Sons of Anarchy “Straw” Review (6×01)

11 Sep

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Sons of Anarchy is an entertaining, pulpy show that’s always a delight to have on television. This doesn’t change in the Season 6 premiere, which opens with Tara and Clay in jail and the club at a breaking point. Even within jail, (the magnificent) Donal Logue’s Lee Toric is trying to tear SAMCRO apart. He visits Tara, Clay, and Otto, and it’s obvious that he has an immediate effect. Tara breaks down and attacks another inmate, Otto is already beaten down due to a rape, and Clay is forced to comply with Toric’s demands. All of them try to maintain a facade, but Toric is able to weasel his way into their minds and tweak a few things. Yet, Toric is also wearing a mask. We see that he’s essentially a crazy person, a drug user that strips naked and likes mirrors for some reason. Everything is at a breaking point.

Outside, Jax and the club confront a group of torture-porn filmmakers after they rough up one of SAMCRO’s girls. It provides for the necessary action, as well as introduces Kim Dickens’s character as a new love interest. I guess it kind of makes sense that Jax would jump into bed with her, as he’s hurt by Tara’s refusal to see him, but I thought he had more principles than that. In fact, it’s almost as if he’s transforming into a Clay-type figure. I really wish the show would commit to his character one way or another, though, giving him closure somehow. It would tie up his and Clay’s storylines, as well as Opie’s death. However, I feel as if that won’t happen until later on.

As for Tig, we’re starting to see remorse seep through that hard exterior. He’s truly hurt by all that has transpired, and even though he drowns someone in urine and follows that up by urinating himself, we can see the struggle taking place in his mind in the subsequent scenes.

Now, on to the more controversial storyline. We have a young kid in the background of several scenes throughout. Near the end of the episode, he sits down on a bench, rolls up his sleeves, takes out a gun, and proceeds to start shooting in a school. It’s certainly a shock, but I question the ability of Kurt Sutter to handle something like this. I love Sutter, but he tends to be better at violence for violence’s sake. When the show starts attempting political messages, I’d imagine it would get a bit strange. It’s certainly effective in the context of the episode, however. Anything can explode in a second, and since the kid draws striking similarities to Jax, it reflects how he’s lost emotionally and capable of anything.

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Overall, it’s a solid premiere that effectively sets up the rest of the season.

Grade: B

-The show has always suffered from having to juggle multiple storylines at once, so I’m not sure whether Bobby’s storyline will amount to anything compelling.

-The Chibs-Juice scene is heartbreaking to watch. It’s really well acted, and it’s emotionally affecting.

-Peter Weller is awesome. “Persia hasn’t been a country since 637 AD. They’re called Iranians.”

-Gemma’s rising while everyone else is falling. Her relationship with Nero is well off, and she has control over her life.

-Kurt Sutter, always finding a way to abuse himself on screen

-Wendy shows up.

Credit to FX and Sons of Anarchy for all pictures. I own nothing.

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The Newsroom “Election Night, Part 1” Review (2×08)

10 Sep

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Part 1 of the two part season finale feels like exactly what it is: a setup for the fireworks next week. This isn’t necessarily a bad thing, but it does allow for some more of the frustrating aspects of the show to seep in. This review is going to be shorter than usual, as I need some sleep, so I’ve condensed everything down into a few bullet points.

-The reason given for Leona not accepting the team’s resignations-maintaining a sense of honor-feels kind of cheap, and I don’t buy it for her character in particular. In addition, why don’t the team members just accept the fact that she won’t allow them to resign, and focus their attention on rebuilding their reputations? Will doesn’t seem like the kind of guy that’s just going to back down and acquiesce to corporate politics.

-The episode is full of side stories, most of which aren’t very good. No, I’m not really interested in the Wikipedia screw up (Sorkin also pretty much got the whole concept wrong there, anyway), and no, I’m not interested in Will and Mac’s relationship. This was hashed over enough back in season 1, and there’s no use going back to it now. Please don’t have them get back together, Sorkin.

