Tag Archives: television

Parenthood “In Dreams Begin Responsibilities” Review (5×04)

18 Oct

Parenthood-In-DreamsDoing the right thing and doing what we need to do aren’t always the same thing. Tonight’s Parenthood is all about dealing with these uncomfortable situations and moving on in life. Let’s break it down.

KRISTINA AND THE SHADY FUNDRAISING

I’m not a big fan of the storyline in general; I get the motivations behind the campaign, but I don’t really like how it’s playing out. Yes, it would make absolutely no sense for Kristina to run without money, but I wish Adam had not gone to Mista Ray for the 20 grand. It’s more plausible than the Luncheonette profits funding the campaign, but it’s a bit too easy for my tastes. The show needs to explore the gritty details of a campaign and whether or not she deserves to win, and this week’s storyline only scratches the surface. Kristina having to sacrifice her morals to win, or even Kristina dropping out entirely, would both be more interesting than where we’re going now.

ADAM’S QUEST FOR A NEW LABEL

I do like this storyline better, as the Adam-Crosby relationship is usually a good source of humor; watching Krause and Shepard play off of each other is always a delight. I like that the writers are taking them down a newer path that will lead to increased individuality, but I also hope that we’re not going to just see an emulation of the first Luncheonette plot.

VICTOR’S READING PROBLEMS

Pairing Zeek with one of the kids is always sweet to watch, and this bodes well for Victor’s storyline. Much like Adam has to turn to Mista Ray for both his and Kristina’s sakes, Victor turns to Zeek for both his and Julia’s sakes. I’m glad that Julia isn’t angry about Zeek being a better teacher than her; when you love your kid, you want what’s best for him or her. The “jealous parent” storyline is one that I never like seeing, as it inevitably leads to contrived conflict.

DREW, MUSIC, AND GIRLS

Drew has another romance blooming! I don’t know what to think about this storyline. His love interest’s cute and all, but I hope there’s a spin on this relationship; I don’t want it to turn into another Amy, much as I like Drew actually taking the initiative and doing something about his life.

AMBER AND RYAN’S WEDDING

Once again, I’d like to state my love for Mae Whitman and Matt Lauria. Their chemistry is off the charts, and I really hope nothing bad happens. In this episode, we start to see some tension between Amber and Sarah over Ryan’s past. I like that Sarah’s stating her opinion, as she’s actually right (I like her line about her actually knowing what it’s like in this situation). At the same time, I wish she would leave those two crazy kids alone.

GRADE: B

OTHER THOUGHTS:

-I do wish we had a continuation of last week’s Zeek-Camille storyline. That was beautiful and realistic, and it feels too abrupt that Camille’s isn’t even in this episode. You’re right, Zeek! You’re not going anywhere, so you should.

-Drew’s haircut annoys me.

-Heather’s great, as she really grounds Kristina and is good at doing what she does.

-I like the cold open shot of Sarah awkwardly standing beside Amber and Ryan making out.

-“Hank said he would give me 20 dollars if I could shut up for an hour.” Shut up for another 1000 hours and Kristina will have her money!

Credit to NBC and Parenthood for all pictures. I own nothing.

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Parks and Recreation “Gin It Up!” Review (6×05)

18 Oct

627-9First, let’s get this out of the way….Tatiana Maslany freaking rocks.

There. All right, now onto the rest of the episode.

LESLIE RECALL

Councilman Jamm’s back, and he’s out to get Leslie once again; this time, he’s using one of Donna’s tweets against her. It’s a nice storyline because it seems as if the show’s transitioning from Ann to Donna; whereas this is something that Leslie and Ann would’ve had to go through before, Donna handles it in a different way. It’s a nice setup for a potentially fantastic relationship going forward.

RON AND HIS WILL

Ron’s storylines do seem repetitive at times, but his interactions with Ben are just good enough to sell it. I would like to see him interact with Diane more, but I understand that he’s a person that’s afraid of commitment; it might not be in character for him to move fast. Nevertheless, Scott and Offerman are fantastic here, as always.

