Tag Archives: TV Recap

The Newsroom “Election Night, Part 2” Review (2×09)

17 Sep

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This could very well be the last episode of The Newsroom. Speculation is running rampant about Aaron Sorkin’s desire to continue the show, and contrary to what Jeff Daniels believes, it’s possible that we won’t see a season 3. Now, as an episode of television, “Election Night, Part Two” is perfectly fine, but as a series, if not season, finale, I can’t help but feel disappointed.

What’s elevated this season above the last is the Genoa arc. I’ve praised it before and I’ll praise it again; throughout the season, it’s allowed for cracks in this perfect little world Sorkin’s created, paving the way for possible consequences for the news crew. However, this episode completely strips that all away, heaping all the blame on Dantana’s shoulders. Even though Jerry shoulders most of the blame, it just seems like a cop out to avoid the legal and moral consequences of their actions. Everyone is flawed. Everyone makes mistakes. The show just doesn’t seem to want to deal with the bigger flaws and the bigger mistakes. It’s telegraphed from a couple episodes beforehand that the Lansings were never going to accept the resignations, and that in itself absolves the situation of any tension whatsoever. That is a big mistake.

Speaking of a big mistake, we also have Jim going around inspiring all the women around him, coming across as more of a condescending a-hole than a caring friend. I hate his “authentic” speech to Lisa, and I hate that he’s the one that spurs Maggie on to talk about Africa. Maggie can make her own decisions, thank you very much.

It’s all tied up in a nice, neat bow, much like the Genoa arc. Sloan and Don kiss. Mac and Will get married. Everything’s great. In fact, I don’t really have much of a problem with that final sequence to close off the season. The moments are well handled, even the Will-Mac one, and the show’s earned sap. What I don’t like is how contrived everything feels. For example, Will and Mac have been on and off again, but it’s never amounted to more than a few arguments. Why are they getting married now? Oh yeah, it’s the finale.

Still, there are some aspects of the episode I do like. I’ve been surprised at how much Don and Sloan have grown on me; rescuing Don from that terrible love triangle with Maggie and Jim was the best thing anyone could ever do for his character. He’s become more fleshed out, and his relationship with Sloan feels genuine. They’re no Mac-Will, that’s for sure. So, I’m much more lenient about the whole book nonsense because Sloan’s actually a good character. Many time, she’s been the subject of the show’s derision toward women, but Olivia Munn has really grown into her role, injecting complexity, nuance, and humor into her performance.

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We end season 2 uncertain about the show’s future, and if this is the end, I have no regrets about watching the show. Season 1 was a trainwreck, but season 2 has really made efforts to improve and expand this world. I appreciate the effort.

Grade: B-

Season Grade: B

Other thoughts:

-I like Will and Mac leaving their posts to let Elliott and Don, respectively, try out as the new team.

-Mac gets her Wikipedia page changed. Okay.

-The crew not pursuing the Petraeus story is a nice touch.

-Of course, we end with a montage, as expected.

-I’ve enjoyed covering the show. Hopefully I can do it again next year.

Credit to HBO and The Newsroom for all pictures. I own nothing.

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Dexter “Monkey In A Box” Review (8×11)

16 Sep

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Well, we’re heading into the final episode of Dexter, and we don’t seem to be anywhere near a satisfying conclusion. Yes, Saxon’s on the loose and Deb’s been shot, but it doesn’t feel as if we’re nearing an ending. First of all, Saxon hasn’t been an interesting character since he’s been a character, and the writers haven’t been able to milk any tension at all out of his relationship with Dexter. There are just so many plot inconsistencies and so much subpar acting that any interest I had originally is gone.

That’s not to say I don’t like the idea. There are many ideas I like, but the show’s problem is that it doesn’t fully expand on them. Oliver-Dexter COULD be a fantastic dynamic to explore. Deb getting shot COULD have felt like more of a significant event. The show COULD have been better. It just isn’t.

In this episode, we have Dexter saying his goodbyes around Miami Metro. Hall does what he can, and his reaction to the realization that he’ll miss everyone is fantastic. The only person truly conveying a sense of finality in the episode is Dexter, and I can only wish we had seen more exploration of his character. His decreased compulsion to kill could’ve been interesting, but instead, we’re hit over the head with constant reminders of how Dexter has changed. In fact, he’s changed so much that Ghost Harry’s gone! It seems as if this show’s idea of character development is telling us that they’ve developed.

