“No taking this personally, but your plan could’ve used a little more finesse.”
The back half of this episode is a non-stop thrill ride, with the confines of the prison being used to deliver heart-pounding action sequences that culminate in an excellent cliffhanger. Stonebridge is captured along with Andersson, and Scott and Nina are captured in the prison.
Let’s back up. The entire premise of the episode involves Scott and Stonebridge infiltrating a Russian prison to break out a British computer hacker, and the aforementioned Nina is a Russian double agent working with Locke. Obviously, the prison break plot has been a staple of countless action shows and movies, but Strike Back is able to inject its own humor and twists that help it stay fresh.
Prison, though, is a place of confinement, and Scott and Stonebridge have never been more confined, both literally and figuratively. We continue to see the desire to leave Section 20 in both the leads, and the prison scenes contain some nice character development. Scott receives results that say that Stonebridge has been exposed to a lethal poison, therefore confirming the fact that it isn’t a mental problem. Scott decides to tell his partner, which is an excellent decision on his part; he can’t keep avoiding the truth. Stonebridge is the kind of guy who’d rather be subject to a poison than a mental problem.
Another interesting development in this episode arises with Kamali, who seems to be going off the rails in a situation that emulates Dalton’s. His suspicion that he’s been exposed as a double agent strike deep into his mind, and he kills a bank guard and Kamali’s bodyguard whilst closing Al-Zuhari’s bank accounts. The parallels between him and Dalton are coming more into focus now, and it’ll be interesting to see where it all heads.
Grade: B+
-The first scene is classic Strike Back.
-I’ll be back with more later. I just wanted to get this up quickly.
Credit to Cinemax and Strike Back for all pictures. I own nothing.
Season 4 of Parenthood was one of the better seasons of television I’ve seen. Monica Potter had a breakout performance that should’ve earned her an Emmy nod, and the rest of the show gelled in a way that the previous seasons had not. How’s the Season 5 premiere, though? Breaking down the episode by storylines….
Kristina running for mayor
This is an interesting one. The mayoral race is more about taking advantage of her life (per her scene with Gwen) than actually winning, although she wouldn’t want to lose. It’s understandable why she’d do it, but it feels kind of strange in the context of the show. Still, Monica Potter can make just about anything work. As for Bob Little, he’ll probably get the brunt of Adam and Kristina’s heat; he doesn’t deserve it, because two consenting adults had consensual sex, but he’ll be Kristina’s enemy.
Max and Hank
This is a storyline I love. I hate that Sarah always has to be stuck in a romance plot, and I’m glad that we focus on Hank in relation to Max here. These two have a deeper connection and understanding of each other than pretty much anyone else in the show, past or present.
Joel’s new project and Julia’s job-finding troubles
Sonya Walger’s around to stir things up a bit! Also, we continue to see Joel becoming more successful as Julia becomes less prominent. Sydney explains profit margins.
Crosby and Jasmine
Although I love the issues this storyline focuses on, the fact that the two have been in conflict for so long underscores the importance of Crosby’s feelings. They seem like they’re in an endless marriage of conflicting viewpoints, yet they love each other so much. It’s a bit of wheel-spinning.
Ryan and Amber
This is a beautiful relationship. That final proposal scene is definitely cliche, but it’s so well acted by Whitman and Lauria that it becomes something perfect. I wish we could avoid the inevitable relationship troubles that they’ll face.
Other thoughts:
-Drew grows more hair! People forget Haddie even exists! Zeek can still go to Funkytown! Sarah used a hammer and smashed a smoke detector!
Grade: B
Credit to NBC and Parenthood for all pictures. I own nothing.
Parks and Recreation brings a smile to my face every time it’s on. Yes, last season suffered from a bit of wheel-spinning, stranding the show in a static phase that soured my opinion of the show. However, this premiere is a nice return to form, setting a new direction for the show’s characters.
The cold open is among the best in Parks history. The show truly understands its characters, something that seems to slip away from other shows as the seasons wear on (due to necessity of plot, which makes this episode even more impressive because it gives the show a new direction). This scene doesn’t get too sappy, but it’s the right amount of sweet. Ron Swanson is not the guy who needs an elaborate wedding; he truly cares for Diane, and the quicker they get it done, the better. Leslie is someone who wants to make everything perfect for everybody, and her childlike glee at the events unfolding is a joy to watch. It’s sweet, and more importantly, it’s true to her character.