TOM AND NADIA

Guest star Tatiana Maslany plays a more straightforward character here, but she and Plaza play their respective characters perfectly. The storyline could’ve easily become cliched (Tom is pretty insufferable here), but the two are able to ground the storyline and make it endearing. Still, I don’t like that Tom gets Tatiana Maslany. He’s one lucky man.

GRADE: B+

Other thoughts:

-“Upon my death, all my belongings will transfer to the man or animal that has killed me.”

-“She was talking dirty to me.” “She was reading the emails you sent to the first woman!”

-“Another word for ‘joke’ is ‘lies’.”

-#Bossbitch vs. #bitchboss

-“Nice meeting you, April….kinda. You’re weird too. “Thank you.”

-“I will leave my children 50 dollars apiece for the cab ride home from my funeral and a steak dinner. That’s all.”

-“We need to talk.” “That has never been true.”

-Ethel Beavers reading Donna’s tweets is perfection. “Number sign.”

-Maslany looks good in a lab coat.

-Speaking of, you should all watch Orphan Black.

Credit to NBC and Parks and Recreation for all pictures. I own nothing.

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Glee to end next season after competing in Regionals for the millionth time

17 Oct

627

Ryan Murphy announced today that the next season of Glee would be its last. The singing show that involves lots of people singing and making out is currently in its fifth season of people singing, and the singing will finally come to an end next year. 

Murphy stated that “The final year of the show, which will be next year, was designed around Rachel and Cory/Finn’s story…I always knew that, I always knew how it would end. I knew what the last shot was, he was in it. I knew what the last line was—she said it to him. So when a tragedy like that happens, you sort of have to pause and figure out what you want to do, so we’re figuring that out now.”

Of course, he could’ve just as likely been talking about American Horror Story, as Ryan Murphy never makes any sense and has a twisted, idiotic mind.

Most likely, the final season will consist of yet another Regionals, and the Sectionals will become Sectionaled Regionals and the Regioned Regionals will become sections of the Sectionaled Sectionally Regionally Regionals. Also, more singing. The final scene will also presumably just be Rachel talking to a cardboard cutout of Cory Monteith and bawling her eyes out, and the last line of dialogue will be “You’re in heaven now, and I’m still stuck on this show.” 

Credit to FOX and Glee for all pictures. I own nothing.

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Sons of Anarchy “Salvage” Review (6×06)

16 Oct

627-6Just thought I’d check in on the season with a few quick thoughts…

-This is the most entertaining and optimistic the show’s been in a while. Sometimes it’s necessary to just let the characters breathe for a second; not everything has to be dark and violent, and this episode is a nice digression from the depression-laced nature of the first five episodes.

-Jax’s long speech to the club is fantastic; not only is it sensible, but it really emphasizes that brotherly connection among the members. This moment was a long time coming (perhaps a bit too long), and it’s acted perfectly by Hunnam.

-The episode also serves as a nice transition into the second half of the season; we start to see some trouble on the horizon with Juice, a guy that’s always been quietly falling into his own hole. That starts to come out in this episode. In addition, CCH Pounder’s Patterson is starting to become increasingly involved in the proceedings, and she’s set to be the club’s greatest adversary on the cop front. She’s fueled by a need for justice and anger over Toric, and it’s exciting to see how she interacts with Gemma and Tara. She can hit the club on the home front.

-The moment when Patterson takes off her wig (“Time to go hood, sista”) is pretty awesome.

-The scrap between the corrupt cops and the club is superfluous, but it’s just fun to watch. The scene where they escape on the bikes is reminiscent of earlier seasons, and I realize that I’ve missed the old Sons.

-Bobby’s storyline turns out perfectly, and it alleviates my concerns about his character. He’s just been trying to do the right thing, recruiting members for the club; it’s in character for him, and it adds to the strength of Jax’s speech.

-Walton Goggins returns as Venus Van Damme, and he’s once again brilliant. The scene feels a bit shoehorned in, but it showcases a different side of the character and opens up the possibility of future appearances.

