Back in the pilot, Coach gave an episode-ending speech that contained the words “We will all fall”. It’s a simple and honest sentence, but it contains the weight of every Dillon Panther that falls in this championship game. It’s devastating and reassuring all at once, and it applies perfectly here. Yet, for every person that falls, there’s another to take its place: that same person. Matt, Lyla, Tim, and Tyra are all heading off to college, but each is both leaving something behind and taking something from Dillon.
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.
“I’ve had a difficult time these last several years.”
This is what true horror feels like. Steve McQueen’s brilliant take on slavery is brilliant because it’s a realistic take on it, portraying the true horrors of the slaves and the masters shackled by an institution, one which is unrelenting, unforgiving, and unfathomable. Anchored by masterful performances all around, the film is, much deserving, an Oscar treasure trove.
Speaking of Oscars, one might compare this to last year’s Tarantino epic Django Unchained, a fantastic film in its own right. Whereas that film was an idealistic, revenge fantasy, this one is realistic and brutal. Both of these movies are necessary in their own ways. Now, one might ask, “What’s the point of seeing yet another slavery film? We get it; slavery was horrible.” It’s certainly a valid question, but then again, this is a point in our history that has actually not been explored to its full extent. This film is necessary, if only to reinforce our previous notions of the atrocities committed during those times.
Still, necessary or not, it’s still an, ironically, beautiful film. McQueen’s direction is full of lush, gorgeous imagery as a backdrop to the horrors of slave life, and the camera lingers just as much on the beautiful as it does the brutal. In one of the film’s most shocking scenes, Northup/Platt is strung up by a rope, his feet barely touching the ground. What makes this scene particularly chilling is the background; as we hear Northup’s choking sounds, we also see a green background of other slaves going about their business. No other scene sums up better the true isolation of slaves in a crowd environment.
Of course, it’s not just Northup here. McQueen deftly explores the relationships that take place in the master’s home, not portraying any slaveowner as too kind or too evil. Yes, Benedict Cumberbatch’s Ford recognizes his true capabilities, but he’s just as shackled to the institution as the slaves; he’s forced to give up Northup to cut his losses. The fact that this is all instigated by Paul Dano’s vile Tibeats only serves to support the idea of men warped by the horrors of slavery, as Tibeats is a symbol of the shocking, seemingly unrealistic depths of the time. After this, we are introduced to the wonderful Michael Fassbender’s Epps, a slaveowner stripped of all moral integrity by lust and desire for power. The dynamic between him and his wife (Sarah Paulson) reflects the tension, jealousy, and brutality of the relationship extremely well. No other relationship is more horrifying, though, then Epps and Patsey’s. In a breakout performance, Lupita Nyong’o brilliantly portrays a woman not only subjected to slavery, but subjected to the dark sexual desires of a delusional maniac. The scene in which she asks Solomon to end her life is a masterpiece of acting, and the scene in which Solomon is forced to whip her is the culmination of all the horrors of the movie.
At the beating heart of it all, though, is Chiwetel Ejiofor in a role of a lifetime. He’s magnificent in every scene, whether it be in the dialogue free, lingering shot of his contemplation near the end or his interactions with Patsey. Solomon’s journey is one of a man that slowly loses hope even as he tries to keep it. He starts out as a respectable man, then is beaten and kidnapped. He keeps that hope, though, telling others that it must have all been a mistake. Then he’s taken on a ship, and his fellow slaves tell him to keep quiet and that all hope is lost. However, once he’s taken to Ford, his life starts to improve, and he tells a woman who’s lost her kids to soldier on; yet, she tells him that there’s no point. Solomon truly sees this when he’s thrown into the pit of horror that is Epps’ plantation, yet he still tries to get a white man (Garrett Dillahunt) to deliver a letter for him. That hope is crushed when Epps finds out. By the time we make our way to the end of the movie, we’ve made our way through so many reversals of fortune that even when he’s rescued, nothing feels right anymore. Did he even have hope all this time?
It is because of this that Brad Pitt’s cameo works. His is the final in a lineup of amazing actors and actresses, including Alfre Woodard, Michael K. Williams, and Paul Giamatti, and it certainly is the most distracting. Yet, it’s so surreal that it doesn’t feel triumphant when Solomon returns home. It’s a final scene of love, but it’s also a scene of uncertainty. Solomon Northup has come a long way from being Solomon Northup; he’s reunited with his family, but he’s always been Platt.
GRADE: A
Credit to FOX Searchlight Pictures and 12 Years A Slave for all pictures. I own nothing.
-The best part of this episode is easily the Matt-Shelby-Lorraine storyline. It’s not something we haven’t seen before, but it works because a) it’s realistically not something that will go away, and b) all three actors are brilliant. It’s devastating watching Matt lose control of the one thing that’s remained constant for most of his life: his ability to take care of his grandma. I also have to compliment Kim Dickens here for making Shelby likeable; she’s excellent here portraying a woman who not only has to be there for her family, but also has to be willing to take the verbal abuse from Matt. She deserves it, and she knows it.
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.
Cinemax announced today that its critically acclaimed show Strike Back has been renewed for a 10-episode final fourth/fifth season of explosions and sex. It will air in fall 2014, and once again, not enough people will watch it, instead electing to go out and spend time with people on their Friday nights; oh, the nerve.