-I did kind of like Sloan’s side story, though, about the whole book autograph scare. It’s unnecessary, but Olivia Munn makes it fun to watch.

-I’ve mentioned that I love the Genoa arc, and I still do. It reflects the difficulties of a group of people working together to tell the news, and it seems genuine. That’s why I like the election coverage in this episode. Sure, it can get tiring after a while, but it seems grounded in a way the show usually isn’t.

-Oh, and Jerry Dantana is suing Don, and Maggie cut her hair very recently. Okay.

-Reese’s long explanation for why Leona won’t accept the resignations is priceless.

-I like the integration of the two Romney campaign women, as they’re much better suited to this role than a stupid romance arc on a bus.

-AARON SORKIN’S IDEALISTIC CORNER: So, Charlie gives a whole speech about how everyone looks up to America due to our elections. Okay, first of all, America is not this perfect country, and from my experience, many other countries are perfectly content to agree with that. America is generally seen as a snobby, rich country, and its elections are not viewed as inspiring. The concept behind our elections is fantastic, but the elections themselves are kind of terrible. Second of all, Charlie lists a bunch of countries with already functioning democracies, which doesn’t really support his argument. Those countries don’t necessarily look up to America; they look up to democracy. Charlie could’ve listed countries in which many people are envious of those with democratic governments. Those people are the ones that are inspired.

Grade: B

Credit to HBO and The Newsroom for all pictures. I own nothing.

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Boardwalk Empire “New York Sour” Review (4×01)

10 Sep

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This is always a show that has reveled in its atmosphere. Even in its lower points, the cool, calm ambience is intoxicating, bringing you in deep. It’s a difficult task with such an expansive cast, but Boardwalk usually pulls it off.

Season 4 opens in the aftermath of the bloodbath initiated by the delightfully evil Gyp Rosetti, the major driving force of Season 3. It’ll be interesting to see how the show regroups after losing someone as charismatic and antagonistic as him, and the premiere already shows signs of wheel-spinning. However, it’s a table-setting episode that accomplishes what it sets out do: introduce new characters and move things into place for the rest of the season.

Although Rosetti’s dead, we can already see the effects of the recently ended all-out war. Nucky’s living situation is far from glamorous, and we can see that he’s nowhere near as comfortable as he was earlier. He’s always been a guy that tries to avoid trouble when he can, and his flaw is believing that others will ignore looking into him if he says so. His way of doing business is paying people off, and he tries to grab as much as he can without entering the fray. For example, as Rothstein is leaving the meeting, he remarks that he isn’t sure if Nucky would kill him or not. Nucky seems both shocked at the content of the insinuation, as well as the idea of an insinuation itself. He wants, and believes, everything to be clean and easy, but as we know, being a gangster isn’t all sunshine and flowers.

In other affairs, Gillian’s now trying to take custody back of her son Tommy, while at the same time running a secret prostitution scheme in her house. She’s been going downhill much faster than Nucky has, and a shady Piggly Wiggly businessman can only spell trouble.

The show also checks in with Al Capone, a person that seems to be gaining confidence and poise as the days wear on. He shows restraint in dealing with a boy that spells his name wrong in the paper (the nerve!), and his business seems to be going well.

Finally, another person whose confidence is growing is Chalky White, played by the magnificent Michael Kenneth Williams. The show seems to be delving more into the African American side of the race relations, and it’s a welcome change, if not only to give Williams more screen time. He deals coolly with an especially shocking scene in which Dunn stabs Dickie Pastor, a talent manager that visits the Onyx Club. It comes after Dickie walks in on Dunn and Mrs. Pastor, and the scene eventually descends into dark, visceral madness.

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The premiere generally moves a bit slow, but that’s to be expected after last year. I’m really looking forward to the remaining 11 episodes.

Grade: B

Other thoughts:

-Richard Harrow is back, and he’s killing people! I could probably watch him doing that all day.

-The final scene is great. Harrow’s been a lonely voyager, just trying to get home. However, unlike Nucky, he’s not a stranger in his own home. The scene right before this shows Nucky staring into the distance, not sure what his place in the world is.

