This is going to be very brief, but I wanted to say a few things about this episode.
-Eddie Kessler’s death is one of the most heartbreaking scenes of the year, which is really impressive for a character that has only come into his own in the last few episodes. Just as Nucky has finally started to take notice of him, so do we. It’s understandable, though, why Eddie jumps off that balcony. He’s been shunned his whole life, forgotten, ashamed. He spends his final days in an interrogation room, truly alone, and it’s better for him to end it all. Devastating.
-Van Alden, Al Capone, and Frank Capone is a powerhouse trio that I never would’ve become tired of seeing. However, Frank is gunned down here in a powerful scene; Nelson’s about to try and distance himself from his current puppet-like role, but this happens, causing Al to turn him into an ally in his quest for revenge.
-Nucky essentially interrogates William in an episode in which Eddie is being interrogated. Although I’m not a big fan of William’s storyline, his scene with Nucky is extremely well done. It also shows that he’s a Thompson at heart.
-It’s hard not to feel sorry for Gillian, who’s trapped by her own addiction. Gretchen Mol is fantastic in this role.
-Fantastic camera work by Tim Van Patten. The riot scenes are beautifully filmed.
-Now we’re getting going. The first part of the season was a little slow, but it’s now kicking into high gear.
Credit to HBO and Boardwalk Empire for all pictures. I own nothing.
The writers have written themselves into a corner with Carrie Mathison, but what an intriguing corner it is. She’s deluded herself into thinking she needs to save everyone, yet also is wary of anyone that shows one inkling of kindness toward her. It’s truly a fascinating look into a case of paranoia, and like I said last week, it’s not an imitation of what she’s been through before. I’m interested in seeing how Brody factors into all of this next week.
The episode closes with a devastating shot of Carrie, mumbling a simple epithet at Saul before turning away and squeezing her eyes shut. It’s a quiet moment, unlike the previous 45 minutes of her going bonkers. It’s clever what the show is doing here, making it seem more and more deserving of our main character to receive the accusations that have been piled upon her. There are no villains in this season; there may be assholes, but what’s interesting is that they’re justified. There’s a tug-of-war battle going on between Saul and Carrie, as well as the CIA and Carrie, and it’s hard to fully sympathize with her because what she did really is unforgivable.
These effects continue to reverberate throughout the show, starting with Saul and his always magnificent beard. I feel like the show goes too far this week, as he berates a Muslim aide in his office. The xenophobia is understandable, but Saul’s never been the kind of person who gets angry over these kinds of things. Not to mention, it all makes him look like a complete jerk.
On the homefront, we devote tons of time to Dana and her boyfriend. Now, I think I appreciate the Brody family more than I enjoy it. The family was always more compelling when it was a foil for Brody, and now that he’s gone, I appreciate the show exploring the fallout. However, Dana’s boyfriend is annoying, and the fact will always remain that they were all more interesting when Brody was around. Still, an extremely powerful moment comes when Dana lays it all out in the bathroom to Jess. Dana’s turning elsewhere because she feels like she can’t trust the people around her, especially those she used to be close to. Jess is extremely frustrated because Dana’s boyfriend is becoming the very thing she wants to be: Dana’s emotional savior*. That’s expected, of course.
Dana’s storyline ties into Carrie’s really well, although the two characters haven’t crossed paths much. They’re both lost and emotionally drained, and there’s no way out.
GRADE: B-
Other thoughts:
-*That does only work for Jess’s side, though. I’d say Dana’s boyfriend is more of a crutch; he’s holding her up, but it’s pretty flimsy. Dana’s afraid that if he leaves, she’ll have to go through what she went through all over again. She fancies the idea of him more than she does the actual person.
-The episode is once again pretty slow, although it’s too slow for me. I get what they’re trying to do, but Season 1 proved that the show could deliver high quality intensity without falling into the thriller/action tropes.
-Quinn’s the moral center of the show now. I don’t know how to feel about that.
