It’s Always Sunny in Philadelphia “The Gang Broke Dee” Review (9×01)

5 Sep

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Ah, it is great to have Sunny and all its brutal, yet hilarious, gang antics back on our television screens. I still don’t quite understand the necessity of three FX channels, but there’s nothing I can do about that.

Anyway, this episode is a hilarious kick off to this penultimate season, showcasing the talents of Kaitlin Olson and Glenn Howerton in particular. The episode starts off with Dee in the bar, drunk and depressed, and the rest of the gang trying to remedy that. However, these people never really produce anything good from their ideas: more often than not, the situation becomes a huge fiasco that spirals downward endlessly.

This isn’t exactly where this episode goes, though (at first). Dee becomes increasingly popular as a stand up comic, delivering sound effects and vagina jokes galore. Dennis, meanwhile, is preoccupied with making sure Dee finds an “average guy”, trying extremely hard to convince himself that she isn’t abandoning him for better opportunities. It’s kind of a depressing arc, but Howerton plays it extremely well.

It all leads up to that final scene, one that completely surprised me in terms of its cruelty and unexpectedness. The gang reveals that everything that happened was a hoax, designed to really crush Dee’s spirits and get her to embrace her true “average-ness”. The true brilliance of this, though, is that it happens to have a more profound impact on Dennis, leaving him a blubbering mess. It’s the capper to, as I said before, a depressing arc, but the show weaves in comedy so well that it really just becomes what it always has been: It’s Always Sunny in Philadelphia.

Grade: A-

Other thoughts:

-Olson’s dry heaves and her blowup at the end are things of beauty.

-The rest of the cast still got in some great lines, though. Charlie’s delivery of “Did you kill yourself, Dee?” was pitch perfect.

-“She said vagina! It’s funny because a woman said it!”

-“Dee. Dee. Dee. Dee. Da. Da. Da. Da. Dee. Da. Dadedadedade……etc.”

-I couldn’t help but think of Breaking Bad with the whole Walt business. Also, Huell was there!

-“She knows your goddamn name, Walt.”

-“The crabs have machine guns now. That makes sense.”

Credit to FXX and It’s Always Sunny in Philadelphia for all pictures. I own nothing.

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American Idol announces judging panel, immediately begins search for a new one

3 Sep

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FOX has officially confirmed that the new season of American Idol will consist of new judges that will almost certainly be replaced. These judges are Harry Connick, Jr., Keith Urban, and Jennifer Lopez, who apparently got bored of being Jennifer Lopez and decided to return (who can blame her?).

This is Urban’s second year on the show, a feat only surpassed by spending three years on the show, at which point he will probably melt into his chair and be eaten by a mob of screaming idiots. Not to fear, though, as judges on American Idol now have a shelf life of “Not long”, or the equivalent of a quickie in terms of judging a singing competition.

All three will be paid a lot of money, and they will sit at that table and pander to the general public, completely ignoring the nobody singing on stage. They will also all be involved in some sort of romantic plotline, consisting of Keith Urban screaming “NICKI MINAJ IS A RAPPER” a million times over and Connick, Jr. and Lopez frolicking on the table while Randy Jackson watches and offers up some excellent advice: “You did good, dawg.”

Then, Americans will vote, people will be eliminated, Ryan Seacrest will remain rich, and American Idol will still be here in 50 years. However, the judging panel will consist of an infant, an extraterrestrial, and the souls of every human being that has ever enjoyed this show.

Credit to FOX Broadcasting Company and American Idol for all pictures. I own nothing.

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True Blood to end in 2014, presumably after the world is overrun by fairy-vampire-werewolf hybrids

3 Sep

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(Spoilers) In news that is three hours old, but has already caused thousands of True Blood fans to cry out in anguish, Brian Buckner, showrunner of the somehow still hit show, announced that the upcoming seventh season will be the last. At the words “seventh season”, the fans all thought for a minute, then nodded their heads as if to say “Yes, this is good.”