Anyway, his character still remains frustratingly stubborn, especially with the notion that he has to kill Saxon. What’s wrong with just walking away? Why not? He doesn’t even end up killing Saxon, anyway. Dexter’s a guy that has to choose between two lives right now, and he says himself that Hannah’s more important to him. Get out of Miami, man! Still, I’ll reiterate the fact that the show shouldn’t be just exploring the “two worlds” concept; they should be exploring his motivations as a killer. The only thing now that could possibly do this is Deb’s death, and it’s certainly a possibility given the fact that she ends the episode shot in the stomach. It’s obviously meant to make Dexter feel guilty, but it just doesn’t have the weight it should. It feels tacked on, and it shouldn’t. Everything shouldn’t revolve around Dexter; Dexter should revolve around everything.

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GRADE: C

Other thoughts:

-Dexter probably won’t get caught. It’s a shame, because that was one thing I was looking forward to this season.

-Masuka and his daughter are there still. Elway’s snooping around. Harrison eats donuts.

-Wow, Lem (still sticking with this name). U.S. Marshals don’t watch the news? Untying Saxon, that wanted man on the TV, is kind of stupid.

-The callbacks they attempt come across as lame and unnecessary. Prado’s sister returns for some reason, Dexter name drops Astor and Cody all over the place, and everyone’s reminiscing about the past. That doesn’t sound like a penultimate episode of a show, does it?

-That last voiceover…jeez. The light metaphor just goes on and on and on, and that last shot seems like a reference to the opening credits or something.

-Deb and Hannah looooove Dexter. Cool. If Hannah wasn’t here, imagine how much more time Deb and Dexter could have together. It’d be a much different show.

-Quinn has a ring. I care because…?

-Next week, the storm blows everyone away and destroys Argentina.

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

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Breaking Bad “Ozymandias” Review (5×14)

16 Sep

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“You’re the smartest person I know, and you don’t even see…he made up his mind 10 minutes ago.”

In one of Hank Schrader’s final lines, he perfectly sums up the character of Walter White. Walt’s flaw has always been his stubbornness, refusing to let go of his family or his money. All throughout this episode, he’s continuing to use the “family excuse” to the point of desperation, even sacrificing his money to try and save Hank. Alas, his plan fails. Hank goes down with a censored f-word, and Walt drops to his knees and falls over, shocked and dismayed. Cranston does wonderful work here, bringing his character through a full range of emotions that culminate in a seething, terrifying look of hatred toward Jesse.

Of course, Todd “saves” Jesse, deciding to use him as a meth-cooking teacher. He imprisons him, attaching him like a dog to a leash and putting up a photo of Andrea and Brock. Todd’s a psychopath, but he craves approval; he’s sucking up to Walt and trying to impress Lydia, and he’s not motivated by greed like the rest of Uncle Jack’s crew. It’s all a heartbreaking sequence of events, and it reflects how with Jesse, there’s no going back for Walt.

However, that doesn’t stop Walt from trying to bring Skyler and Walt Jr. to his side. It’s a doomed plan, though. Skyler and Marie have already told Flynn about his father’s criminal activities, and he’s at a breaking point. When Walt goes to the house to whisk them away, everything explodes in a wrenching, tragic scene in which Skyler pulls a knife on him and Walt Jr. calls the police. Walt snatches up Holly and leaves Skyler in the dust, but later, as he’s changing Holly, he hears one word that strikes him to his core: “Momma.”

This is what truly beats Heisenberg. Much like Walt only can focus on one thing at a time, he can only give up one at a time. Last week, he realized that Hank and Gomez had him beat. However, this week is when his true family has beaten him. He realizes that he has nowhere to go, but he has to go somewhere. Walt calling Skyler at the end is absolutely wonderful to watch. Gunn and Cranston play that scene beautifully. Walt’s not a stupid guy, even though he’s making stupid decisions, so he definitely knows the police are there. It’s one final, heartbreaking act for Walter White. He’s lost his money, and he didn’t get anything out of it. He’s had both his real family and his imagined family turn on him, and he finally breaks down, sacrificing all he has left for what’s left of it. At heart, he’s always been that kind of guy. Yet, he’s able to throw in a “You stupid bitch” as well, something he also really wants to believe in. It’s both a despicable and decent act, exemplifying why he’s been alone for so long. Now, he finally realizes it.