Flashforward to a month later. Several storylines are prominent throughout, the main one being a trip to London. Leslie has to give a speech before the International Coalition of Women in Government, where she has to come to terms with the fact that her political career means ignoring the general awfulness of many people around her. It’s a very important moment for her character, one which Ron Swanson is every a bit a part of as her.
We also have Ben and Andy visiting Lord Covington (the great Peter Serafinowicz), and Covington and Andy’s interactions are absolutely hilarious. It’s a way to write Pratt out of the show for a while, but it’s incredibly well done.
Back in Pawnee, Chris and Ann are trying to tell everyone about their pregnancy, and Tom finds out that his main competitor is Jean Ralphio’s father. Both work well in the context of the episode, and fill out what is a very sweet and hilarious one hour premiere.
Part 1 Grade: B+ Part 2 Grade: B+
Overall: B+
Other thoughts:
-Henry Winkler is fantastic.
-Chris and Ann’s storyline ties in well with Leslie’s, as they continue to look for assurance that, yes, this is a good marriage. These are similar storylines, and I’ll be sad when the two leave.
-Ron visiting the Lagavulin distillery is really beautiful.
-I enjoy Ron’s hatred of Europe. “Fine, enjoy the fact that your royal overlords are a frail old woman and a tiny baby.”
-“Let’s go see if it was a goose.”
-Jerry imitating breastfeeding…oh, man.
-“Hogwarts is fictional. Do you know that? It’s important to me that you know that.”
-“Do you not think that, or do you not think that?” Welcome back, Perd.
Credit to NBC and Parks and Recreation for all pictures. I own nothing.
We all have tragedy in our lives. We all have to get through every day, whether we feel like it or not, and sometimes, starting off the day is the hardest thing to do. Perhaps we pour ourselves a cup of coffee. Perhaps we go for a jog. Perhaps we make our bed.
Hank tells Marco that his wife told him to make his bed every morning, and Marco takes that suggestion to heart; he needs to get a sense of order back in this crazy life he’s living. Getting drunk is an easy way out, something Frye knows all too well.
Still, Marco attempts this at first. However, the one force that’s stopping him is Sonya Cross, that woman whose condition has alienated her, preventing her from connecting with Marco on a more personal level. It’s both sweet and refreshing to see Sonya so determined to make this connection, a connection that may very well be more important to her than to Marco. He’s a guy that can pick himself up again; she, like she says at Marco’s front door, “has no one else”. Yet, possession is essential to her. She can’t let go of her sister’s car or the cassette tape in it. All throughout her life, she’s been alienated, and she’s turned to objects to fulfill her emotional needs.
These two characters are inherently fascinating. I can only lament the fact that the David Tate storyline was the impediment to the continued exploration of this relationship. Hopefully we can just get back to the rudimentary ideals behind the show.
One of these ideals is that the border situation affects everyone living there. The other main storyline of the episode involves Linder’s search for Eva, a character that really doesn’t feel like a character right now. However, what the show does is show the effects of the El Paso-Juarez world on specific characters (in this case, Linder), and then use that to represent the larger scope that they want to convey. The storyline is “All About Eva”, and we’re invested because Linder’s a main character. Yet, take a look at the final scene. It, and the episode, focuses on him first, then slowly zooms back so that we can see the truly far-reaching effects of this particular case. It both magnifies and underscores the tragedy.
What this episode does well is reflect actual humans living through actual tragedies. It doesn’t make them the tragedy, as with Tate. Tate’s character was emblematic of the exact opposite of what I mention in the paragraph above, and that ultimately hurt my opinion of the handling of the character. We all have stuff to get through. We’re all human.
Grade: A-
Other thoughts:
-This episode also has a sense of finality to it. I’m interested to see how the actual finale plays out.
-Fausto Galvan is the best. I wish his storyline had been more developed.
-“I told him you wouldn’t like it if we dated.” “No I would not have.”
-“Is there any chance she went back to her boyfriend?” “No, not really.”
-The Frye/Adriana dinner scenes are always a treat.