-Nucky’s nephew Will is introduced, which provides some interesting familial dynamics for the show to explore.

-New character Warren Knox is extremely intriguing. He seems fine on the outside at first, but he later murders a couple of people and has a drink. He’s like the Todd of Boardwalk Empire, I tell you.

-No van Alden or Margaret yet. I really hope that Shannon is integrated more into the main story this year. He’s a fantastic actor, and I want to see more of him.

Credit to HBO and Boardwalk Empire for all pictures. I own nothing.

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Dexter “Goodbye Miami” Review (8×10)

9 Sep

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“Ow! Ow! Ow! Ow! Owwww!”

This is both Harrison Morgan and myself reacting to the events that have transpired in this tenth (TENTH!) episode of the final season of Dexter. I am being hit over the head so much it hurts. I can’t even fathom how the writers think this is what a final season constitutes.

This episode is mostly talk, which would be fine, except almost every single conversation is handled like it’s the most boring thing in the world. Where’s the urgency? Where are the consequences? Where’s the tension? A supposedly huge event like Vogel’s death should reverberate across the whole fabric of the show, but here, it just winds up feeling cheap and tacky. Frankly, I’m disappointed with the way they have handled her character this season. She was introduced to delve deeper into Dexter’s past and his mental psyche, but she leaves without really lending herself to any character development on Dexter’s part.

In fact, his motivations are extremely muddled all throughout. I get that he wants to make a better life for himself, but why exactly does he still need to kill Saxon? Why does he still need to stay to protect Vogel? Him staying only hurts her. If he had left, Saxon most likely wouldn’t have killed his mom, and everything would be fine and dandy. But no, the writers have to contrive an excuse for Dexter to remain in Miami for a couple more episodes. I get that he has a compulsion to kill and all, but this whole Brain Surgeon situation is not something that should be expanded upon so late in the series. I like the relationship between Vogel and Saxon, but the acting doesn’t take us far enough into it.

Also, where does Hannah fit into all this? Dexter’s about to move to Argentina because of her, and we don’t see much more of their relationship than sex and vague conversations. If you think about it, we haven’t really learned much about the character of Dexter Morgan throughout this whole series, so any relationship he has winds up being pushed off to the side. The strongest relationship is (was) Dexter-Deb, but now Deb is off on her own, making out with Quinn this week. I do, however, like the conversation between her and Dexter in which she tells him that she’s miss him. It evokes feelings of nostalgia, eh? It reminds me of a time…a time in which this relationship was actually genuine and compelling.

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We also have Curtis Lemansky (I know that’s not his name here, but I can’t help it) continuing to investigate everything, Quinn breaking up with Jamie, Harrison falling on a treadmill, and other stuff we really don’t care much about. Perhaps Isaac can return next week and kill everyone.

Grade: C-

Other thoughts:

-Harrison falling down is the most hilarious thing ever. I’m sorry, but it’s true.

-“Harrison, I wanna hear all about what you’ve done these past eight months.” …uh, being annoying and playing with puzzles?

-Right, Hannah. Walk into a hospital and use Harrison’s real name…you know, the one with the last name of a serial killer that you know a federal marshal’s looking for….smart as always!

-Masuka’s daughter likes to smoke pot.

-“See Astor and Cody one last time” is on Dexter’s list. My, he knows they exist!

-Rampling does the best with what she has, and I like the contrast in demeanors from the beginning and the end of the season.

-Seriously, Dexter, Saxon wants to be you. Let Vogel deal with him. Go to Argentina already. Jeez.

Credit to Showtime and Dexter for all pictures. I own nothing.

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Breaking Bad “To’hajiilee” Review (5×13)

9 Sep

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Walter White has given up. We’ve seen the cracks in his facade, most noticeably last week, with his flustered demeanor around Skyler and Walt Jr. However, this episode marks the true downfall of the cold, calculating Heisenberg. Or is it?