The final season, set to air next summer, will presumably involve the aftermath of Eric’s nude inferno ice glacier book-reading whatever the hell that was. This will consist of Eric standing in the background of every scene, nude and on fire, not noticed by any of the other characters. They will apparently have more important things to do, like having sex in the woods or being uninteresting.

Buckner insists that “as we take a final walk through Bon Temps together, we will do our very best to bring Sookie’s story to a close with heart, imagination and, of course, fun.” This is, of course, interesting wording, as Sookie’s walks usually lead to danger. I can only infer that heart, imagination, and fun will jump out of the woods and tear her to pieces, but not before she meets a random hot guy that wants to kill her.

The season will consist of 10 episodes, continuing the format of the last season.

Also, Alcide will be there and he’ll take off his shirt or something.

Credit for picture to HBO and True Blood. I own nothing.

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Breaking Bad “Rabid Dog” Review (5×12)

2 Sep

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“Deep down, he really loves me.”

This is a facetious line said in passing by Saul Goodman, but it is extremely interesting in the context of the other characters. For example, does Walt really care about Jesse? Deep down, do the experiences they’ve shared transcend the suffocating nature of Walt’s current situation? There’s no question that Walt has looked at Jesse as a son, but does he still? That’s something to be debated upon, but I’d argue that it isn’t until he picks up that phone, and the end credits roll, that he truly turns on Jesse. He’s been heading down a path in which his paternal feelings have become feelings of necessity, as his whole family’s been turning on him.

As for Jesse, all throughout this process, his mind is telling him that Walt doesn’t care at all. Walt’s burrowed deep into his brain, filling him with fear and paranoia. He doesn’t look at Heisenberg as a father figure, but he looks up at him; he believes that Walt’s the devil, capable of anything and everything. This is exactly what’s gnawing at his mind as he walks through that plaza, in a scene reminiscent of “Half Measures”: the same angle, the same expression on his face, and the same feeling of “This is the longest walk ever.” Everyone around him is appearing and disappearing, reflecting those “godlike” qualities he’s so afraid of. Then, he’s able to fixate his attention on one person, causing him to completely change his mind and threaten Walt over the phone. Sure, that creepy guy standing there in the plaza is a plot contrivance designed to increase tension, but it works because it gives Jesse a new direction to take.

Let’s back up a bit, though. The set up for that final sequence is extremely interesting; it’s full of conversation, but those conversations shake up the character dynamics. First, we see Walt trying to explain to Skyler and Walt Jr. why exactly gasoline is all over the floor. Then, we see Walt and Flynn bonding by the pool, and later, we see Walt continuing to avoid telling Skyler the truth. Heisenberg’s always been a cold, calculating man, capable of creating an elaborate plan months in advance. However, when he’s confronted by Flynn and Skyler in this episode, he’s shocked. He’s flustered. He’s confused as to why his lies aren’t being lapped up. He’s starting to crack. It’s chilling, though, that in the same episode that Skyler puts off confronting Walt because of the presence of Walt Jr., the father and the son get closer than ever before.

Then, we have Hank. He’s become embroiled in his quest, and he’s entirely willing to bring Jesse down if that means nabbing Heisenberg (ironic, isn’t it, how only Walt seems to care about Jesse in this episode?). His way of responding to Walt’s “confession” is to acquire a confession of his own. However, Jesse’s the voice of reason here. He has no legitimate proof of Walt’s criminal activities, and his full and honest confession has less of an effect than Walt’s “manipulating the truth” confession. We see two different men in these videos; Jesse’s slouched and mumbling, but Walt’s staring straight into the camera, exuding power and confidence.

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So, that brings us back to Jesse’s final decision. We don’t know what it will be. Perhaps he’ll claim to be Heisenberg, or perhaps he’ll move to Alaska and build a snow fort. One thing is for sure, though: Walter White cannot be a part of him any longer.