-Chris is just all “Hey, what’s up. Dana not eating? Chill, Mom. Loss of appetite sure has nothing to do with suicide; let her go sulk in her room. Dana disappearing? Chill, Mom. She just attempted suicide a few weeks back, let her run away into the rain at night.”
If there’s anyone that needs therapy, it’s Chris. Hopefully Brody’s first action back is to rid us of this kid.
-Nice title.
Credit to Showtime and Homeland for all pictures. I own nothing.
Let’s talk about Leo Kamali. Is he a traitor? Is he a hero? The answer is no.
What Kamali is is a man that just wants to survive. Yes, he’s working with Section 20, but he sells Scott and Stonebridge out to save himself. Yes, he sells them out, but it’s out of necessity. He isn’t exactly loyal to anyone but his daughter, and while he does have a set of morals, what ultimately trumps all is his need to live. It’s completely understandable, and it’s what makes his character more interesting, more human, amidst all the chaotic action and cartoonish villains. Don’t get me wrong, Scott and Stonebridge are two of the most entertaining characters on television, but Leo Kamali portrays what it is to be human in an inhumane world.
This inhumanity is in full force tonight. Kamali is shot in the head at episode’s close as a necessary, yet tragic, end for his character. Stonebridge finds out that his captors are weaponizing a Smallpox variant for Al-Zuhari. Richmond and Martinez grapple with the inhumanity of allowing a woman get murdered in front of them. All contribute to the theme, one that lends itself to the bigger idea of escape: escape from Section 20, escape from our moral blinders, escape from our lives.
Stonebridge talks about this when he remarks that he wished it would all just end. Yes, there’s no doubt that he’ll make it out alive, but the poison really allows him to reflect on his life, allowing us more insight into his character. Last week, the prison lent itself to the constricting situation, and this week, the mysterious lab does the same. It really brings him to the breaking point.
A breaking point is where we’re at this season. Locke makes an impassioned speech about avenging Kamali’s death, one that is an exciting lead in to the final two episodes of the season. It’s hard to believe we’re already here, but here’s hoping to an exciting finish.
GRADE: B+
OTHER THOUGHTS:
-“I feel better already.” “Really?” “No.”
-That shot of the guard falling off the guard tower is strangely beautiful.
-Stonebridge’s ass makes an appearance.
-Scott gets it on with Nina.
-I’ll miss Zubin Varla as Kamali. That final conversation with the daughter is, although cliched, heartbreaking in retrospect. I fully expect Scott to remedy the situation.
-I wonder what the chances are that the show would kill off one of its leads. It’d be a gutsy move, but I’m not sure it would work.
Credit to Cinemax and Strike Back for all pictures. I own nothing.
In just one season, Scandal managed to transform itself into one of television’s biggest shows, delivering the twists, the juicy characters, and the ratings that have also transformed it into one of television’s best shows.
The premiere picks up right after last season’s finale, immediately throwing us into a conflict between Olivia and her dad, Eli Pope. The two are very similar in mannerisms, and it seems as if her own father is her greatest adversary. Yet, he’s also her greatest ally. He doesn’t back down, he doesn’t take BS, and he truly cares about his daughter. In a moment of brutal honesty, he remarks that she’s “twice as good, and half as far.” It’s a surprising and insightful comment on race relations, and it has a profound effect on Olivia; she’s always been brilliant, but the fact is, she’s still a black woman in a white world.
Everything is closing in around her; her clients have all fired her, Cyrus is putting together a kill file, and the press is hounding her everywhere she goes. This is an Olivia that’s been backed into a corner, trapped, much like Fitz and Mellie. She decides to call both of them into a bunker to discuss strategy. That scene is absolutely phenomenal, really showcasing these actors’ talents and bringing that tension through the roof. Everything is on the table here, and it is just cold and brutal all the way through, clearly reflecting the toll this has all taken on everyone. The negotiation over the number of times Fitz and Olivia had sex is hard to watch. It is classic Scandal.
The members of Olivia’s team recognize that she’s losing hold of who she is, so they decide to shift attention to an intern. It’s a move that reminds us, and Olivia, what this is all about: saving others’ lives. She takes this intern on as a client because that’s who she is. She’s Olivia Pope, and the white hat’s on even when it’s off.