In a way, it is. Even though he once again finds luck on his side, it’s all due to a rag-tag group of Nazi lovers that are nothing like the foes he deems worthy to oppose. If he ends up having to face off with them for his life, it’d be a final middle finger from everyone to Heisenberg. It would be strangely fitting that he’d fall to the hands of real criminals.

Nevertheless, the episode is a perfect encapsulation of the road Walt’s been heading down. Cranston does tremendous work with Walt’s facial expressions, conveying both a sense of finality and of relief. His rage is transformed into something quieter as he realizes that he’s trapped. He’s betrayed by the sight of Jesse stepping out of that vehicle. He’s underestimated Hank, Jesse, and Gomez, and he just can’t take it anymore.

Now, this is much like Jesse, who has used up every ounce of effort to take down his former boss. He allows himself a small smile as Walt is arrested, yet he’s also astonished at how everything has turned out. How can a nobody like Jesse Pinkman outsmart a criminal mastermind like Walter White? How can Jesse be Walt’s greatest weakness? Those are understandable questions, but the answers have been telegraphed since the start of the season. The first eight episodes were all about Walt’s victory lap, but recently, he’s started to outsmart himself. As he races through the desert (in an expertly directed scene by MacLaren), he’s so overcome with rage that he starts screaming at Jesse. Everything is crashing down around him as he speaks, and he reverts back to his “family” excuse; he tries to hold family and his cancer over Jesse’s head, but he’s too angry to see that it won’t work. Much like his excursion to Brock’s house, Walt still believes in the fact that others care for him. The thing is, everyone else has already figured out his tricks.

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That doesn’t mean they’ll be successful, though. The final shoot out is telegraphed throughout the episode, and when Hank picks up that phone to call Marie, we know something’s going to happen. His smugness level is off the charts. He’s waving to Walt, professing his love for Marie, and is smiling gleefully. It’s the mark of a man that can just taste that sweet, sweet success. He is so in the moment that he doesn’t stop to think about his career. This revelation will ruin his life, but he’s won, so he pushes that off to the side.

Then, everything explodes. The smash cut to black prevents us from seeing what has transpired, but we know that nothing will ever be the same.

Grade: A

Other thoughts:

-Walt Jr’s delight at seeing Saul is absolutely priceless.

-“Don’t drink and drive, but if you do, call me!”

-It’s ironic how Walt reverting back to his old ways is actually what helps him get away. He agrees to one more cook, and that earns him the services of the Nazis.

-The cold open is hilarious. We can clearly see that it’s not blue, but Todd trying to say it is is a thing of beauty. Speaking of, the way Todd shoots all nonchalant during the shootout scene is a funny shot amidst an intense atmosphere. He may seem like a light-hearted character, but in reality, he’s terrifying. He has absolutely no morals, and he’s essentially a machine.

-I forgot to breathe during that last segment.

-Brock knows! If I was him, I’d make sure those Fruit Loops weren’t laced with ricin.

-It’s been wonderful to watch the work of Michelle MacLaren. She will continue doing amazing things with the camera.

-“Remember, where we used to have cookouts as a family?” Hank has turned the tables.

-Oh, Huell. You’re awesome.

Credit to AMC and Breaking Bad for all pictures. I own nothing.

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Emmys Dream Ballot+Predictions-Outstanding Supporting Actor in a Drama Series

8 Sep

Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING SUPPORTING ACTOR IN A DRAMA SERIES

Dream Ballot

Michael-Cudlitz-of-Southland_gallery_primaryMICHAEL CUDLITZ, “Southland”

This is one of the best performances I have ever seen. The underrated TNT show “Southland” contained a slew of Emmy worthy performances, the best of which was Cudlitz’s. He perfectly portrayed the downward spiral of his character, culminating in a shocking and heartbreaking final scene of the series.

breaking-bad-jonathan-banks-community-season-5-professor-amc  JONATHAN BANKS, “Breaking Bad”

Although not as showy a performance as Paul’s or Esposito’s, Banks was brilliant as the cold, yet sympathetic Mike. His performance in “Say My Name” revealed the deeper facets of his character, and it was wonderful and sad to watch unfold.