GRADE: B+

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

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Tuesday Comedy Roundup-New Girl and Brooklyn Nine-Nine

16 Oct

627-5NEW GIRL, “THE BOX” (3×05)

Nick Miller is a guy with not much direction in his life, and this episode nicely reflects this idea; he avoids his bills, he doesn’t really understand how finances work, and he wants to play the saxophone in an alley while Jess walks by in a mini skirt, with a gem-studded purse. We’re starting to see signs of focus from him, but it still takes Jess a while to get him to do so. I’m glad she doesn’t set a quota here, as Nick isn’t the kind of person that’s going to live up to it; instead, the storyline culminates in a sweet, anti-bank “protest” at the end of the episode.

In addition to this, we have Schmidt trying to become a good person. I do like that Jess comes right out and states Schmidt’s transgression, and it helps motivate him to help a biker in need. Yet, as expected, the storyline doesn’t do much for him, but it’s a step in the right direction. The C-plot involves Winston, who strangely disappears for much of the episode; however, the final tag is a fantastic gag involving a candelabra and genies.

GRADE: B+

627-7BROOKLYN NINE-NINE, “The Vulture” (1×05)

Brooklyn Nine-Nine really seems to be finding itself and its characters, and its unique voice is now shining through, illuminating one of the best new shows of the year. This particular episode involves “The Vulture” (also known as Dennis Duffy from 30 Rock), a cop who swoops in and steals cases; Peralta takes offense to this and tries to vulture his own case. The episode does a nice job highlighting the virtues of having such a wonderful cast; Peralta’s team plays nicely off each other, especially with a running gag in regards to women having hairdryers in their purses.

In our B-plot, we have the wonderful trio of Braugher/Peretti/Crews, three actors whose characters shouldn’t work together, but do. They highlight each others’ differences, and each shines in a sweet storyline, one in which Holt just wants to help his friend.

Ultimately, the gears are fully oiled and running for this show, and hopefully we see some upticks in the ratings soon.

GRADE: B+

Credit to FOX, Brooklyn Nine-Nine, and New Girl for all pictures. I own nothing.

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Homeland “Tower of David” Review (3×03)

14 Oct

627-3

Wherever you go, people die.

Nick Brody is the reason for Homeland, but does Homeland even need him?

I’m not sure yet. The character and the actor are magnificent, but would the show have been better off if it had killed him already? There’s no way of knowing, and while I’m sure the writers can come up with something for him to do, it’s all a matter of how well they do it.

As for this episode, it’s a nice digression from the normal episode organization. The episode cuts between Brody’s and Carrie’s stories, drawing parallels between the two, albeit a bit heavy-handedly. Still, this works as a fitting end to our two main characters’ journeys, but I’m not sure if it works as an episode of this show because it’s not the end of their journeys. The show can still surprise me later, but the writers have written themselves into a hole, yet it’s one that is necessary given the road the characters have gone down. There really was no other way this could all turn out if neither died.

It’s a nice character study, that’s for sure. It’s necessary to focus on both Carrie and Brody because they’re simultaneously parallels and foils. The Tower of David represents everything Brody does not want it to be: the end of the line. In reality, it represents everything that he is: a scar that can never heal. Much like Carrie, he can’t come to terms with the fact that he’s got nowhere to go; he’s come full circle from his captivity in Iraq, now in a situation that’s strikingly similar to those miserable years. There truly is no escape, and that is exactly why this storyline can’t really sustain itself much longer, however compelling Danes and Lewis are. It’s time to bring in the aliens.

There are some intriguing scenes in this episode, though, something that seemed to be missing from the first two installments this season. First off, we have Carrie meeting a lawyer that seems to want to help her, but in reality is trying to manipulate her. She sees right through this; Carrie’s never been someone that can be manipulated by strangers, bad guys, and the like; her sharp instincts are always on in regards to those kinds of people. Where her weakness lies is with people she’s supposed to be able to trust: her own government, Saul, and even Brody to an extent. Her need to please those around her holds up blinders, not allowing her to see herself falling deeper into the hole those very people have dug.