GRADE: B+
Other thoughts:
-I didn’t talk much about Fitz in the main part of the review, so here goes. He’s a frustrating character to root for, because although his love for Olivia is genuine, he’s a guy that’s had everything his whole life. He’s used to getting his way, and he expects everything to turn out just the way he wants it to turn out. Fitz, for this reason, comes across as manipulative; take, for example, his hug with Olivia in the bunker following that secret meeting. It’s a genuine hug with underlying emotion, but you can tell he enjoys being that savior.
-Fitz and Sally’s scene is well done. I like the mutual respect there, and it’s a moment of vulnerability for the president. Yet, once again, there may be some hidden motivations there.
-Bellamy Young deserves an Emmy. Fitz vs. Mellie should be awesome to watch.
-“I am the hell AND the high water!”
-“Are we Gladiators or are we bitches?”sss
Credit to ABC and Scandal for all pictures. I own nothing.
“I just have a feeling that something bad’s about to happen.”
In Mystic Falls, that’s a guarantee. Season 5 of The Vampire Diaries opens several months after the events of the season 4 finale, sending Elena and Caroline on their way to college, Matt off to have some threesomes, and Stefan off to his watery “grave”. All in all, it’s a solid premiere that successfully sets the tone for the rest of the season.
First off, we have Elena, Caroline, and their new roommate Megan. As per “new character” rules, Megan has connections to our main characters; this is not what’s surprising. What’s surprising is that she’s killed off this early, a move that paves the way for some potentially intriguing storylines. Yet, this college setting can go either way; I’m not entirely sure how to feel about it yet.
The other main storyline of the episode involves Silas-as-Stephen single-handedly taking control of Mystic Falls. I’m grateful that we don’t have to endure half a season of wheel-spinning, as the character just comes right out and tells everyone else who he is. Paul Wesley is always much more interesting as a villain than as a protagonist, and it’s extremely entertaining to watch him ham it up in his interactions with the rest of the cast.
Speaking of the rest of the cast, Katherine, Jeremy, and Bonnie round out the rest of the proceedings here. I’ve always loved Katherine and continue to do so, and watching Evil Dobrev and Evil Wesley on screen is certainly a treat. I hope the show digs deeper into Katherine’s psyche as a human, as we’ve never really had the pleasure of exploring a character who has transformed from a vampire to a human. This is already an interesting arc that has been set into motion.
As for Bonnie and Jeremy, though, I’m finding myself detached from the show when they are on screen. I don’t hate their characters, but their storylines seem superfluous. First of all, since the show decides to just keep Bonnie around, it underscores the emotional impact of last year’s “body switch”. I suppose it can improve, but as of right now, I’m not all that invested.
Still, it’s a very enjoyable opening hour that has me excited for the rest of the season.
GRADE: B
Other thoughts:
-I haven’t watched “The Originals” yet. I’m not sure if I want to.
-Somerhalder is, as always, excellent.
-“How many people can die and still talk to their best friends?” Yes, Bonnie, exactly.
-As I’m not a big fan of Bonnie, her dad’s death doesn’t have much of an impact. In addition, her dad hasn’t been fleshed out enough at this point, and anyway, parents seem to be doomed in Mystic Falls.
-Alaric should return.
-“If I have to hear the word ‘doppelganger’ one more time, I might have to look up how to spell it.”
Credit to The CW and The Vampire Diaries for all pictures. I own nothing.
So we have come to the end of season 1 of The Bridge, an ambitiously structured, wholly entertaining set of episodes. This finale doesn’t exactly feel like a finale, and that’s because it really isn’t; it’s more of a transition piece into season 2, setting up new roads for the characters rather than wrapping storylines up. There’s not much to wrap up, though, and I do have to commend the show for handling the season in an unconventional manner.