-Next week, Fausto should just walk into the police station and start threatening everyone. He might as well cut off a few dicks, balls, and lips while he’s at it.
-FX renewed the show for another season. This is good news.
Credit to FX and The Bridge for all pictures. I own nothing.
“Prisoners” is an intense, moody thriller that is a fully satisfying ride through the dark waters of murder and intrigue. An obvious comparison would be to David Fincher’s masterpiece Zodiac, and rightfully so; the direction, the ambience, and the slow build up of dread all emulate that movie, and while I believe that nothing can touch Zodiac, Prisoners is able to make itself its own film.
The acting is superb, anchored by a strong performance by Hugh Jackman as a father hurtling down a dark path, the days ticking on as his daughter gets farther from him. However, while he nails certain scenes, he sometimes falls into the trap of equating yelling with emotion. I’m more interested in Jake Gyllenhaal’s portrayal of Detective Loki, a man with obvious hidden demons, but a man capable of hiding them. The dynamic between the two characters is perfect, though, realistically portraying the war of patience vs. strength.
The rest of the cast is superb on star value alone, containing the likes of Viola Davis, Terrence Howard, and Melissa Leo in excellent roles. The main standout is Paul Dano as Alex Jones, a seemingly naive, yet terrifying man who gets the full brunt of Dover’s rage. His character is also inherently tragic, and Dano plays that aspect to perfection.
As for the story itself, it’s well crafted. At a running time of 153 minutes, the film naturally becomes muddled and repetitive at times, but the story is honed enough so that it doesn’t plod on. The cinematography is beautiful, reflecting the rain soaked windows, the dreary, meticulous nature of the town, and the desperation of the characters.
(Spoilers)
The ending of the film is predictable, yet wholly satisfying. On the surface, it seems as if Dover’s actions have been vindicated, but at closer look, it only seems to condemn what he’s done. On the one hand, his endless barrage of torture may have been justified, but on the other hand, torture is still inherently bad. Dover’s subjected an innocent man to his own pain, and he realizes what he’s done.
There are a couple plot twists that feel contrived at the end, and the show moves toward the “Melissa Leo is the bad woman” a little too suddenly. However, it’s all worth it for that gorgeous, gorgeous scene in which Loki rushes toward the hospital in his car. The directing, cinematography, and acting in that scene is untouched by any other in the movie.
The ending scene obviously evokes the symbolism of the moment, with Dover being rescued due to the very thing that started this all. However, as he’s come full circle, he’s carried a burden that has caused him to partake in terrible activities.
(End spoilers)
This is a movie well worth watching, and while the show fails at times to fully tell its story of the human psyche, it succeeds as an intense, gripping thriller.
Grade: B+
Credit to Alcon Entertainment and Prisoners for all pictures. I own nothing.
-Although the case of the week feels a little bland at times, I like what the show is doing for Reese’s character. He sees himself in the sailor, and it coincides with a time in which he starts to let go a little. He starts revealing some more of his past, and he starts to transfer some of that Terminator-like quality onto Shaw.
-Shaw isn’t a character I was entirely sold on last season, but it’s fun watching her shoot baddies up and banter with Reese. She’s becoming a sort of mentoree, and she fits in nicely now.
-Fusco’s great. I like how one second, he can be treated jokingly, and the next second, he’s saving everyone’s lives. Also, his outfit at the beginning of the episode is perfect.
-Elias is always a welcome sight, and I like how they’re creating a dynamic between him and Carter. She’s manufactured a deal in which he stays out of person, but Reese and Finch don’t know. It’s an interesting road to explore, and I’m impressed at how much we get out of Elias’s short scenes; Colatoni does some fantastic work with this character.
-That brings us to Root. Oh, Amy Acker, how I love you. She’s insanely good at slowly building up that terrifying exterior, and the audience feels that sense of dread along with the poor psychiatrist. Her delivery of that last monologue is chilling.
-Finch feels a little shoe horned in in this episode.
-I also like how the Machine has a new name for Root, suggesting that she’s not the enemy. In fact, this Root-Machine relationship is so compelling because it could lead to it rebelling against Finch. The Machine may crave approval much like Root does; they’re both calculating, ruthless machines, but they need to feel connected as well.
-Bear needs more screen time.
Credit to CBS and Person of Interest for all pictures. I own nothing.