Speaking of holes, both characters end the episode in both literal and metaphorical prisons. Brody’s been beaten down physically and emotionally; he’s the guy that always seems to survive, but hurts those around him. Now, all he can turn to is heroin. I’ve seen some grumblings around the Internet about this scene, but I believe it works; he can’t hold on any longer because he’s been holding on for years. As for Carrie, she still has a flimsy support group, but she’s only going to allow herself to work with Saul. She thinks that everyone else is out to get her. The thing is, Saul can’t risk working with her, and rightfully so.

It’s a beautiful closing shot, that’s for sure, but it’s one that suggests finality. I’m not sure where this is going. What is finality but a prison? We can always look for an escape, we can always move on, and we can never be satisfied.

GRADE: B

OTHER THOUGHTS:

-Henry Bromell was a fantastic writer, and this is the last episode credited to him. RIP.

-No Dana this week, who’s probably off banging her boyfriend in the middle of a restaurant somewhere.

-No Jess or Chris, either. Nothing feels different. No Saul, either.

-I appreciate and respect the ambition of this episode more than I actually like it.

-Esme is like an Issa replacement. Of course, “Take me with you!” got a big groan out of me. She’s cute, though.

-I think the time with each character gets shorter as the episode goes on. It’s an interesting stylistic choice that culminates in a final quick shot of the two, and it creates a nice constricting atmosphere throughout.

-I enjoyed Brody’s captors.

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

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The Walking Dead “30 Days Without An Accident” Review (4×01)

14 Oct

627-4The Walking Dead has always been a bleak show, taking the opposite end of the spectrum from shows like Falling Skies. Optimism and cheer haven’t been very present in the show, which makes it all the more surprising when the season 4 premiere opens with characters smiling, cracking jokes, and working together. Some time has passed since the Governor declared war on the prison, and our characters are now settling down, learning the rudimentary skills needed to survive in a post-apocalyptic world (like knife-using, as taught by Carol). On the one hand, it’s great seeing these people act more like human beings, but on the other hand, the cast is so large that most of the supporting characters feel like plot devices. Who knows? Maybe one day, the show will become an engrossing character drama. Yeah, probably not.

What the show excels at is the zombies, as to be expected when the entire premise is zombies. The scene in which a bunch of them crash through the ceiling is extremely entertaining, and this proves that the show still hasn’t run out of ideas in regards to walker deaths. The gore hasn’t let up and neither have the visuals.

This is our only action sequence in the episode, though, one that consists of a lot of talking. One of these plots involves Rick and a woman he meets in the woods, and it’s a compelling story that serves to comment on the show’s themes of humanity and survival. She attacks him impulsively because of a need of survival, and this brings up the question of whether isolation is best for survival or not. There’s a lot of weight in these scenes, and it’s disappointing that it only lasts for one episode.

Ultimately, the episode plods along at a snail’s pace. While I’m happy about the character work, the characters just aren’t compelling enough to sustain a whole episode’s worth of entertainment.

GRADE: B-

OTHER THOUGHTS:

-So, Daryl and Carol, huh.

-Speaking of, Daryl’s a celebrity now!

-I like how the walker with no legs is the only walker able to see the guy whose leg is pinned.

-Rick’s a gardener now!

-Glen and Maggie are doing alright.

-If, after the “Humans kill other humans, and they have names.” line, Carl went “You’re right!” and shot her in the face, then I would forgive the show for a lot of things.

-So, there’s apparently a virus of some sort that’s killed one person in the prison already. It’s all the pig’s fault!

-I’ve never watched Talking Dead, and I have no idea what can possibly be discussed for half an hour.

Credit to AMC and The Walking Dead for all pictures. I own nothing.

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Strike Back “Shadow Warfare, Episode 9” Review (3×09/4×09)

12 Oct

Strike-Back-Season-3-Episode-9-Preview

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

“So they all just kill each other, huh? Makes you wonder why we even need to be there!”

The penultimate episode of this season ramps up the intensity and the action, delivering shocks and thrills at every turn. It’s hard to believe that we’re already nearly finished with the season, but here we are.