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We’re heading into the next episode with Walt on the run, one barrel of cash left from his now ruined empire. It’s fitting that he ends up this way, and it seems inevitable where his arc will take him. Still, the show can surprised us, and no matter what happens, Walter White will remain alone.

Grade: A

Other thoughts:

-Rian Johnson is amazing. The way he films the opening half hour is better than his “Fly” direction. The fade ins and fade outs are a thing of beauty.

-Hank has joined Mike in the “going out with a censored f-word” club.

-Marie goes from confident to broken in a matter of seconds. What a devastating performance by Betsy Brandt.

-The last shot is fittingly a rabid dog, crossing the street after Walt drives through. Walt’s leaving behind a crazy wave of destruction.

-The tension in this episode is off the charts. It’s like “Crawl Space” stretched out into 45 minutes.

-Walt rolling the barrel through the desert is a great shot.

-“HANK. HIS NAME IS HANK.”

-Walt twists the knife with his confession to Jesse about Jane. It’s an act of desperation and malice, and it’s hard to root for Walt after that.

-“If you knew about it, then you’re just as bad as him.” Amen, Walt Jr.

-It’s fitting how Hank is buried in a ditch dug for Walt’s money.

-Gomez didn’t even get to die on camera! RIP, buddy.

-I’m so excited for the final two episodes.

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

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Strike Back “Shadow Warfare, Episode 5” Review (3×05/4×05)

14 Sep

1185816_669725489706595_1893072589_nIF 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/

After the major events of last week, Strike Back was bound to take a step down. However, that’s not to say this episode is bad; it just moves slower, resulting in more of a table-setting episode than usual.

Before we get to the episode…I know I said that I would only be posting reviews every other week, but I decided to bring back my weekly reviews. Last week’s recap was extremely popular, and I wouldn’t want to take episodes off, especially considering the short length of the season and lack of many recaps around the internet. I just thought it wouldn’t be fair to all those that want to read commentary on each episode after it airs.

Anyway, this episode shifts focus to Mairead MacKenna, the IRA agent responsible for the murder of Agent Dalton. Section 20 pursues and captures her after receiving word that al-Zuhari’s forces and the IRA will deliver a joint attack on an unnamed target in the West. This is a segue into a sequence of interrogation scenes, delivered by Philip Locke, a person onto which the show has been shifting focus over the past few episodes. While Dalton was spiraling downward, Locke was doing the opposite, and now that Dalton’s gone, he becomes more of a presence in the show.

It’s chilling to watch him slowly turn the tables on MacKenna, using her dead brother as leverage. She starts sweating, tensing up, and clutching her fists angrily, while he maintains a steely demeanor throughout. Yet, it seems as if he’s a stereotypical intelligence agent; he has baggage, but he’s able to hide it well. For the most part. Notice his reaction after she remarks, “The Philip Locke?” He seems almost anxious, and it’s evident that she’s struck a chord. It is very likely that he has a more complicated relationship with MacKenna and her brother than is revealed here.

Over with Scott and Stonebridge, we also start to see difficulty maintaining the facade of a badass Section 20 agent. Stonebridge is afflicted with physical problems, while Scott is afflicted with the emotional toll Dalton’s death has taken. He’s not so much surprised as disappointed at the other members of his team for not feeling some joy at the Major’s death. Scott and Stonebridge have always relied on their physical prowess and ability to move on, so it’s interesting to see if these effects will be long term.

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We know that it’ll at least continue into the next episode. After a fun, yet ridiculous (more on this in “Other thoughts”) shootout in an airport, Stonebridge is unwilling to take a shot as MacKenna holds a gun to Locke’s head. Obviously, he’s afraid for his boss’s life, but we can also tell that whatever’s troubling him is really burrowing deep into his mind. He’s going to be tested, much like Locke, the seemingly unbreakable agent that is now in the clutches of the IRA. It seems as if Dalton’s death has set us up for the character arcs to come.

Grade: B

Other thoughts:

-The airport scene is ridiculous. I know that Strike Back isn’t all that realistic, but these guys (and gals) are smart enough to not let MacKenna get away so easily. Every action star on TV should follow this statement: BATHROOM=BAD. BATHROOM=BAD. BATHROOM=BAD.