Grade: B+

Other thoughts:

-The episode is “Rabid Dog”, drawing comparisons to Season 4’s “Problem Dog.” It was an episode in which Jesse had to explain why he killed Gale, and this episode serves as a complete shift from that, as Jesse’s now the one being treated like a dog. Who is the dog? Jesse could be, but it can just as easily be Hank.

-“Okay, but, say, you know, just for the sake of argument, the kid’s not in the mood for a nuanced discussion of the virtues of child poisoning…”    Oh, Saul. You’re amazing.

-The shot of Jesse out cold in Hank’s bed is a powerful image. He’s lost, beaten down, and emotionally drained.

-Of course, he wakes up to a picture of Walt as Santa. His reaction to that is golden.

-When Jesse’s phone went off, I thought that we were going to get a montage of Marie making lasagna. Maybe next week.

-Marie goes to therapy, and we see more purple stuff.

-The directing of the show always impresses me, and Breaking Bad directors in particular are brilliant at “hallway shots.” The framing, the pull backs, and the zooms are pitch perfect, and I’d like to point out the scene after Jesse wakes up. He’s at one end of the hallway, and Marie’s at the other end. It’s a wonderful shot.

-The B+ doesn’t mean the episode is bad, but I think it does move a bit slow. However, that’s what piece-setting episodes do, and while the episode is less compelling than the last three, it sets up for what should be an explosive episode 5.

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

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The Great Gatsby Review

31 Aug

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Baz Luhrmann is both the best person and the worst person to direct a remake of The Great Gatsby, a masterpiece in American literature that is still endlessly taught, analyzed, and debated upon today. His films revel in the grandiose, bringing the viewer into a spectacle wrought with flashy cinematography, costumes, and music. This film is no exception. It’s absolutely gorgeous to look at; the party scenes are a flurry of color, costumes, and hip hop music, and it lends itself to the delightful high the viewer experiences.

Of course, the extravagance of the setting restricts the wonderful cast, transforming their characters into caricatures of themselves. I guess it’s kind of the point, but the story is as much about the characters as it is the setting, and I would’ve liked to see much more complexity and backstory. For example, what makes Gatsby who he is? Sure, there’s a quick summary of his life thrown in there, but that’s about it. All the nuances of the characters are hidden amongst their lavish exteriors, and a movie should take us deeper than the surface.

The actors do their best, and the worst for most of these actors is still better than much of what we see in other cinema or television. Leonardo DiCaprio can do no wrong, and he, for the most part, nails the role of the despairing, hopeful, yet phony young businessman and lover. Maguire’s performance is one-note, but his relationship with Gatsby is one of the better aspects of the film. Mulligan is good as the final link in a love triangle, but she really doesn’t get to do much more than be exactly that. Edgerton is fun to watch, coming off as a cartoonish villain that fits right into this world. Isla Fisher and Jason Clarke are miscast, leaving small marks on the film as a whole. Ultimately, though, this is far from their best work, and that’s mostly a fault of the script.

The film, at an extremely long 2 hours and 23 minutes (a whole 30 minutes could’ve been shaved off), ends up feeling empty, not really serving any purpose other than to entertain. Movies that are fun for fun’s sake usually are fun, sometimes laughingly so, but The Great Gatsby is fun for Luhrmann’s sake. The plot is muddled and the film drags on, eventually winding itself down to a resolution that should have been earned, but isn’t.

Grade: C+

Other thoughts:

-The music choice is interesting, but I actually really like the decision to blast Jay-Z, Beyonce, and co. during the party scenes. It’s unique, and it draws a parallel between the extravagance of the time to hip hop in today’s world.

-The final sequence of scenes is really well done, in my opinion, but everything beforehand just doesn’t really serve as a good bridge into the climax.

-I found the narrating annoying, not because Maguire is a bad narrator, but because it feels shoehorned into the movie. It’s completely unnecessary, and I really don’t need to be told what’s happening on the screen every 5 minutes.

-Some scenes really click, like the one where Gatsby meets Daisy or Gatsby and Buchanan’s confrontation.