As we head into the final season of “How I Met Your Mother”, a season in which everything is revolving around three days, I have nothing but confidence in the ability of the writers to end the series well. The main question coming into this season is whether or not the character of the mother is well done.
Right now? The answer is yes. For someone we’ve never seen before, and especially as someone who’s made Ted the way he is, the way Cristin Milioti smoothly transitions into the show’s universe is a thing of beauty. Whether it be her interactions with Lily on the train or her interactions with Ted, this adorable, endearing woman seems like a staple of the show already. I can see her as a part of the gang, and I can see why she’s the perfect soul mate for Ted. I could not be happier with the character.
Of course, everything isn’t just about the mother. Marshall spends his time having problems traveling, which is good for a few funny moments. In the second episode, Lily gets drunk and thanks Linus a lot. We also have a subplot in which a desk manager lays the pity thick on Ted, and we have a storyline in which James (Wayne Brady) reveals that he’s getting a divorce due to his cheating ways. This particular storyline is clearly a parallel to Robin and Barney, reflecting Robin’s uncertainty about venturing into the unknown. All of these plots are interesting and funny, but do start to show signs of the constraints the time period requirement has placed on the show.
Still, that final scene between Ted and the mother in “Coming Back” is a thing of beauty. It’s well written, directed, and acted, and is one of the most clever things this show has done in terms of playing with time. It’s also quite perfect, and should kick off a great final season.
“The Locket” Grade: B
“Coming Back” Grade: B-
Overall: B
Other thoughts:
-“You really piqued my incest….INTEREST! INTEREST!”
-“Ma’am, it’s not a race.” “That right there is why you lost!’
-Ring bear
-Ted and the locket will probably be one of the more polarizing storylines this season, as I’m sure many people don’t want to see Ted and Robin go through everything all over again. It may seem like wheel spinning to get to Ted’s happy ending, but there are some chances for great character development here.
-This most likely won’t get regular coverage, but I’ll check in once in a while if I have time.
Credit to CBS and How I Met Your Mother for all pictures. I own nothing.
Walter White is afraid of isolation. He’s always needed something: his family, his money, his business. However, he’s never been more utterly alone; he’s trapped in a cabin in the snow, forced to sit there all day and contemplate what he’s done. It’s the ultimate coffin for Walter White, a man that will be killed by cancer, but destroyed by his own mind.
Walt’s never been the kind of criminal mastermind he aspires to be. I don’t mean that he isn’t a force in his business, but rather, he can never really become Heisenberg. That’s certainly what he wants, but it’s not something that will come to fruition unless he loses everything. At heart, he’s always been Walter White. He’s made poor choices and been overcome with desperation, but none of the actions that result are truly Heisenberg’s. He’s poisoned his mind, deluding himself into thinking that all those around him should be grateful for everything he’s done for them.
In “Granite State”, he’s still reaching out for that one speck of sympathy, paying his caretaker $10,000 to stay for two hours. Cranston is magnificent here, portraying a disheveled and depressed shell of a former man. No matter how hard he tries, he can’t let go of his past. He dons his Heisenberg hat, but isn’t able to leave the property for months. He tries to use his “We’re done when I saw we’re done” schpiel on Saul, but he breaks down coughing. He, one last time, tries to contact Flynn, but is verbally assaulted in a perfect bout of acting from RJ Mitte. This is the final straw. Walt can’t get any money to his family. He can’t feel useful. He can’t feel needed. He calls the police, fully intending to turn himself in. However, he sees something that gives him pause.
The Gray Matter folks surprisingly show up again, and they’re looking to bury Walt. Everything’s changed. Walt’s going to live out his Heisenberg persona for the first time, ready to prove to the world that he’s truly a man to be feared. He’s not weak. He’s not gone. He’s angry. What’s getting him into this is what got him into the situation in the first place: a sense of honor. It’s always been about the chemistry.
It’s a slow place-setter for the finale, but the theme song closing out the episode makes you excited to see what will happen to the once-great Walter White. The eye of the storm has passed.
GRADE: B+
Other thoughts:
-Jesse’s been so brutalized that we just can’t help but wonder if he’d be better off dead. Andrea’s death feels so cruel, pointless, and terrible, and Aaron Paul’s face after that scene reflects the anguish, the horror, and the gravity of the situation in a brilliant light.