-The action scenes aren’t quite as fun this week, but I do like the opening scene. It’s very well shot and intense.

-So, we have the most gratuitous sex we’ve had all season. I’m not complaining, especially since it involves two women. It’s an essential part of the fabric of the show.

-Martinez asking Stonebridge out as they’re heading toward a firefight is so great.

-Classic Strike Back moment: Stonebridge’s elbow to MacKenna’s ribs in the car, and Scott’s small smile afterwards

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

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It’s Always Sunny in Philadelphia “Gun Fever Too: Still Hot” Review (9×02)

12 Sep

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I love it when Sunny tries to take on a social/political issue, as it paves the way for some incredibly idiotic, hilarious banter from people that have absolutely no idea what the hell they’re talking about. The episodes are less about the issue, and more about how the Gang reacts to it. This episode in particular covers the issue of gun control, with Dennis and Dee taking the anti-gun side, and Mac and Charlie taking the pro-gun side. Frank is also there, the initiator of all the events in the episode through his call to bear arms.

I love the Mac and Charlie banter, especially when they argue over the effectiveness of a sword compared to a gun. It’s so Mac of Mac to think that zigzagging and making loud noises will distract a gun wielder. I also love their denim outfits, as well as the reference to Indiana Jones.

On to Dee and Dennis. Kaitlin Olson has really mastered the art of yelling, and this episode places her back in full-blown rage form. It’s a sight to see, and it will never get old. It’s kind of ironic how these two end up being the ones with the most background problems, eventually leading them to change their minds over their stance on guns. I like how the storylines eventually meld, completely switching the positions of the two pairings. Mac acknowledges that they could’ve just met two hours beforehand.

However, with all the positive aspects of the episode, I feel like there isn’t much payoff. Especially coming off of last week’s brutal ending, I wish that this episode would embrace the crazy like I know it can. Show us the march on city hall, show! By making this all out to be a money making scheme by Frank, it stays true to the characters, but doesn’t quite deliver on its premise as much as I was expecting it to.

Grade: B

Other thoughts:

-It’s the return of the drug dealer from season 2! I love how Dennis only rolls down his window a few centimeters to talk to him, and how the dealer just “saunters off”.

-Frank and Uncle Jack are perfect in the episode. Also, the sandwich.

-“Did you know that 80% of your water is 100% toxic?”

-“You set one bitch on fire and everyone makes a big deal out of it!”

-“That was against my will, it doesn’t really count.”
“That’s the only time it counts, Dee.”

-“The government of today has no business telling us how to live our lives because the government of 200 years ago already did. They also protected us from tyranny against the seizure of tasteful, artistic photographs of beautiful bodies.”

“Not now, Jack.”

-It’s the New Girl landlord!

Credit to FXX and It’s Always Sunny in Philadelphia for all pictures. I own nothing.

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The Bridge “Old Friends” Review (1×10)

12 Sep

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Most of television nowadays is entertaining without really being thoughtful. The Bridge is starting to shift toward this end of the spectrum, as the story that’s now unfolding on screen is one of a criminal mastermind and the cops that are trying to catch him. That’s not to say the show is bad, but the tonal shift is evident.

Most of this specific episode involves Marco and Sonya trying to find Gus, and this storyline ultimately feels like a waste of time. Marco would’ve gotten that phone call from Tate no matter what, and their search feels like a wild goose chase. I suppose it could be spun so that a wild goose chase is necessary, as it heightens the sense of desperation felt by the two cops, but there are better ways to do this. Bichir and Kruger milk the hell out of their roles (the scene shown in the picture above is absolutely fantastic. It marks a reversal of their character roles, as last week, Marco was the one trying to inject optimism into the proceedings. This week, Sonya’s forced to comfort him and maintain a level of confidence.), but I find myself losing interest. This is especially the case for Tate, as his motivations are a bit muddled now. For example, why blame Marco more than anyone else? It’s these kind of inconsistencies that prevent me from really getting involved with this storyline.

I am interested, however, in Mathew Lillard’s Daniel Frye, a character whose layers are exposed in this episode. Lillard is wonderful throughout, especially in an AA meeting scene in which he goes from making a joke out of everything to breaking down and pledging to maintain sobriety. Lillard conveys a full range of emotions there, and it’s almost a moment of catharsis for him. Of course, then Mr. Omnipresent Tate walks up to him in the parking lot and abducts him. Enough with this kind of stuff, show.