-Man, the symbolism is really heavy-handed here, isn’t it? Look, that light he’s reaching out to represents Daisy, but when he has Daisy, the outside world isn’t beautiful anymore because Daisy’s beautiful!

-This movie is gorgeous.

Credit to Village Roadshow Pictures and The Great Gatsby for all pictures. I own nothing.

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The Bridge “Vendetta” Review (1×08)

29 Aug

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“You’re contaminating the crime scene!”

One of the most appealing aspects of this show, aside from the location, is the all-encompassing, mysterious, political agenda-seeking aura of “The Beast”, the killer that, before tonight, had not been revealed. Putting a face to the name is an interesting choice, especially with four episodes remaining in the season. Of course, that’s not to say I’m not intrigued or appreciative; too many shows rely on their penultimate and final episodes to bring out the big guns, and I’m looking forward to see how The Bridge handles this situation.

Personally, I’m mixed on the actual reveal. Here, we have a sudden and complete reversal of the thematic essence of the show, instead tailoring the killer’s motives toward personal reasons. I like how several characters play a part in the creation of this murderer, strengthening the interconnectedness of those involved. However, I feel as if a chunk has been taken out of the show’s attempt at world-building. Sure, it’s never really about the mystery, but the mystery’s absolutely necessary. It propels the plot, affecting the characters and highlighting their places in this world in relation to the murder. Of course, the ends can always justify the means. We’ll have to see.

In terms of other storylines, Linder’s haunted by Galvan’s face during his dreams involving a Latina in a bikini giving him milk (that sounds strange when I write it). We don’t really know much about him yet, but we do know his actions are weighing on his mind. It will be incredibly interesting to see how, and if, Galvan, Linder, and Tate all interact. They should put them all at a dinner table or something.

The other main subplot involves Charlotte, a character I really just have no interest in. I hope they start distancing her from Ray, which I think is already set in motion; I want to see her character become her own self, and more fleshed out. Then I can be invested.

Some unifying themes across this episode are ones of escape and influence. Marco can’t escape from his realization at the end, and he’s trapped between the influence of his family and the influence of his job. Linder can’t escape from Galvan or his influence. Charlotte wants to escape, but is trapped by the influence of men in her life.

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All in all, it’s an uneven episode of The Bridge, but it’s generally compelling and it sets a new path for the show to take.

Grade: B

Other thoughts:

-The conversation between Gus and Sonya is a nice, quiet moment, and also reflects the themes of escape and influence. She can’t escape from her disorder, and she’s unable to fully grasp her true situation, however much of an influence it has on her.

-Wow, you can slice open someone’s neck, stand behind them, lay them down, and not get blood on your clothes? Nice!

-The opening scene was fun.

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

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

29 Aug

Welcome to my coverage of the 2013 Primetime Emmys. As it’s only 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 COMEDY SERIES

Dream Ballot

Nick-Offerman-of-Parks-and-Recreation_gallery_primary  NICK OFFERMAN, “Parks and Recreation”

It blows my mind why the Emmy voters would overlook such a fantastic character as Ron Swanson. He had a great year of food poisoning, wood-working, and wedding attending, and his relationship with Lucy Lawless’ character was unexpectedly sweet. He’s one of the best characters on television.

mikewhite3_small-f132f8391e4e2a1ddced6175f92b91954bcc74cd-s6-c30  MIKE WHITE, “Enlightened”

First of all, this is one of my favorite shows of all time, even though it only spanned a woefully short two seasons. White is also the creator of the series, but he’s also an amazing actor. His character is awkward, heartbreaking,, and complex, and he and Molly Shannon created one of the best, most beautiful TV romances you’ll ever see.

new-girl-schmidt  MAX GREENFIELD, “New Girl”

I probably would’ve given this slot to Jake Johnson, but he submitted for the “lead actor” category. Greenfield is great, though, conveying a hilarious outer demeanor and spewing a ton of hilarious quotes. However, he took it a step further this year as the show explored more of his past, in particular a young relationship that was funny and endearing.