As for the episode itself, the storyline with the most heft once again belongs to Marco, sending him and Sonya to investigate Eva’s disappearance. Sonya’s determined to follow through on this case, and she’s able to get her way; in addition, Marco’s back as her partner. However, he’s a changed man, resorting to violence to satiate his thirst for revenge. Sonya notices, and she’s clearly disturbed. An essential part of Marco’s growth is the character of Sonya Cross, a woman who’s been a social outcast, but desperately wants to incorporate Marco into her life. Not only do we experience Marco’s grief through his eyes, but we also experience it through Sonya’s eyes, adding weight to the whole situation. She recognizes what he’s feeling, but she’s never viewed that feeling as able to manifest itself the way it does in Marco. This idea is the basis behind her connection to him and our connection to this relationship, and it remains a strong focal point for the episode and season to revolve around.
What is Marco feeling, though? He’s angry and depressed, sure, but the most prevalent feeling is one of isolation. As he remarks to Galvan in that final scene, he doesn’t care anymore about what happens to him; he’s set on one goal: killing David Tate. I’m not all that optimistic about where this storyline will end up, as I’m sure the writers can highlight the nuances of grief without emulating the David Tate storyline. Who knows? Surprise me, writers.
Elsewhere, Charlotte’s starting to come into her own as a character. For much of the season, I felt like her arc was superfluous (a title I’d now assign to Ray), and I’m happy that she’s become more than a person that slept with Marco. She’s just another piece to the puzzle. Of course, we also have Linder, who doesn’t seem to fit in anywhere. He’s great, and he essentially saves Eva, but that doesn’t change the fact that he seems like an outlier amidst all the proceedings.
The Bridge really does a nice job of introducing a new direction for the show to take, though. We’re essentially already at the beginning of next season’s arc, and it seems as if the show will now be able to touch on some of the sociopolitical aspects of the border. It’s what the show set out to do.
The show has touched on death, grief, greed, and revenge. It’s delivered thrills, hilarious Sonya moments, and genuine character relationships. It’s one of the better new shows of the year, and it will hopefully remain that way.
Grade: B
Season Grade: B
Other thoughts:
-I also really enjoy the Sonya-Hank relationship.
-One other storyline in this episode: Frye and Adriana searching for Millie Quintana. This is an intriguing storyline, and the Frye-Adriana dynamic is so good that I’d watch the two of them watching paint dry.
-Seeing the mom waiting by the bus is a pretty heartbreaking scene.
-Cesar’s cool.
-The cover of “Living On A Prayer”…I don’t know what to think of it.
-I’d say I enjoy this finale for not trying to do too much, but I’m also a bit underwhelmed.
-It’s been a pleasure recapping this show. See you all next year for Season 2.
Credit to The Bridge and FX for all pictures. I own nothing.
-Obviously, the main object of attention in this episode is Schmidt’s storyline. I find this whole storyline so understandable, yet so frustrating. I’d argue that it’s actually necessary for Schmidt because honestly, is he the kind of person that’s going to just scrap his current way of life and begin anew? He needs this, and perhaps Jess and Nick need it as well. I think the reason we find it frustrating is because we don’t need it. Schmidt being an absolute dick is not something we need to see, and it certainly isn’t pleasant to watch. That’s totally understandable, too. I think a major part of our problems with this episode stems from the complete tonal shift at the end (before that Jess-Nick perfection, anyway). It just seems so dark, so not New Girl, and so not what we want to see. It all depends on how the writers handle this.
-I continue to love the Jess-Nick dynamics. Whether it be them engaging in some simple country lawyer role play, sharing hidden secrets about themselves, having no-kiss sex, or just driving in a car, they are a constant source of blissful happiness.
-Winston’s arc is once again hilarious, but I can’t help but feel bad for him. The sight of him alone at that table, as well as the other patrons sarcastically clapping after he remarks that he has friends, is a one-two sucker punch amidst all the hilarity.
-“I bought 10,000 minutes in 1999 and I’m still using them.”
-Nick’s happy dance is awesome.
-“I’m not convinced I know how to read. I just memorized a bunch of words.”
-The whole “I’m going to break you up” stuff is really, really strange. I’m tentative about this road the show is taking here.