Jaime_recounts_the_past_s3e5  NIKOLAJ COSTER-WALDAU, “Game of Thrones”

Peter Dinklage gets more recognition, but this season was Coster-Waldau’s. Jaime Lannister started off as a despicable character, but this season, I started feeling sympathetic for him. His relationship with Brienne was perfection.

homeland-saul-plane_FULL  MANDY PATINKIN, “Homeland”

Homeland completely went off the rails at the end of last season, but Patinkin kept his character grounded. Saul’s character became more complex, becoming the emotional center of a show that was doing a disservice to the rest of the characters. We saw deeper into his relationship with Carrie, and the final scene of the finale was beautiful.

Aaron-Paul-of-Breaking-Bad_gallery_primary  AARON PAUL, “Breaking Bad”

Aaron Paul’s been a consistent force in the show, and his work in Season 5 was as brilliant as ever. We started to see the signs of dissent from Walt, and Paul conveyed so much through his body language. His performance in “Buyout” was wonderful and hard to watch all at once.

boyd-crowder_wide-d0fe450ff9dfe9b8b057a3fa8634872ebdfb4e4b-s6-c30  WALTON GOGGINS, “Justified”

Goggins has always been an absolutely essential part of the show, and while he is badass, there are also layers to his character. His war of words with Preacher Billy was an amazing thing to watch, and his relationship with Ava was beautiful.

Who should win?

This is probably the hardest category for me in terms of picking a winner. Just for that last spot, I had to choose between Noah Emmerich, Corey Stoll, Walton Goggins, Peter Dinklage, Charles Dance, and Mads Mikkelsen. They could be the nominations and I’d still be happy.

Others considered: All those mentioned above ^….and Guillermo Diaz, John Slattery, Vincent Kartheiser, Bobby Cannavale, Freddie Highmore, Larry Hagman, Sam Waterston, Jeff Perry, David Morissey, John Noble (how he never has been recognized eludes me), Steve Zahn, Jordan Gavaris, Josh Charles, Ron Perlman, Kim Coates, Michael Shannon, Dean Norris, David Harewood, David Morse, Norman Reedus, Ryan Hurst, Dax Shepard, Michael Kenneth Williams

On to the real nominations…

Jonathan Banks-Breaking Bad

Bobby Cannavale-Boardwalk Empire

Jim Carter-Downton Abbey

Peter Dinklage-Game of Thrones

Aaron Paul-Breaking Bad

Mandy Patinkin-Homeland

Who should win?

Banks

Who will win?

Patinkin

Analysis

Not only is it Banks’s last chance to win, he was absolutely brilliant as Mike. However, even considering Patinkin’s snub last year, I think the voters will give him the nod over Paul. However, I’d put their chances neck and neck, with Banks right behind.

Credit to AMC, Showtime, TNT, HBO, FX, Justified, Homeland, Breaking Bad, Southland, and Game of Thrones for all pictures. I own nothing.

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Emmys Dream Ballot+Predictions-Outstanding Supporting Actress in a Drama Series

7 Sep

Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category. Then, I’ll look at the actual Emmy ballot and offer a “Who should win?” and a “Who Will Win?” for each. I hope you enjoy! Today, we’ll be looking at….