girls_adam_8a.jpg.CROP.multipart2-medium  ADAM DRIVER, “Girls”

His character, and the show, are extremely polarizing amongst both fans and detractors. However, that’s because his performance is so fantastic. He did some amazing work at the end of the season, inspiring hatred, adoration, and discussion galore on the Internet, and his character arc was one of the most interesting on TV last year.

stefon-wedding-veil  BILL HADER, “Saturday Night Live”

While SNL hasn’t been consistently good in a while, Hader’s been the anchor of the cast. His farewell season ended with a bang, as the fan-favorite Stefon married Seth Meyers in an amazing segment that involved Anderson Cooper and all of Stefon’s club friends. He’ll be missed, for sure.

nup-155435-0604-jpg  RAINN WILSON/JOHN KRASINSKI, “The Office”

I know I’m cheating a bit here, but I just had to give them both credit. Krasinski has never been nominated for his work, which I find appalling, and Wilson hasn’t been nominated in a while. They both did fantastic work in this final season, especially near the end of the show’s run, and they deserve recognition for it. Jim-Pam was still the heart of the show, and you also can’t imagine the show without Dwight Schrute.

Who Should Win?

I’d narrow it down to Offerman and White, but I don’t know who I’d pick.

Others considered: Adam Pally, Damon Wayans, Jr., Ty Burrell, Will Arnett (Arrested Development), Tony Hale (Veep), Matt Walsh, Jack McBrayer, Donald Glover, Danny Pudi, DJ Qualls, Luke Wilson, Simon Templeman, Chris Pratt, James Van Der Beek, Jason Gann, Jim Rash, Jeffrey Tambor

And on to the real nominations…

Ty Burrell-Modern Family

Adam Driver-Girls

Jesse Tyler Ferguson-Modern Family

Bill Hader-Saturday Night Live

Tony Hale-Veep

Ed O’Neill-Modern Family

Who should win?

Driver

Who will win?

Burrell

Analysis: Driver undoubtedly delivers the most complex, layered performance here, but I think it’s a safe bet that the Emmy voters will give the award to one of their Modern Family darlings; in this case, it’s Burrell.

Credit to NBC, HBO, FOX, New Girl, The Office, Enlightened, Parks and Recreation, Saturday Night Live, and Girls for all pictures. I own nothing.

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

28 Aug

It’s Emmy season again! Welcome to my coverage of the 2013 Primetime Emmys. As it’s only a month away, I’ve decided to start a series in which I offer up my dream ballot for each major category (I’m only focusing on certain nomination fields, but I might lump some of the technical and writing/directing categories into one big post later on). 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 COMEDY SERIES

Dream Ballot

Jenna-Fischer-of-The-Office_gallery_primaryJENNA FISCHER, “The Office”

This was not Jenna Fischer’s best year on The Office, but it was a fantastic year. I’ll let that sink in for a bit. She’s been consistently wonderful, but astonishingly, she’s only been nominated once. In an up and down final season, she anchored a dramatic storyline that could make you roll your eyes in annoyance or burst into tears. No matter which it was, she was the glue holding the show together all the way to the end.

Jane-Krakowski-of-30-Rock_gallery_primary  JANE KRAKOWSKI, “30 Rock”

Although she wasn’t nominated last year, the swan song of 30 Rock was enough to bring her back into the fold. She did some fantastic work in the final few episodes of the series; constantly hilarious, constantly surprising, and constantly Jenna Maroney. I will always miss you, Rural Juror.

happy-endings-20120403040230005  ELISHA CUTHBERT, “Happy Endings”

Oh, Happy Endings. I miss you so much. I really hate that this was neither renewed nor picked up for a fourth season, but I’m thankful that the series was able to highlight Cuthbert’s comedic range. Alex grew into one of my favorite television characters, and she portrayed the awkwardness of her character in an excellent way.

anna-chlumsky-veep-emmys  ANNA CHLUMSKY, “Veep”

Amy is a sarcastic, hilarious character that I can never get enough of. Veep is the funniest show on TV when it comes to reaction shots, and Chlumsky is the queen of reaction shots. Every word that comes out of her mouth and every facial expression she makes is top notch comedy.

