Tag Archives: breaking bad

Breaking Bad “Felina” Review (5×16)

30 Sep

breaking-bad-series-finale“I did it for me.”

How the mighty have fallen. Walter White was once on top of the world, but he ends the series alone in his meth lab, dead from his wounds. It’s a fitting end, though, one that doesn’t necessarily vindicate Walt, but rather satisfies him.

He begins the episode in his car, staring out the window before the opening title kicks in. It’s a quiet moment of contemplation, of catharsis, of a realization of who exactly he is. He’s a criminal mastermind, he’s killed people, and he’s gotten off doing so. He’s reveled in the power that comes with being on top, and before he goes out, he finally admits it. In a wonderfully acted scene for Gunn and Cranston, Walt tells Skyler that yes, he’s enjoyed being a criminal. It’s helped him feel alive.

It’s not a moment of repentance, however. Walt’s had innocent people killed, destroyed his whole family, and left his life in shambles. He will never be completely absolved of his sins because he only takes responsibility for what he feels he should be responsible for. He’s always been about honor, and this episode is pretty much a bow on the facade of Heisenberg. When he visits Skyler, he’s still hoping for a nugget of redemption, anything that can add one final piece to the puzzle that is his mind. What’s different here is that he finally understands, and Skyler knows.

In that final sequence with Uncle Jack, Jesse, Todd, and the rest, he decides to let Jesse go, giving his former partner a chance to finally kill him. Yet, Jesse wins out by not doing so. He’s free now, free from the clutches of both Uncle Jack’s group of Nazis and Walter White himself. By rising above Walt’s level, he’s finally obtained the closure he needs. It’s a moment of pure ecstasy and freedom for him, zooming out of there to something better. That one flashback he has of the box he pawned for drug money is beautiful, reflecting the true craft of what he’s done. He’s really damn good at cooking meth, and it’s become an art for people like Walt and Jesse. It’s a small dose of hope, of happiness, amidst all that despair, and it’s almost representative of a trophy.

Finale-2Walt’s trophy has always been the meth. Yes, he visits Skyler and he takes a genuine final look at both Holly and Flynn, but it’s almost as if those constitute necessity. Can someone like him really go out without self-gratifying himself one last time? He’s never understood his family more, and never been more of a family man, than right here in this finale, but he’s also never been more of a meth cook. Jesse’s box represents what Walt is at heart: a crafter, an artist, and a criminal. He makes his final stand in his meth lab, but all that stand constitutes is an end. The story of Walter White ends where it began. He gets his way in the finale, but he’s lost everything. It’s a tricky line to navigate, his fate straddling the thin line between vindication and victory, but it’s his fate nonetheless. He’ll never be vindicated, and he’ll never truly win. His legacy will live on, and his family will live on. He’ll always be Heisenberg, and he’ll always be Walter White. In death, he lives on.

Grade: A-

Season Grade: A

Series Grade: A

Other thoughts:

-Jesse killing Todd is both incredibly sad and incredibly cheer-worthy. The series has tortured Jesse beyond repair, but strangling Todd is his cathartic moment. Jesse’s descended to the level of murderers, but there’s something entirely different this time.

-Todd goes out on his greatest flaw: his admiration for Walt.

-Lydia also gets poisoned!

-Badger and Skinny Pete get the best ending the show could ever write for them. “The whole thing felt kinda shady, morality wise.”

-Marie’s one scene is incredibly heart-breaking, just by the fact that we realize she’s alone. Her call to Skyler seems to be one in which she’s reaching out, though, and hopefully their relationship can begin to heal.

-I do feel like things may have come together a bit too easily here, although Walt’s victory, for the most part, works thematically.

-The final scene’s direction is quite similar to “Crawl Space”. However, while that scene felt more confined, this one seems to almost be setting Walt free.

-I like the way Walt gives Jack a false sense of hope before shooting him.

-Walt doesn’t kill Gretchen and Elliott because he’s never been a monster. He may have killed out of necessity, but he sure didn’t take pleasure in it.

-Where’s Carol?

-I like the way the directing exemplifies Walt’s ubiquitous nature, especially during that scene in the Schwartz house.

-This episode is quiet until the end, which is a great choice. “Ozymandias” was the climax and the end of Walter White’s story. These final two episodes are more of an epilogue detailing the end of his life.

-Todd’s ringtone is really something.

-Huell’s still in that house.

-Was anyone else worried that Jesse was going to lose control of the wheel and die a fiery death?

-The final song is excellent, and while the final scene is a bit cheesy, the show’s earned it.

-Thanks for reading along all season, guys. Writing about this show has truly been a pleasure, and I thank Vince Gilligan and Co. for creating such a masterpiece of modern television. This is a show that will be talked about for years to come.

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

Breaking Bad “Granite State” Review (5×15)

23 Sep


“Stay a little longer?”

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.


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.

Saul Goodman to be Saul Goodman in “Breaking Bad” spinoff about Saul Goodman

11 Sep


After months of speculation, AMC announced today that Bob Odenkirk will reprise his role in a spinoff of Breaking Bad, and that said spinoff will be airing on AMC. The series will involve Saul Goodman doing Saul Goodman-y things, like telling young, unsuspecting idiots to not drink and drive, but call him if they do. The series will be one hour, and will presumably consist of 20 minutes of “Better Call Saul” ads, 20 minutes of “Better Call Saul” ads, and 20 minutes of “Better Call Saul” ads. 

Vince Gilligan will be involved in the creative process, and the series will most likely air sometime next year. That gives us enough time to finish screaming at the top of our lungs in reaction to Breaking Bad, and will give our families and friends enough time to look at us strangely, then move out of the country. By the time we have digested the series finale and have gone through withdrawal from the show, most of us will probably be a melted puddle of human, almost as if Walt himself dissolved us in a vat of acid.