-Jesse’s escape is extremely nerve-wracking, too…here I am, yelling “RUN JESSE RUN!” all Jenny-like.
-Todd has really become a terrifying character. He’s entirely happy to be a pawn in all of this, and his infatuation with Lydia is becoming stranger every day. Lydia’s interesting as well; she expects everything to be handed to her on a silver platter, and she avoids trouble when she can.
-In addition, Todd appears in Holly’s room and threatens Skyler. That’s a no-no.
-“I watched a few Youtube videos..the trick is finding the vein.”
-Ice cream for Jesse
-I hope Huell’s still just sitting in that room.
-If Walt had just listened to Saul, he could’ve avoided all this. What’s terrible is that his seemingly decent phone call last week turns out to be for naught, as Skyler will always be a target as long as Walt stays hidden.
-Walt has Mr. Magorium’s Wonder Emporium...just two of them!
-Congrats to Anna Gunn and the show on their Emmys. They’re well deserved.
-“If you look around, it’s kinda beautiful.” Walter White will never be able to fully appreciate his surroundings.
-Seeing snow in the show is weird. However, it makes sense thematically. Walt’s always been stuck in the snow, but he hasn’t been able to realize it. Now that he does realize it, he can strip away his Walter White layer and embrace the Heisenberg. Watch out, Carol.
Credit to AMC and Breaking Bad for all pictures. I own nothing.
A killer usually pays for his crimes. What has Dexter Morgan paid for? At the end of the 96th and final episode of the series, Dexter’s off being a lumberjack somewhere, Deb is dead, and Hannah and Harrison are living their own lives. Everything has changed, but at the same time, it hasn’t.
Let’s back up a bit. The episode is structured around Dexter’s attempts to get out of Miami, but not before he ensures the safety of Deb and the death of Oliver Saxon. Deb has been shot and is laying in a hospital bed, Dexter and Hannah are in the airport, and Saxon’s on the loose. After Dexter gets the call about his sister’s situation, he immediately rushes back to help her.
Now, this is certainly a promising plot to model the episode around, as the Deb-Dexter relationship has always been the central relationship of the show. However, instead of really honing in on the two of them, we have some contrived tension in the form of Oliver Saxon to deal with; this guy somehow kills someone in broad daylight, holds a veterinarian hostage, and enters the hospital by means of a distraction: cutting off the vet’s tongue. If this isn’t silly enough, Dexter later kills him with a pen, and Batista and Quinn study it, ask a few questions, and move on. This really is emblematic of the whole show, isn’t it? No one ever suspects Dexter, and if they do, he always gets away with it. Also, people are idiots.
It’s maddening, really, considering Season 2 explored that path with Doakes. Even that season ended with a Dexter win, though, setting up the next six years of wheel spinning. So here, after Dexter dispatches Saxon, he returns to a now deteriorating Deb that has no chance of ever living a normal life again. This is such an interesting turn of events, as Dexter has to grapple with the moral value of letting her live. However, it turns out to be just another attempt to vindicate him, making him out to be some sort of hero that is absolved of all sins. The thing is, he’s not!
Anyway, he rides off into the ocean, dumping Deb’s body into the watery grave of his former victims and disappearing. Hannah’s left with Harrison, a boy who is now free to grow up without the influence of a serial killer father. I suppose it’s a decent act, but at its core, it’s just another attempt to escape.
Deb’s death is supposed to be a traumatic one that hits Dexter at his core, causing him to reevaluate his life (which should’ve happened a while ago). However, he doesn’t need to do anything except run away. It’s an easy way out for the writers, and I can only lament at the waste of potentially great storylines: Vogel, the fallout over LaGuerta’s death, and the cracking down of the law. Frankly, it’s not surprising that the show would limp off into the sunset. I just wish that the writers had pushed aside the emphasis on the supporting cast, cut the middling storylines, and really told the story of Dexter Morgan the way it was supposed to be told? This, though? This is not it.
Grade: C-
Other thoughts:
-What’s the point of Masuka and his daughter this season?
-The final shot is of Dexter sitting at a table, pondering the choices he’s made. Or, he could be thinking about what he’ll have for dinner. Who knows?