Aubrey-Plaza-of-Parks-and-Recreation_gallery_primary  AUBREY PLAZA, “Parks and Recreation”

Plaza has done some fantastic work with April, even while Amy Poehler gets all the recognition (don’t get me wrong, she deserves it all). Her twisted mind leads to hilarious lines, and the season really showcased all aspects of her character.

EDEN SHER  EDEN SHER, “The Middle”

I’ll admit, I’m not a big fan of the show. However, I’ve watched enough episodes to know that Eden Sher is fantastic. She’s over the top, but doesn’t exude a sense of buffoonery at all. Her work is simultaneously heartbreaking, hilarious, and lovable, and she has an easy spot in the nominations.

 

 

 

WHO SHOULD WIN? Honestly, I don’t know. This is one of those categories where I’d be fine with any of them winning.

OTHERS CONSIDERED: Mayim Bialik, Judy Greer, Alison Brie, Gillian Jacobs, Julie Bowen, Zosia Mamet, Allison Williams, Eliza Coupe, Ellie Kemper, Cheryl Hines, Jessica Walter (Archer and Arrested Development), Kate McKinnon, Cobie Smulders, Alyson Hanigan, Hannah Simone, Merritt Wever

On to the real nominations…

Mayim Bialik, “The Big Bang Theory”

Julie Bowen, “Modern Family”

Anna Chlumsky, “Veep”

Jane Krakowski, “30 Rock”

Jane Lynch, “Glee”

Sofia Vergara, “Modern Family”

Merritt Wever, “Nurse Jackie”

Who Should Win?

Krakowski

Who Will Win?

Bowen

Analysis: Krakowski deserves it for the excellent work in the later parts of the final season, hilarious throughout and heartbreaking near the end. I don’t think the Emmy voters will break the Julie Bowen monopoly and honor Krakowski one final time, although I wouldn’t be surprised if they did so. Right behind her is Bialik.

Credit to NBC, ABC, HBO, Veep, The Middle, Parks and Recreation, The Office, 30 Rock, and Happy Endings for all pictures. I own nothing.

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The Newsroom “Red Team III” Review (2×07)

27 Aug

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The Newsroom is a show that, in the first season, I simultaneously loved and hated. It was just so absurdly bad that I couldn’t help but feel entertained. However, I must admit, Red Team III is the first episode of the show I unequivocally love. Season 2 has rescued a sinking ship, and this episode is the best of the series.

Why is that? Well, first of all, there are actual stakes. There is actual tension. There is actual character development, and it doesn’t feel contrived. There are certainly plot contrivances, but I’ll get to that later. What this episode does so well is bring every character together as a team, which is something the show should’ve done right off the bat. Each character shares the guilt, the blame, and the repercussions from the Genoa mess, which, by the way, is the best storyline this show has produced. It’s a more unifying, serial storyline that allows for more investment in the show. Anyway, the actors do great work in this episode portraying a group of people steadily spiraling down as things keep piling up and piling up. The shouting match in the conference room is a thing of beauty.

The episode is structured around several deposition scenes, something Sorkin likes to incorporate into his writing. He’s always great at doing that, and this episode is no exception. These scenes are just as riveting as the main plot, and it’s a nice back and forth that he has going, both in terms of the dialogue in these scenes and the cuts between deposition-main plot.

Now, as for the plot contrivances, I was annoyed at the whole shot clock fiasco at first, but I’ve come to realize that it doesn’t take too much away from the plot. It just barely works, and it paves the way for a great scene in the elevator between Mac and Jerry. One scene I really don’t like, though, is that whole parking garage meeting. It feels shoehorned in in a way that scenes in previous, worse episodes have been guilty of. Finally, I also have a few problems with the final scene. The whole resignation non-acceptance stuff is a bit too easy, and while I did love the smash cut to black, it didn’t work for me as a whole.