Anyway, the final season will presumably once again not allow Stonebridge to have a sex scene, instead pushing him to the background to masturbate to Scott and whatever new woman he’s picked up. In addition, the “awesome action scenes with explosions and shooting” will be returning in a recurring role, consisting of the dispatching of a bunch of terrorists and Scott and Stonebridge prancing through a field of bodies in tutus while sipping strawberry lemonade. Scott will then choke on his straw, and Stonebridge will punt him off a bridge; this will segue into some more fantastic action scenes.
As disappointing as this news is, you can’t help but be grateful to Cinemax for allowing the show to go out on its own terms. If this were on Showtime, we would have 8 seasons of crap culminating in a final scene in which Scott and Stonebridge are working as lumberjacks for Kamali’s dead body.
Still, after the show ends, we at least still have Banshee and Cinemax’s other softcore porn series, entitled “Sexy Sex In A House” and “Let’s Go To Hawaii, Then Have Hot Sex”.
I will be covering the final season next fall. I’m looking forward to it; it should be fun.
Credit to Cinemax and Strike Back for all pictures. I own nothing.
Now I’m starting to see why many people think the twist was unnecessary; this episode does a great job of milking the tension out of the uncertainty of situations, not just for the audience, but for the characters themselves. Too much of the first few episodes floundered due to the writers’ insistence on keeping us in the dark, and “The Yoga Play” is a prime example of why they shouldn’t have done it.
First off, we have Carrie, and her scenes have more of an impact this week because she has no idea what’s going on; she’s wondering if she blew her cover, she’s looking over her shoulder, and at episode’s end, she’s whisked away by the Iranians. It’s not something we haven’t seen before, but it’s nice having the show ramp up the tension as we head into the second half of the season. This is organic tension; it’s not tension for tension’s sake.
Speaking of tension, we also have Saul vs. Lockhart; sadly, Lockhart has no beard to compete with. While Carrie and Saul’s plan gave the show more of a direction, Lockhart’s lending it a sense of urgency. The plan has to be carried out quickly, because it doesn’t look like he’ll be giving much support. However, I admit that I do find the whole plot a bit strange; for example, why would Saul be invited to the retreat by his friend only to have his job swept out from under him? In addition, while I enjoy Saul berating Lockhart, the scene comes across as a bit cliched.
Of course, no one can touch Dana Brody. Her storyline with Leo is insufferable yet again, but thankfully it comes to a close. Dana’s dream of a utopia is no more, and now we can get to the more interesting dynamics between her and Jess (as long as it doesn’t descend into more soap opera antics).
Still, the last 10 minutes or so contain some good old-fashioned tension: score pounding in the background, Carrie being strip searched, and Saul’s final trenchant line: “She’s always been alone.” And so it is, Saul. So it is.
GRADE: B
OTHER THOUGHTS:
-I like Jess reaching out to Carrie; it’s understandable that her opinion of Carrie has changed, and it’s a nice scene for Baccarin.
-Baccarin and Saylor seem to be trying to emulate Danes’ cry face.
-Saul, you should’ve just shot the guy when he gave you the news. Then, go the Cheney route.
-I was disappointed The Yoga Play didn’t involve Virgil and Max doing yoga.
-Quinn’s pretty cool.
-Sorry for the briefness. I wanted to get it up quickly.
Credit to Showtime and Homeland for all pictures. I own nothing.
What choices do we have to make to survive? Do we sacrifice our morals? Do we sacrifice others? These questions have the most weight in none other than a post-apocalyptic world like this one, and it’s ubiquitous throughout the course of this episode.
Take, for example, Carol. At episode’s end, it’s revealed that she’s the one who burned two of the sick; it seems very rash and callous of her, but because she’s become the de facto co-leader of the prison, she has to keep her emotions bottled up when she’s around others. However, when she’s alone, as we see in this episode, she breaks down, the guilt washing over her like a tidal wave.
That same guilt is felt by Hershel, but he has an opposite view: he believes that to survive, we help as much as we can, even if it means sacrificing our own lives. Carol’s all about moving forward, but Hershel’s the kind of guy that will expose himself to the contagion if it means he can help others feel better. It’s a nice thing to see someone stand up for his beliefs in this show, and while his decision may seem reckless, it’s all about perspective.
We also have Tyreese going mad over his girlfriend’s death, and his fight with Rick in the cold open is devastating to watch. Coleman does great work conveying the rage, sadness, and determination throughout, and I’m enjoying seeing the evolution of his character. I’m glad he doesn’t die when he’s surrounded by all those Walkers; it would be stupid if he did (although how does he even survive?), but I feel like that would be an easy way out for the writers, negating any sort of character buildup they’ve done with him.
Anyway, it’s a solid episode with solid character development, and the final twist stirs things up a bit; it paves the way for some intriguing character dynamics, and I’m looking forward to it.
GRADE: B
OTHER THOUGHTS:
-Carol, why did you knock over the water? Come on.
-Daryl really Lori’d it in the car.
-Carl’s huge silencer made me laugh.
-Three black people go off with Daryl, and not one of them dies? We’re making progress here, show.
-The show’s way of dealing with the new characters is to quarantine them all.
Credit to AMC and The Walking Dead for all pictures. I own nothing.
“Gentlemen, you are champions.”
Polar Bears Watch TV 