OUTSTANDING SUPPORTING ACTRESS IN A DRAMA SERIES

Dream Ballot

 Monica-Potter-of-Parenthood_gallery_primary MONICA POTTER, “Parenthood”
Potter’s arc in the past season is one that has been done to death in various television shows and movies, but she brings a new kind of vulnerability and complexity to it. Kristina Braverman is just searching for normalcy, and she can make you laugh and cry all at once.
emmy-watch-rectify  ABIGAIL SPENCER, “Rectify”
Spencer plays Amantha Holden, the sister of a man that’s been recently released from jail. She reaches out to him, trying to get through his hard exterior. Her quiet desperation and genuine love for him is beautiful to watch unfold, and their relationship is mesmerizing (just like Abigail Spencer).
196217268_1772603609001_AMC-InsideBB-S5-MakingOfEp504-FiftyOne  ANNA GUNN, “Breaking Bad”
Being the wife of a criminal mastermind is not an easy thing. Gunn is excellent at portraying the shock, confusion, and helplessness of Skyler White, to the point where her character almost gives up. Her performance in “Fifty-One” is one of the most heartbreaking and intense performances ever given.
Game-of-Thrones-Season-3-Catelyn-Stark  MICHELLE FAIRLEY, “Game of Thrones”
Cast members like Emilia Clarke get more recognition, but Fairley is the stand out in season 3. It’s a quieter, less showy performance, but everything eventually crescendoes until it explodes in “The Rains of Castamere”, one of the best TV episodes of all time. It also includes a heartbreaking performance by Fairley.
2013-04-30-rectify  ADELAIDE CLEMENS, “Rectify”
I usually wouldn’t nominate two from the same show, but Clemens’s performance is amazing. She becomes an emotional center of the show, depicting religion in a way that has never been done before on TV. It’s an unexpected, gorgeous, and nuanced performance.
Christina-Hendricks-of-Mad-Men_gallery_primary  CHRISTINA HENDRICKS, “Mad Men”
I’m still angry she didn’t win for “The Other Woman”. If she didn’t win for that, she won’t win for a season in which she has less of a major role. However, her time on screen is still well utilized, providing an excellent contrast to Peggy and being a great foil for many people in the office.
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Who should win? I can’t make this decision.
Others considered: Caroline Dhavernas, Joelle Carter, Emilia Clarke, Maggie Smith, Mae Whitman, Christine Baranski, Hayden Panettiere, January Jones, Kelly Macdonald, Elizabeth McGovern, Betsy Brandt, Erika Christensen, Lena Headey, Regina King, Melissa Leo, Madeleine Stowe, Lauren Graham, Maggie Siff, Rose Byrne, Jennifer Carpenter, Morena Baccarin, Bellamy Young, Annet Mahendru, Jessica Capshaw, Olivia Cooke, Olivia Munn, Deborah Ann Woll, Jessica Paré, Sandra Oh (This is an absolutely stacked category)
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On to the real nominations…
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 Morena Baccarin-Homeland
Christine Baranski-The Good Wife
Emilia Clarke-Game of Thrones
Anna Gunn-Breaking Bad
Christina Hendricks-Mad Men
Maggie Smith-Downton Abbey
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Who should win?
Gunn
Who will win?
Smith
Analysis: It’s about time the voters recognized the tremendous work of Anna Gunn, but Smith has the experience, and is riding off of last year’s win. I don’t think there’s much competition here, but if there’s anyone that can pull off an upset, it’s Gunn.
Credit to Sundance, AMC, NBC, HBO, Parenthood, Game of Thrones, Rectify, Mad Men, and Breaking Bad for all pictures. I own nothing.

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Strike Back “Shadow Warfare, Episodes 3 and 4” Review (3×03, 3×04)

7 Sep

627-6IF YOU’RE LOOKING FOR MY SEASON FINALE (EPISODE 10) REVIEW, HERE IT IS: https://polarbearstv.com/2013/10/19/strike-back-shadow-warfare-episode-10-review-3x104x10/

Strike Back might just be the most entertaining show on television. It’s expertly paced, the characters are well fleshed out for what is predominantly an action-softcore hour, and the action sequences are better than those in many movies.

I’ve found that it’s much easier to review 2 episodes at once, as the seasons follow a 2-episode arc alongside an overarching storyline. Also, I can’t really judge an unfinished arc, as the first hour is usually a set up for the second. As a result, if you check back in next week for the episode 5 review, it won’t be there. I’ll be reviewing episodes 5 and 6 after the end of 6, 7 and 8 after the end of 8, and so on.