Ultimately, though, this is a fantastic episode of The Newsroom, and I’m looking forward to the final two.

Grade: A-

Other thoughts:

-Jane Fonda is a delight. The whole Daniel Craig discussion was hilarious.

-Man, I hate Jerry Dantana. I know it’s kind of the point, but man, is he unlikeable or what?

-I get that the crew feels a bit shell shocked after the whole screw up, but the implication that they would have done Benghazi “right” if they weren’t focused on Genoa? Yeah, no.

-Once again, we have Sorkin and his “women in need of some (insert topic) advice” with Mac (insert “sports”). However, I felt that he handled her character better as the episode went on, and in this season in general. It wasn’t too much of a problem here.

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

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Dexter “Make Your Own Kind of Music” Review (8×08)

27 Aug

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“……

………

……….she’s my mom!”

What irritates me the most about this final season is that there are absolutely no stakes. The introduction of Evelyn Vogel seems intriguing on the surface, but when you look closer, you realize that the writers have put absolutely no thought into her character. Take this episode, for example. Vogel’s never seen her son’s body, her son used to leave her stuff just like the Brain Surgeon does (HINT HINT!), and oh, her son’s also a psychopath. I think most people would put two and two together, and not get five.

It’s not just her character, though. The writers have zero interest in creating a compelling world around the titular character, and not even an actor like Michael C. Hall can hold this show up for long. Even Deb, that one supposed thorn in Dexter’s side, is off screwing around with Quinn and Elway and whatnot. I mean, like, did the whole attempted drowning scenario just vanish off the face of the Earth? Jennifer Carpenter’s a more than capable actress, writers. Just look at the first few episodes of the season.

Anyway, in this episode, we had the whole Oliver Saxon plot, one in which I was constantly shaking my head in confusion and laughing my head off. Why is this even important? I don’t really care who he killed or that he’s Vogel’s son. Oh, and the way Dexter conveniently finds the dude is hilarious. Zach, in his “cutting my head open”-defying ways, is able to somehow leave some evidence that Dexter finds, who then magically throws it into his crazy computer-megatron face scanner, and voilà! It’s Ryan Gosling!

This season has been really terrible about introducing new characters, then focusing on them more than the supposed main characters. We’re in a final season, folks. Are the writers setting up a Harrison-Saxon showdown or something? That would actually be hilarious. Speaking of, I really don’t get why we have to be constantly barraged with the whole “LET’S MOVE TO ARGENTINA, BABY!” stuff, as it’s becoming increasingly obvious that that won’t happen. This Hannah-Dexter relationship is getting tiresome, the actors have no chemistry, and the writers are staring straight ahead, focusing solely on Dexter. In eight years, he’s been constantly elevated above the rest of the cast, facing absolutely NO consequences in which he’s been blamed (does he even care about Rita now?). That was fine for a while, but once again, FINAL SEASON=ENDGAME.

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I appreciate the fact that the episode was trying to bring everything together to set the wheels in motion for the endgame. However, the endgame was introduced a few seasons ago, then took a break, and is now suddenly being re-introduced in the final 3 episodes of the season. I liked the way the season started off, but it’s taken several turns for the worst. Dexter should be exploring the moral complexities of its titular character, delving into his relationships with and influence on the people around him. He should be facing consequences for his actions, either through legal action or conflict within his family. Instead, we get Harrison and his pancakes.

Grade: C

Other Thoughts:

-Kenny Johnson’s amazing, but he’s introduced here as yet another idiot cop. Yeah, a blood spatter analyst makes enough to buy houses for random people.

-Yvonne Strahovski wore a pink dress.

-Masuka’s daughter? Yeah, I don’t know what she’s doing here, either.

-Deb lets Hannah stay with her and eats her food because why?

-What about the Maria LaGuerta Memorial Bench? No one’s sitting on it!

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

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