. Bayer saying “da club” is funny, but there isn’t anything great about the monologue; it’s short, so that’s good. GRADE: C+
CAREER WEEK: This is nothing special, but it’s enjoyable enough; it’s also great to have Pedrad in a more starring role. The sound effects are really, really stupid, and Pedrad isn’t able to make them work; still, Washington is really great. “Respect my ability to assess a bucket!” GRADE: C+
WHAT DOES MY GIRL SAY?: This is absolute perfection. It perfectly details how many relationships go, as well as tells a story in just a few minutes. The song is catchy, Pharoah and Washington are brilliant, and it really goes to show you just how fantastic SNL pre-recorded segments are. GRADE: A
HOW’S HE DOING?: When this sketch started, I was expecting a bunch of black jokes and nothing more; instead, it turned into something so delightfully weird that I loved it at the end. Thompson, Washington, and Pharoah are all great here, and there are some truly hilarious moments. “What I wouldn’t give to get a white person’s mail for a day? Nothing but pre-approved credit cards and a Pottery Barn catalog!” Also, although “The Wire” references are tired, the sketch makes it something new with Thompson’s anger at TV recappers. I guess he’s mad at me. GRADE: A-
MISS UNIVERSE: Okay, so this is offensive, but it’s hilarious. Each woman was hilarious, and the best thing is that each one isn’t overplayed. Each has one fantastic “joke”, and it’s great. Miss Bolivia is fantastic (a good make out is always welcome), and Aidy Bryant knocking someone out is a fantastic sight gag. GRADE: B+
WEEKEND UPDATE: (More on Eminem later): Wow, this show is on a groove. Kate McKinnon is always a treat, and she’s perfect as Chancellor Angela Merkel, who’s not just a Chancellor, but a woman looking for anything to seem regular. As for O’Neal and Barkley…oh man, this is great. Pharoah’s (who’s been on fire tonight) eyes are already perfection, and everything that comes out of his mouth is comedy gold. Also, the news jokes are great, and I’m happy Strong got to interact with a guest. GRADE: A-
CARTOON CATCHPHRASE: This sketch got unfunny quick; it was very clear where the sketch was going right off the bat, and by the time we got to the third “Duane”, it was pretty bad. There are some funny moments in there, but overall, it’s a dud after a string of fantastic sketches. GRADE: C
PRINCIPAL FRYE: This sketch should really be retired; it’s good enough for some funny reaction shots, but it’s feeling tired now. Miss Cherry is alright and the gym coach is unfunny, and Pharoah is average here. I did like “The shark is crossing things off his to-do list.” GRADE: C+
EMINEM: I’ve listened to MMLP2, and there are some fantastic songs on there intermingled with some average ones. However, he sadly isn’t the best here; songs like “Rap God” and “Bad Guy” show off more of his range, but it’s unsurprising that he’d go with the more radio-friendly songs. I like Eminem, but the music drowns him out here and his flow isn’t up to his usual standards. GRADE: B-
DATE OR DISS: Okay, so there are some good MTV digs here, but all this amounts to is a bunch of sexual innuendo that isn’t all that funny. It’s pretty choppy and awkward, and hopefully we end the night better. GRADE: C
ICE CREAM: It’s not perfect, but it’s a good enough finisher. It’s an interesting premise, and while it isn’t uproariously funny, its dreamlike qualities are intriguing enough that I liked it. Not the best pre-recorded sketch, but still good. GRADE: B+
OVERALL: B+
BEST SKETCH: What Does My Girl Say?
WORST SKETCH: CARTOON CATCHPHRASE/DATE OR DISS
FINAL THOUGHTS: Kerry Washington bursts onto the SNL scene here with a couple fantastic performances right off the bat; she recedes a bit as the episode progresses, but she’s still great. Although I think the show relies too much on the racial humor here, it’s still prime for some hilarious sketches; Jay Pharoah is the MVP here.
Credit to NBC and Saturday Night Live for all pictures. I own nothing.
Just a few quick thoughts coming up about this excellent episode…
-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.
GRADE: A-
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.
GRADE: B
OTHER THOUGHTS:
-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.
-Wow, this season sure is spinning its wheels, isn’t it? They could’ve pulled off this “model the whole season around 3 days” if they only had 10-13 episodes to work with. It’s not a bad decision on the surface, but when you factor in the network TV requirements, then it’s exhausting.
-I would be more fine with the lack of the mother if the rest of the show didn’t just consist of the same plot points and character moments over and over again. Introducing the mother is an opportunity to model everything around her as her own character, because everything prior was modeled around the idea of her. We should be seeing exactly how the characters are growing and reaching the end of their respective stories, as the mother not only kicked everything off, but is bringing everything to an end.
-Barney and Robin’s storyline is very tiresome to get through. The fact that they’re spending half their time before the wedding arguing suggests that they really shouldn’t get married at all, and the show still trying to emphasize their independent natures after eight seasons with the characters reeks of indecision and inorganic tension.
-We also have Marshall and Lily here; my problem with this storyline is that the Marshall and the Lily we know would make a compromise. Marshall wouldn’t be the kind of guy that would rush into a decision without consulting Lily, and Lily isn’t the kind of person that would blow up at her husband for doing so. However, I am very glad Marshall finally told her about the job.
-That’s not to say there aren’t any amusing moments in this episode; the flashbacks are nicely done, and Ted in a mailbox is funny. However, the episode once again gets bogged down by the network requirements, coming across as typical sitcom fodder designed to fill up some space.
GRADE: C
Credit to CBS and How I Met Your Mother for all pictures. I own nothing.
Just a few quick bullets….
Polar Bears Watch TV 