Let’s talk about Ester. As Kamali’s daughter, she imbues a sense of reality into the proceedings; she’s just an innocent girl caught in a web of lies, betrayal, and violence. Scott recognizes this, and she serves as his “other side”, a side that wants to escape from this web. Amidst all the action in this episode, he sits down to have a revealing conversation with her after informing her of her dad’s death. It’s a quietly heartbreaking moment, as Scott opens up about his lack of connection to his child. He’s the kind of guy that’s always needed someone to connect with, and that’s why he turns so often to sex. Stonebridge fills his professional and brotherly needs, but Ester inspires his paternal instincts.

As for Kamali, who’s outed as Al-Zuhari at episode’s end, I’m not sure about this decision. On the one hand, it sets up for an explosive season finale in which Scott and Stonebridge come face to face with a supposed ally; on the other hand, it’s much more powerful to have Kamali go out with his motives ambiguous. He was just a regular person in a tight spot before now. Now, however, he’s a criminal mastermind that’s outsmarted everyone, and it winds up being Dalton that was right the whole time. We don’t see much of him here, so I’ll wait till next week to pass judgment on the decision.

Still, even with the uncertainty over that final reveal, I thoroughly enjoyed this episode. It’s pretty much nonstop action, the location moving from a carnival to a building to a train and improving each time. One thing that never goes bad is the action, and it’s good to know the show’s still got it.

GRADE: A-

OTHER THOUGHTS:

-The Section 20 folks can’t seem to catch a break in this episode. When you think about it, they’ve actually been outsmarted at every turn; they haven’t been very successful: Dalton went off the rails, Scott and Stonebridge can’t keep anyone alive in this episode, and Kamali’s Al-Zuhari. It’s smart of the show to parallel this with Scott and Stonebridge’s slivers of hope at leaving.

-The train scene is awesome. It reminds me of the opening sequence of “Skyfall”, which is impressive considering this show has very little money compared to that movie.

-What’s up with Richmond and Stonebridge?

-I want to see Scott fight in a vat of cotton candy.

-Locke has had his ups and downs, but I’m warming up to his character more.

-Stonebridge slicing that guy’s artery…I shudder to think about it. Looks like he’s all right now.

-Season finale next week, followed by the six episode “Chris Ryan’s Strike Back” starting October 18th

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

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Thursday TV Round Up 10/10/13: Parks and Recreation, The Vampire Diaries, Parenthood

11 Oct

Due to my lack of time to write 3 separate reviews, I’ve decided to introduce TV Round-ups to provide abbreviated thoughts on shows I’ve watched.

DATE: October 10, 2013

SHOWS COVERED: Parks and Recreation, The Vampire Diaries, Parenthood

627-4PARKS AND RECREATION, “DOPPELGANGERS” (6×04)

Now here’s a much better way to handle Leslie Knope. Last week, she bordered on insufferable because 1) No one called her out on her actions, and 2) Her relationship with Eagleton isn’t as deeply personal as her relationship with Ann. While at times she may seem childish, her actions here are understandable. She’s acting out because her best friend has told her she’s leaving (the scene where Ann goes to Leslie with waffles and a picture of Joe Biden is sweet and hilarious).

We also have a bunch of Eagleton Doppelgangers joining the proceedings, and it’s absolutely fantastic. I like that all of them aren’t really straight up “rivals”; there’s a spin on each that subverts my expectations of what the show would do with the character. Billy Eichner and Sam Elliott are wonderful here.

GRADE: B+

627THE VAMPIRE DIARIES, “TRUE LIES” (5×02)

This is a slower episode than last week’s, seemingly more of a “move the pieces into place” episode. It’s not bad, but there seems to be a bit of wheel-spinning going on. It’s always entertaining to see Silas-Stefan, especially when he’s battling it out with Jeremy, and I think Bonnie’s storyline is better handled this week. Her scenes with Matt are touching, and she doesn’t feel as superfluous here. In addition, Katherine is becoming increasingly entertaining; I could watch her complain about her sinus infection all day.

However, I’m finding that the Damon-Elena scenes don’t work for me. Elena’s made her choice, and bringing up the Stefan drama again is tiring.