Anyway, back to the episodes. Introduced in episode 3 is Dougray Scott’s Leatherby, a charismatic, entertaining, and violent villain that is an absolute blast to watch. In addition, Kamali’s daughter, Ester, becomes a factor, giving us more of an insight into his motivations and his mental state. In fact, these two episodes build up the parallels between Kamali and Rachel Dalton (Rhona Mitra), both inherently tragic characters that we come to sympathize for. Both have to make decisions that transcend their adherence to the rules of their respective organizations (Kamali and his daughter, and Dalton and al-Zuhari’s wife). Both, in a way, succeed, as Dalton’s suspicions are validated and Ester is removed from harm’s way. Both, in a way, fail, as they both wind up getting shot. Dalton already failed, though.

What do I mean by this? Well, her arc this season has been one of self-destruction, causing her to become unhinged and desperate, determined to find and kill those responsible for Baxter’s murder. The waterboard sequence is tough to watch, and it’s a prime example of watching someone unravel before your eyes. Her death has been telegraphed since the start of the season, and when it finally comes, it’s handled extremely well. The show does a great job of maintaining that level of suspense, inducing a sense of both uneasiness and hope. We have a sense that she’s going to meet her demise, but we also have a feeling that Stonebridge and Scott will once again save the day.

Alas, that does not happen. It’s a smart way to end her arc and introduce a strange new one. She’s killed off by an IRA assassin, a new, mysterious threat to Section 20 that I’m interested to find out more about. Speaking of smart ways to end arcs, Leatherby is also killed off. I have to commend the writers for sticking to their original format and preventing him from overstaying his welcome, but also can’t help but wish his storyline had been expanded upon over a greater number of episodes. We’d be able to get a more nuanced look into his personal life, especially in regards to his boyfriend Fahran. Instead, he’s over the top in general Strike Back fashion, which is still fine. The relationship is still handled with the right amount of complexity, and it ends tragically.

Strike-Back-Season-3-Episode-2-Preview-Scene

The pacing in these two episodes is extremely well done, and I’m impressed at the number of storylines they weave together throughout the two. For example, they throw in Scott’s relationship with Ester, reflecting his nagging feeling of need and the fact that he has not family. Everything these two do is, to quote Leatherby, “Fun”, but it prevents them from really settling down. Still, it’s all fun. These two episodes move at breakneck speed, jumping from action scene to action scene, whether it be a chase through a minefield or a shootout in the street. They are showcases for the brilliance of this show.

Grade: A- (Episode 3: A-     Episode 4: A)

Other thoughts:

-I’m sad to see Rhona Mitra go. That picture above explains why.

-The minefield sequence is a perfect example of why this show is so endearing. It expertly blends humor and action into one thrilling sequence.

-“You should really teach English as a second language.” -Stonebridge, after Scott stabs a guy.

-The music and the close-up of Leatherby’s face before he shoots his boyfriend is kind of unnecessary.

-See you in 2 weeks.

Credit to Cinemax and Strike Back for all pictures. I own nothing.

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Wilfred “Regrets” Review (3×13)

6 Sep

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Well, that was…interesting. The final shot of the third season of Wilfred is of Ryan in a forest, unearthing a statue of a man in a dog suit. It’s a moment that’s perfect for a cliffhanger, intended to be intense and mysterious. However, it comes across as tacky and unnecessary. Let’s break down why.

Ryan’s dad has always been a fundamental part of the show, even without his physical presence. He’s been hovering over these characters’ heads, influencing Ryan’s life in ways Ryan himself does not want to admit. Wilfred is important, but he may very well be a manifestation of Ryan’s inability to let go of his childhood. The series is about him maturing as a person, and his dad has impeded that natural progression of events.

This is exactly why I was excited to hear that his dad would be brought into the fold this season. However, I feel like the writers only scratched the surface with this relationship; it was a unifying storyline, but it jumped around the other side stories way too much. The weaving was less effective in this season.

That’s not to say I didn’t enjoy the season (there are a few absolutely amazing episodes), or the episode. I love Wilfred’s reunion with Ryan, as it conveys true sadness on both of their parts. It’s heartbreaking and endearing, and it reminds you why you’re watching this show. The Jenna stuff, on the other hand, feels a bit generic, just like the rest of the season. The show pushed the boundaries in seasons 1 and 2, and I feel like they took a step back here.