-See ya, Elizabeth. Merritt Wever did some fantastic work on this show, and she’ll be missed.
-“I will break the two of you up when you least expect it, or when you most expect it…which may be when you least expect it….”
-Nick is a “Crumb bum” and “Long Island Street Trash.”
-“I am sexually attracted to ladybugs.”
-“I think horses are from outer space.” “I do too!” “Okay, good.”
-“You think you can have a bunch of wives? You get 1 wife! It’s the way the world works!” “WHY?!” “…I don’t know.”
GRADE: B+
Credit to FOX and New Girl for all pictures. I own nothing.
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.
Walt’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.
Consequence is a tricky subject to tackle. What exactly should we be punished for? How should we be punished? To what extent should a government that has let a terrorist slip out under its nose be punished? Homeland asks all these questions in a contemplative, melancholy season 3 premiere that completely scraps the frenetic pace of Season 2.
This is no doubt a good route to take, as last season descended into a world of plot contrivances that soured many peoples’ opinions of the show. We left off with Brody on the run, the CIA in pieces, and David Estes and Abu Nazir dead. The premiere, naturally, deals with the fallout of this mess; there are Congressional hearings and detrimental effects abound.
On the CIA front, Carrie is now the scapegoat, taking the full brunt of the blame for Brody’s escape. Danes is still magnificent here, conveying so much pain and guilt in just a few looks. Mathison’s own government has now turned on her; she’s not fighting for some hidden cause, and she can’t ever have the hope of being the hero anymore. This is Carrie’s biggest fear: having nothing to fight for but herself. She can continue to protest Brody’s innocence, but not even her closest ally has the luxury of listening to her. She’s truly trapped.
We also see the effects of the bombing on Saul, who’s now been promoted to head of the CIA. He’s now a much harder character that is slowly descending into a pit of darkness. Whereas before, he was mainly motivated by a sense of loyalty to his institution, he’s now spurred on by revenge. He seems defeated and determined all at once. There’s a wonderful dichotomy between Saul and Dar Adal, an intelligence operative that pressures Saul to cut ties with Carrie. Saul’s being backed into a corner here, much like with Carrie.
On the home front is where the episode mainly stumbles. Jess, Dana, and Chris were absolutely essential in season 1, as they represented one side of Brody’s moral dilemma. It was fascinating to watch the family slowly succumb to the pressures of his occupation and ultimate decisions, but now, the question arises of how interesting the family is without Brody. Sure, showing the aftermath is important, but we don’t exactly feel a connection with Dana or Jess (no one cares about Chris), and more importantly, we don’t feel their connection to Brody. Baccarin and Saylor are great actresses, but they don’t have much to work with. Still, I’m not going to be one of those people that blasts the scenes dealing with the consequences because they’re as much a part of the show as the juicy stuff.
This is a show about how personal relationships are affected by a impersonal problems. Last year, like it or not, the Brody-Carrie relationship was essential to the show, both thematically and plot-based. Season 3 smartly removes Brody from the equation early on, but the question of whether he should still be on the show remains. Still, if season 1 suggests anything, it suggests that the guys behind Homeland can create a compelling character piece with spy undertones. Season 3 starts off slow, but hopefully it’s on the right track.
Grade: B-
Other thoughts:
-So Quinn is still here. His scenes feel a little shoehorned in, and I hope his character is expanded on later.
-Dana tried to commit suicide, and she now has a new boyfriend. I really hope we don’t go down another hit and run type storyline this season.
-Oh, how I miss the Carrie-Brody “The Weekend” dynamics.
-There’s an interesting new CIA agent played by Nazanin Boniadi.
-So, how’s Brody going to return? Hopefully he jumps out of Saul’s beard or something. Speaking of, nice beard-off between Saul and Adal.
Credit to Showtime and Homeland for all pictures. I own nothing.
This season of SNL brings new changes, as well my system of weekly live blogs and reviews. Check back in after every couple sketches, as I’ll have updates every 10 minutes or so.