The other side story of the episode involves Charlotte, a character that I have a ton of problems with. Right now, she’s just tangentially related to the search for Gus, and her scenes really feel out of place. I also don’t buy her sudden transformation into a killer. Yes, she’s been backed into a corner, but when I said I wanted her to become more of herself, this isn’t what I meant.

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So, we head into next week with Gus in some giant barrel lit by a glowstick, and Marco and Tate driving  together to get him. Of course, there’s always the possibility that they’re just going to drive off into nowhere and eventually meet up with Todd.

Grade: B

Other Thoughts:

-Or, maybe Marco will realize that he doesn’t care about Gus, and just shoot Tate. Or, Tate’s whole plan will revolve around Marco having a gun, and when they get to their destination, they find out that his gun is out of bullets.

-I like Alma and Marco’s scene, as well as Alma’s refusal to go with him. Yes, it may seem stupid and cold, but it makes sense if you think about it. She realizes that it’s Marco all along that has been the danger to her and her children.

-“Twelve steps can suck my dick.”

-No Linder. I guess he’s off eating ham sandwiches, disposing of corpses, and being his usual unintelligible self. I hope that if this continues for multiple seasons, his storylines just involve him wandering around doing whatever the hell he wants.

-Diane Kruger still looks great while injured.

Credit to FX and The Bridge for all pictures. I own nothing.

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Sons of Anarchy “Straw” Review (6×01)

11 Sep

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Sons of Anarchy is an entertaining, pulpy show that’s always a delight to have on television. This doesn’t change in the Season 6 premiere, which opens with Tara and Clay in jail and the club at a breaking point. Even within jail, (the magnificent) Donal Logue’s Lee Toric is trying to tear SAMCRO apart. He visits Tara, Clay, and Otto, and it’s obvious that he has an immediate effect. Tara breaks down and attacks another inmate, Otto is already beaten down due to a rape, and Clay is forced to comply with Toric’s demands. All of them try to maintain a facade, but Toric is able to weasel his way into their minds and tweak a few things. Yet, Toric is also wearing a mask. We see that he’s essentially a crazy person, a drug user that strips naked and likes mirrors for some reason. Everything is at a breaking point.

Outside, Jax and the club confront a group of torture-porn filmmakers after they rough up one of SAMCRO’s girls. It provides for the necessary action, as well as introduces Kim Dickens’s character as a new love interest. I guess it kind of makes sense that Jax would jump into bed with her, as he’s hurt by Tara’s refusal to see him, but I thought he had more principles than that. In fact, it’s almost as if he’s transforming into a Clay-type figure. I really wish the show would commit to his character one way or another, though, giving him closure somehow. It would tie up his and Clay’s storylines, as well as Opie’s death. However, I feel as if that won’t happen until later on.

As for Tig, we’re starting to see remorse seep through that hard exterior. He’s truly hurt by all that has transpired, and even though he drowns someone in urine and follows that up by urinating himself, we can see the struggle taking place in his mind in the subsequent scenes.

Now, on to the more controversial storyline. We have a young kid in the background of several scenes throughout. Near the end of the episode, he sits down on a bench, rolls up his sleeves, takes out a gun, and proceeds to start shooting in a school. It’s certainly a shock, but I question the ability of Kurt Sutter to handle something like this. I love Sutter, but he tends to be better at violence for violence’s sake. When the show starts attempting political messages, I’d imagine it would get a bit strange. It’s certainly effective in the context of the episode, however. Anything can explode in a second, and since the kid draws striking similarities to Jax, it reflects how he’s lost emotionally and capable of anything.

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Overall, it’s a solid premiere that effectively sets up the rest of the season.

Grade: B

-The show has always suffered from having to juggle multiple storylines at once, so I’m not sure whether Bobby’s storyline will amount to anything compelling.

-The Chibs-Juice scene is heartbreaking to watch. It’s really well acted, and it’s emotionally affecting.

-Peter Weller is awesome. “Persia hasn’t been a country since 637 AD. They’re called Iranians.”

-Gemma’s rising while everyone else is falling. Her relationship with Nero is well off, and she has control over her life.

-Kurt Sutter, always finding a way to abuse himself on screen

-Wendy shows up.