-How does a hospital hallway go from completely empty, save for a couple of killers, to full of cops in 2 seconds?
-Still, I’d like to compliment Michael C. Hall and Jennifer Carpenter. They do the best they can, and they’re both excellent actors.
-Hannah’s storyline with Elway is unnecessarily stupid. First of all, there has to be a ton of plot contrivances to even get to that scene on the bus. Second, who cares about Elway?
-Quinn isn’t all that insufferable in this episode, actually.
-The flashbacks are weird. It’s just a way to show HOW MUCH DEXTER HAS CHANGED!
-Where’s Astor and Cody?
-Deb needs her own bench.
-The CGI hurricane is laughingly terrible. You know what would make it better? Sharks.
-Jamie shows up.
-Thanks for reading, guys. It’s been frustrating, yet enjoyable, covering this show, and I will always maintain that it used to be incredibly entertaining television. It’s a shame it had to turn out this way. You can also check out my Dexter retrospective, which takes a look back at the series as a whole. Thanks again.
Credit to Showtime and Dexter for all pictures. I own nothing.
Welcome to my coverage of the 2013 Primetime Emmys. As it’s less than a day 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 DRAMA SERIES
“BREAKING BAD”
I thought the first half of Season 5 was a step down from seasons 3 and 4, but it was still some brilliant television. Walt’s rise was expertly portrayed, and there were some devastating episodes in there. The acting, writing, and directing continued to be among the best on TV.
“HANNIBAL”
It’s a shame this wasn’t on cable, because it would have a better chance of getting recognized there. I wasn’t keen to the concept of another serial killer drama, but this show evolved into something much more. The character work was brilliant, the cinematography was gorgeous, and the show was violent and intense.
“GAME OF THRONES”
Season 3 took the show to new highs, showcasing different characters like Jaime Lannister and Catelyn Stark. It’s always impressive how many storylines the show can juggle at once, and season 3 delivered a slow buildup that culminated in one of the best TV spectacles of all time: “The Rains of Castamere”.
“RECTIFY”
One of the surprises of the TV season, “Rectify” quickly took hold and defied the natural inclinations of other shows. It moved slowly, favoring character focus and examination of everyday life over quick moving storylines, violence, and sex. The acting was as good as you’ll ever see on TV.
“THE AMERICANS”
The spy drama set in the Cold-War era quickly burst onto the scene, delivering one of the best first seasons of any show in recent memory. Matthew Rhys and Keri Russell anchored a wonderful cast, and each episode brought the intrigue, character development, and action that any spy drama requires.
“MAD MEN”
One of the staples of the current television era, “Mad Men” was as good as ever in season 6. It brilliantly portrayed two agencies clashing over business, then combined them and grew into an examination of characters like Don and Peggy. New characters like Bob Benson were the subject of speculation on the Internet. Betty was integrated well. The season finale was a masterpiece. All in all, another great season.
Which should win?
I hate not picking Breaking Bad, but honestly, Hannibal and Rectify might get my pick over it. Mad Men was just as deserving as well.
Others considered: Scandal, Spartacus, Treme, Justified, Homeland, House of Cards, Dexter, Boardwalk Empire, Parenthood, Southland, Bates Motel, Fringe, Orphan Black
On to the real nominations…
Breaking Bad
Downton Abbey
Game of Thrones
Homeland
House of Cards
Mad Men
Which should win?
Breaking Bad
Which will win?
House of Cards
Analysis: This is a strange choice, but I’m going all in on it. I expect House of Cards to be the Homeland of this year, as it has big buzz around it in the form of Oscar winner Kevin Spacey and the Netflix model. However, it won’t sweep the top awards, as Danes is unstoppable. I don’t think it deserves to win, but I’m predicting it will. As for Breaking Bad, that would be my second choice, especially considering the final season is airing opposite the Emmys this year (if Breaking Bad doesn’t sweep all the awards next year, I’ll be angry. This final half-season is the best it has ever been). Homeland could win, and I wouldn’t be surprised if it did, but I feel like the voters recognized the drop in quality this year.
Credit to AMC, NBC, HBO, Sundance, FX, The Americans, Mad Men, Breaking Bad, Rectify, Game of Thrones, and Hannibal for all pictures. I own nothing.
Polar Bears Watch TV 