OBAMA COLD OPEN: The SNL political cold opens have never been all that great, but this one is good enough to kick off the season. The fact that Aaron Paul shows up is amazing, and Kate McKinnon does wonderful work here. However, there’s also a lot of unfunny stuff. GRADE: B
TINA FEY MONOLOGUE: Tina Fey’s absolutely amazing. She gets in some good lines here, but the sight of everyone dancing around her doesn’t really work as well as it should have. Anyway, hi to all the new folks. GRADE: C+
“GIRLS” PARODY: Now here is where Fey shines. Blertha is a new character in “Girls”, and everything that she does and says is absolutely hilarious here. Not only that, but the other cast members’ impressions are spot on. Bayer’s Shoshanna and McKinnon’s Jessa are great. GRADE: A-
EXPRESS AIR: This doesn’t really amount to much, except to make fun of a bunch of people that aren’t all that funny. Thompson’s huge suitcase is a hilarious visual gag and Monyihan’s creepy foreigner are great, but the sketch ends up feeling a bit overlong. Still, I liked it. GRADE: B-
NEW CAST MEMBER OR ARCADE FIRE?: Thompson is who makes this sketch work. The premise isn’t all that great, but him screaming at all the cast members and Fey is a joy to watch. While I’m bummed out that Hader is gone, it’ll give guys like Thompson and Killam some more time in the spotlight. GRADE: B
EMETH: As soon as the sketch started, I knew Aaron Paul was going to factor in somewhere at the end. It’s a short sketch, but is just long enough to get in some fantastic meth-smoker shots from the cast. McKinnon is always a treat to watch, and the sight of Thompson trying to grab a naked guy in his living room is hilarious. Also, Aaron Paul. Why not? GRADE: B+
WEEKEND UPDATE: (I’ll take a look at the two musical performances later on) I’m not sure about this yet. Cecily Strong is great, but the first update segment is a bit shaky. I like the bit where Fey gives her advice, but the news stories themselves aren’t all that great (save for maybe the Low Winter Sun slam). Newcomer Kyle Mooney shows up in a not particularly funny guest spot, but Drunk Uncle is able to close off the update on somewhat of a good note. Also, Aaron Paul again. GRADE: C
UNWANTED WOMAN: What? In what world is this funny? I tuned out somewhere in that awfulness, because all I saw was a bunch of stupid stuffed animals. GRADE: D+
RICK’S MODEL T’S: Okay, that late show fatigue is setting in. Fey does what she can as a wife of a car salesman, but her role amounts to nothing but spewing out random lines. Granted, that doesn’t sound all that bad, but nothing really lands here. Hopefully the last sketches can pick up the show a bit. GRADE: C-
ARCADE FIRE: I’ll admit that I’ve never really paid much attention to these guys. I like their style and use of visuals, though, and their sound is very unique; I don’t think I’ll be buying their albums anytime soon, but their performances here are very enjoyable. GRADE: B
MANOLO BLAHNIK: This sketch is consistently hilarious, and I probably will never get tired of it (okay, I probably will). Fey fits in well (“I saw you on House Hunters, and you picked the wrong house, bitch!”), and the other two get in some amazing lines as well (“What’s that thing you put stuff in?” “Your mouth?”). It’s a random sketch, and it’s great. GRADE: B+
Episode Grade: C+
Best sketch: I’m going with “Girls”. I had the grade at B+ before, but I’m bumping it up. It really was a perfect parody, and Fey was wonderful alongside the other cast members.
Worst sketch: “Unwanted Salesman”/”Model T’s”
Final thoughts: I was expecting more out of the premiere, especially with a powerhouse of a host in Tina Fey. There were some great moments, but the whole thing dragged on near the end. Aaron Paul was great, and I felt that Cecily Strong fit in alright Weekend Update. She didn’t get any of the guests, though, which is something I’m hoping we’ll see next week.
Next week: Miley Cyrus. Oh well.
Credit to NBC and Saturday Night Live for all pictures. I own nothing.
This is going to be very brief, but I wanted to say a few things about this episode.
Polar Bears Watch TV 