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

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The Newsroom “Election Night, Part 1” Review (2×08)

10 Sep

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Part 1 of the two part season finale feels like exactly what it is: a setup for the fireworks next week. This isn’t necessarily a bad thing, but it does allow for some more of the frustrating aspects of the show to seep in. This review is going to be shorter than usual, as I need some sleep, so I’ve condensed everything down into a few bullet points.

-The reason given for Leona not accepting the team’s resignations-maintaining a sense of honor-feels kind of cheap, and I don’t buy it for her character in particular. In addition, why don’t the team members just accept the fact that she won’t allow them to resign, and focus their attention on rebuilding their reputations? Will doesn’t seem like the kind of guy that’s just going to back down and acquiesce to corporate politics.

-The episode is full of side stories, most of which aren’t very good. No, I’m not really interested in the Wikipedia screw up (Sorkin also pretty much got the whole concept wrong there, anyway), and no, I’m not interested in Will and Mac’s relationship. This was hashed over enough back in season 1, and there’s no use going back to it now. Please don’t have them get back together, Sorkin.

-I did kind of like Sloan’s side story, though, about the whole book autograph scare. It’s unnecessary, but Olivia Munn makes it fun to watch.

-I’ve mentioned that I love the Genoa arc, and I still do. It reflects the difficulties of a group of people working together to tell the news, and it seems genuine. That’s why I like the election coverage in this episode. Sure, it can get tiring after a while, but it seems grounded in a way the show usually isn’t.

-Oh, and Jerry Dantana is suing Don, and Maggie cut her hair very recently. Okay.

-Reese’s long explanation for why Leona won’t accept the resignations is priceless.

-I like the integration of the two Romney campaign women, as they’re much better suited to this role than a stupid romance arc on a bus.

-AARON SORKIN’S IDEALISTIC CORNER: So, Charlie gives a whole speech about how everyone looks up to America due to our elections. Okay, first of all, America is not this perfect country, and from my experience, many other countries are perfectly content to agree with that. America is generally seen as a snobby, rich country, and its elections are not viewed as inspiring. The concept behind our elections is fantastic, but the elections themselves are kind of terrible. Second of all, Charlie lists a bunch of countries with already functioning democracies, which doesn’t really support his argument. Those countries don’t necessarily look up to America; they look up to democracy. Charlie could’ve listed countries in which many people are envious of those with democratic governments. Those people are the ones that are inspired.

Grade: B

Credit to HBO and The Newsroom for all pictures. I own nothing.

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Boardwalk Empire “New York Sour” Review (4×01)

10 Sep

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This is always a show that has reveled in its atmosphere. Even in its lower points, the cool, calm ambience is intoxicating, bringing you in deep. It’s a difficult task with such an expansive cast, but Boardwalk usually pulls it off.

Season 4 opens in the aftermath of the bloodbath initiated by the delightfully evil Gyp Rosetti, the major driving force of Season 3. It’ll be interesting to see how the show regroups after losing someone as charismatic and antagonistic as him, and the premiere already shows signs of wheel-spinning. However, it’s a table-setting episode that accomplishes what it sets out do: introduce new characters and move things into place for the rest of the season.

Although Rosetti’s dead, we can already see the effects of the recently ended all-out war. Nucky’s living situation is far from glamorous, and we can see that he’s nowhere near as comfortable as he was earlier. He’s always been a guy that tries to avoid trouble when he can, and his flaw is believing that others will ignore looking into him if he says so. His way of doing business is paying people off, and he tries to grab as much as he can without entering the fray. For example, as Rothstein is leaving the meeting, he remarks that he isn’t sure if Nucky would kill him or not. Nucky seems both shocked at the content of the insinuation, as well as the idea of an insinuation itself. He wants, and believes, everything to be clean and easy, but as we know, being a gangster isn’t all sunshine and flowers.

In other affairs, Gillian’s now trying to take custody back of her son Tommy, while at the same time running a secret prostitution scheme in her house. She’s been going downhill much faster than Nucky has, and a shady Piggly Wiggly businessman can only spell trouble.

The show also checks in with Al Capone, a person that seems to be gaining confidence and poise as the days wear on. He shows restraint in dealing with a boy that spells his name wrong in the paper (the nerve!), and his business seems to be going well.