As for the decision to kill off Ryan’s dad, I’m left disappointed. I guess that it is a smart move on the part of the writers, as they can maintain the ambiguity they’ve created with the character. However, it comes across as an avoidance of Ryan’s father issues. I hope that next season, the writers focus on him coping with the death, and not with the new overarching mystery. I don’t think that will happen, but I’d really love it if Ryan worked to make himself better. If that means the series has to end, then so be it. I want to see a natural progression of events, not some meandering plot that dances around a big mystery the whole season.

It’s not a bad episode. I’ve made it out to be worse than it really is, but that just stems from disappointment.

Grade: B

Season Grade: B

Other thoughts:

-So Ryan’s roommate is a spy! Okay.

-We also find out that the pro bono division managing job is actually real. It’s an interesting decision that I hope will be handled well next year.

-“What’s next, landscaping camp?”

-“At first I thought it was you, but then I thought about what you look like, and act like, and how you struggle with dandruff and stuff, and honestly I just burst out laughing.”

-Renewal is not a given. The show has been struggling, especially without Louie as a partner, but I hope FX allows it to end on its own terms. Hopefully I’ll see you all back here next year for season 4.

Credit to FX and Wilfred for all pictures. I own nothing.

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The Bridge “The Beetle” Review (1×09)

5 Sep

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The first few minutes of this episode of The Bridge is devoted to a flashback, one that takes us right into the tragedy of the car crash that claimed David Tate’s family. The camera focuses on his tear-drenched, anguished face, and we hear his miserable screams as he watches his family getting pulled out of the car. It’s almost as if we’re in a dream, and we feel his pain. The scene lasts for a few minutes, but lingers for even more than that.

The main plot involves Tate’s kidnapping of Marco’s family, one that anchors a tightly plotted, intense episode. It seems as if the writers have committed to the revenge storyline, which, as I said last week, certainly limits the scope of the show. However, a commenter pointed out that it’s always possible that Tate isn’t ‘The Beast’. I’m dubious that there would be this much misdirection near the end of the season, but who knows? The reason given for his murders, though, is satisfying, as it combines elements of his personal life with the political ramifications of certain actions taken by the police departments.

Anyway, the episode really attempts to humanize Tate, a task done so both by the opening sequence and a scene on a playground. No, the scene in question does not involve Tate yelling “Yaaaaaay!” as he rides down a slide backwards. It involves him pouring out his heart to Alma, and he does so even with the knowledge that he intends to kill her. The pain in his eyes is genuine. Everything he says is true. He’s a desperate, vulnerable man that has been forced to resort to revenge to give him purpose. It’s only fitting that Alma, a vulnerable woman cheated on by her husband, would be so drawn to someone like Tate. They share a common bond of loss, and it gets her into trouble.

Side plots once again involve Linder and Charlotte, both dealing with death in their own ways. They also both look for advice, Linder in the form of a ranch owner and Charlotte in the form of Cesar. They both have to ask if their murder was justified, and they both have to grapple with their moral values.

The character moments in this episode work for me, but yet again, the plot is questionable. For example, take the final scene. How does Tate know when and where Gus is going? The final scene feels contrived, especially as a way to juxtapose with the opening. Tate lost his son, so he’s now going to take Marco’s son.

For the most part, the episode works for me. It contains a very well-constructed central plot with great character development and some questionable plot points, but it’s very enjoyable.

Grade: B+

Other thoughts:

-I guess a tracker, maybe?

-On Charlotte’s plot: I’m glad we got more advancement here, and I’m excited about her team-up with Cesar.

-“MILF? I don’t have children.” Sonya, you are amazing.

-Demian Bichir did great work again. He portrayed a desperate, determined man very well.

-Linder and the ranch guy’s conversation about food and death was one of the weirdest, yet most hilarious, things I’ve seen on television this year.

Credit to FX and The Bridge for all pictures. I own nothing.

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