Those of us that survive will be able to see Saul’s origins, as the series will trace his route from sleazy lawyer to sleazy lawyer of Heisenberg. Hank and Marie will probably guest star so Hank can throw in a “Jesus Christ, Marie!”, and Jesus Christ will probably descend from the skies in the form of Huell. Walt Jr. will also spend the whole series gaping idiotically at Saul.

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

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

9 Sep


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.


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.

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….


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.
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)
On to the real nominations…
 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
Who should win?
Who will win?
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.

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

2 Sep


“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.


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.

Breaking Bad “Confessions” Review (5×11)

26 Aug


“Why don’t you just kill yourself, Walt?”

Walter White is a despicable person. He’s cheated, lied, and manipulated his way to the top, and in order to keep his position, he has to do so to a greater extent. In fact, he’s not just lying now; he’s manipulating the truth. In the wonderfully directed confession scene, some of what he says is actually what has transpired. However, it’s also an absolutely brilliant act of fiction. It’s the only way to get Hank to back down, and we feel the wrenching effects of the message in Dean Norris’ face. Strangely fitting, isn’t it, that Walt exudes the most power through a TV screen? He’s become a caricature of himself, the Heisenberg persona permeating every single aspect of his life. The dinner scene beforehand shows us, however, that Hank will never forgive Walter. Unlike last week, he pushes Skyler away right off the bat. He’s only hell-bent on taking Walt down, but he has one flaw: he’s smart.

It’s a strange thing to say, I know, but consider Walt’s personality for a second. He’s cold, calculating, and manipulative in ways that Hank has never anticipated. In fact, he was able to outsmart Gus Fring, the previous cold, calculating, and manipulative mastermind. He should be able to outsmart Hank, and he does. Now, what Walt doesn’t expect, though, is unpredictability. This comes in the form of Jesse Pinkman. He has no friends, no family, and no restraints, and it’s a dangerous situation for Walt because Jesse just doesn’t care. Walt realizes this, though, but he deals with it in the same manner he would for someone like Skyler. He hugs Jesse, trying to strengthen that father-son bond he wants to believe is still existent, much like he hugged Skyler back in “Live Free or Die.” However, Jesse breaks down because he just can’t take it anymore; we can see he wants to acquiesce to Walt, but it’s much too difficult.


Then comes the explosion. All that pent-up anger, fear, and sadness manifests itself in a beautiful, yet frightening, sequence of events in which Jesse beats up and threatens Saul, realizes Walt’s role in the ricin poisoning, and rushes to Walt’s house to douse it in gasoline. It’s an abrupt ending, but that’s kind of the point.

Grade: A

Other thoughts:

-The cold open is interesting to analyze. We have Todd exaggerating the details of the train robbery, then leaving a message for Walt. I find it interesting how in the same episode Jesse completely turns on Walt, Todd’s still sucking up to him. He’s like the former Jesse.

-I also liked the tarantula that appears later on, especially given that Todd leaves the murder part out of his story.

-I loved the shot of Walt racing to the car wash all in a panic, then composing himself outside of the door. It’s, once again, some great direction by the crew.

-Walt and Flynn’s scene is, once again, a prime example of Walt continuing to use his family to hold over Hank and Marie’s heads. Of course, the dinner scene reflects the failure of that plan.

-The dinner scene is wonderful. I love the juxtaposition of the cheery exterior, complete with Trent and his guacamole-making ways, with the tension at the table. It’s a fantastically-acted scene.

-Saul just standing in the background of Jesse and Walt’s desert scene was amazing.

-The episode really made me nervous for the characters. I’d imagine the next few episodes will once again have that “anyone can go down” mentality. It’s going to be a ride.

-I hope Walt Jr. wasn’t home at the end.

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

Hello, I’m a polar bear.

23 Aug

Welcome to this blog. There are millions of other blogs out there, but you chose to look at mine. No, you did not just randomly come across it; you chose it. I will accept nothing less.

As for what we do here, I think the title’s pretty explanatory. I’m a polar bear, and yes, I do watch TV. I am obsessed with various forms of pop culture, in particular television and film, so I started this to get my thoughts down in writing. I am a member of the fabulous online community of The AV Club (which all of you should check out), and I wanted to do something similar to that.

What will we review? Lots of stuff. Our TV reviews will include American Horror Story, Dexter, Breaking Bad, The Bridge, The Americans, Wilfred, Louie, Justified, Parks and Recreation, Community, Sons of Anarchy, Hannibal, Orange is the New Black, Boardwalk Empire, Homeland, Treme, Mad Men, Game of Thrones, Archer, New Girl, Parenthood, Orphan Black, Person of Interest, The Walking Dead, Childrens Hospital, NTSF:SD:SUV::, Girls, Nikita, Strike Back, Veep, Banshee, The Vampire Diaries, How I Met Your Mother, Arrow, Revenge, Scandal, The Newsroom, Raising Hope, and others I can’t think of right now. Only some of these will have regular coverage, but I’ll try to get in some posts about all of them. I will also be reviewing new pilots, and may decide to pick up some more shows.

Our TV Classic reviews may include shows like The Shield, The Wire, The Sopranos, Deadwood, Friday Night Lights, House, 24, Lost, Chuck, Terriers, Arrested Development, The West Wing, Fringe, Boston Legal, and others.

*I apologize, but many of these shows’ reviews will start in the middle of their seasons, as I am just starting to write. However, I will try to give some thoughts on the episodes before.

Our film reviews will include whatever movies I decide to watch at home or in the theater, and can be new releases or old.

I might also post some random stuff; fan fiction, thoughts on entertainment news, etc.


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