Finally, another person whose confidence is growing is Chalky White, played by the magnificent Michael Kenneth Williams. The show seems to be delving more into the African American side of the race relations, and it’s a welcome change, if not only to give Williams more screen time. He deals coolly with an especially shocking scene in which Dunn stabs Dickie Pastor, a talent manager that visits the Onyx Club. It comes after Dickie walks in on Dunn and Mrs. Pastor, and the scene eventually descends into dark, visceral madness.

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The premiere generally moves a bit slow, but that’s to be expected after last year. I’m really looking forward to the remaining 11 episodes.

Grade: B

Other thoughts:

-Richard Harrow is back, and he’s killing people! I could probably watch him doing that all day.

-The final scene is great. Harrow’s been a lonely voyager, just trying to get home. However, unlike Nucky, he’s not a stranger in his own home. The scene right before this shows Nucky staring into the distance, not sure what his place in the world is.

-Nucky’s nephew Will is introduced, which provides some interesting familial dynamics for the show to explore.

-New character Warren Knox is extremely intriguing. He seems fine on the outside at first, but he later murders a couple of people and has a drink. He’s like the Todd of Boardwalk Empire, I tell you.

-No van Alden or Margaret yet. I really hope that Shannon is integrated more into the main story this year. He’s a fantastic actor, and I want to see more of him.

Credit to HBO and Boardwalk Empire for all pictures. I own nothing.

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Dexter “Goodbye Miami” Review (8×10)

9 Sep

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“Ow! Ow! Ow! Ow! Owwww!”

This is both Harrison Morgan and myself reacting to the events that have transpired in this tenth (TENTH!) episode of the final season of Dexter. I am being hit over the head so much it hurts. I can’t even fathom how the writers think this is what a final season constitutes.

This episode is mostly talk, which would be fine, except almost every single conversation is handled like it’s the most boring thing in the world. Where’s the urgency? Where are the consequences? Where’s the tension? A supposedly huge event like Vogel’s death should reverberate across the whole fabric of the show, but here, it just winds up feeling cheap and tacky. Frankly, I’m disappointed with the way they have handled her character this season. She was introduced to delve deeper into Dexter’s past and his mental psyche, but she leaves without really lending herself to any character development on Dexter’s part.

In fact, his motivations are extremely muddled all throughout. I get that he wants to make a better life for himself, but why exactly does he still need to kill Saxon? Why does he still need to stay to protect Vogel? Him staying only hurts her. If he had left, Saxon most likely wouldn’t have killed his mom, and everything would be fine and dandy. But no, the writers have to contrive an excuse for Dexter to remain in Miami for a couple more episodes. I get that he has a compulsion to kill and all, but this whole Brain Surgeon situation is not something that should be expanded upon so late in the series. I like the relationship between Vogel and Saxon, but the acting doesn’t take us far enough into it.

Also, where does Hannah fit into all this? Dexter’s about to move to Argentina because of her, and we don’t see much more of their relationship than sex and vague conversations. If you think about it, we haven’t really learned much about the character of Dexter Morgan throughout this whole series, so any relationship he has winds up being pushed off to the side. The strongest relationship is (was) Dexter-Deb, but now Deb is off on her own, making out with Quinn this week. I do, however, like the conversation between her and Dexter in which she tells him that she’s miss him. It evokes feelings of nostalgia, eh? It reminds me of a time…a time in which this relationship was actually genuine and compelling.

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We also have Curtis Lemansky (I know that’s not his name here, but I can’t help it) continuing to investigate everything, Quinn breaking up with Jamie, Harrison falling on a treadmill, and other stuff we really don’t care much about. Perhaps Isaac can return next week and kill everyone.

Grade: C-

Other thoughts:

-Harrison falling down is the most hilarious thing ever. I’m sorry, but it’s true.

-“Harrison, I wanna hear all about what you’ve done these past eight months.” …uh, being annoying and playing with puzzles?

-Right, Hannah. Walk into a hospital and use Harrison’s real name…you know, the one with the last name of a serial killer that you know a federal marshal’s looking for….smart as always!

-Masuka’s daughter likes to smoke pot.

-“See Astor and Cody one last time” is on Dexter’s list. My, he knows they exist!

-Rampling does the best with what she has, and I like the contrast in demeanors from the beginning and the end of the season.

-Seriously, Dexter, Saxon wants to be you. Let Vogel deal with him. Go to Argentina already. Jeez.

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

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