GRADE: B

627-2PARENTHOOD, “Nipple Confusion” (5×03)

The episode has its ups and downs. I love the Crosby storyline; it really details the difficulties of parenthood in a moving, realistic way. In addition, the Zeek and Camille storyline shines; they never get enough to do, and this episode shows exactly why they’re great. It’s a very relatable and realistic conversation to have, and I’m looking forward to where this goes.

As for Sarah, I hope that she can settle down and focus on photography. I love that Hank calls her out on her “flightiness”, and I like that he doesn’t sugarcoat things too much when she visits him later with the photos. She has a need for validation from others, and I like that Hank just compliments her on her photography, not her person.

The Drew college adventures are pretty inconsequential, mainly used as an excuse to have Matt Lauria act all badass. Don’t get me wrong, it’s fun to watch. Joel and Julia’s spat seems a little excessive, but it’s still rooted in reality. I hope that Julia’s relationship with Ed doesn’t turn romantic, as I think it’s an extremely interesting premise to explore an emotional connection, not a physical one.

Now, on to Kristina. She acts childish in this episode; I’m having a hard time believing that she wouldn’t worry about their finances. Also, it’s unrealistic that she would get going this quickly. I love Monica Potter, but this storyline’s dragging a bit.

GRADE: B

Credit to NBC, The CW, Parenthood, The Vampire Diaries, and Parks and Recreation for all pictures. I own nothing.

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Scandal “Guess Who’s Coming to Dinner” Review (3×03)

11 Oct

627-1

Huck and Olivia. Olivia and Eli. There’s an interesting dynamic going on here that’s based upon trust: Eli’s the person who Olivia should be able to trust; he’s a dad, and dads are supposed to care for their children. Now, I have no doubt that he cares about Olivia, but his way of caring for her is pretty much emotionally abusing her and using her career as a justification. He probably has some kind of endgame here, and he’s definitely her biggest enemy because he knows how to hurt her: hurt those around her. He’s the kind of guy that always gets what he wants. On the other side, we have Huck, someone who someone like Olivia shouldn’t need to trust. Yet, she’s able to relate with him more so than anyone else, and she needs him as much as he needs her.

Huck finding out about Liv’s father blows up this whole situation. Not only is it detrimental to Olivia, but it’s sure to leave deep and painful marks on Huck’s psyche. What else, really, is keeping him going aside from Olivia and his job? He’s lost his wife. He’s lost his son. He’s now lost Olivia. You can see the pain in his eyes in that parking garage, and it’s heartbreaking because we know what this will do to him.

That sense of loss is contrasted with the events surrounding Jeannine. In a sense, everyone wins here: Jeannine’s going to make a ton of money, Olivia gets Jake back, Fitz gets to be the hero, and Cyrus and Mellie are successful in pinning the affair on Jeannine. In a sense, everyone loses here. Olivia has to endure so much and agree to so much, all just for Jake, Fitz doesn’t get to reveal to the world his love for Olivia, and Fitz and Cyrus are set to be under Eli’s manipulative net.

Speaking of Fitz, he’s now starting to take back the power a bit. Cyrus has held off because he knows that he’s on thin ice, and Mellie isn’t really adapting to Fitz’s slight personality change. As Fitz continues to feed his delusions, he’s gaining power. Yet, we know that he could come tumbling down any second, presidential balls or not.

The episode as a whole seems quieter, but it really moves the plot forward while filling in the blanks of the past. Everyone’s losing something and gaining something, and this constant cycle doesn’t bode well for our characters in the future. Maybe that suicide bomber will blow everything up next week, and Harrison will be left standing there, not knowing what to do with himself. Maybe he’ll eventually find some farm animal somewhere to become completely devoted to.

Other thoughts:

-Joe Morton’s killing it as Eli; his interactions with Washington are thing of beauty. Even if the plot and the character shifts are a bit too fast at times, the actors make it work. Also, I’d watch a whole episode of him giving intense speeches.

-David Rosen’s flashback goatee.

-The show should get Toby Ziegler to rant and point out everyone’s flaws.

Credit to ABC and Scandal for all pictures. I own nothing.

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