The Following is probably the best publicized new television program to air as a mid-season replacement this winter. Simply put, it is the story of a serial killer with quite a... following who has escaped from custody and the author who knows the most about him and who must organize a crew in order to take him down.
One of the first things you have to look for in a new network television program is how well the actors act. In some shows, old hand actors with an amazing tenure in the business fall flat, delivering only what they need to deliver in order to get a paycheck. And while new talent sometimes seems like it can't compare, it is often that actor that you have never heard of who makes waves, like Evangeline Lilly on LOST, for example. The point is that you can rarely tell by looking at the actors on IMDB or even by watching the trailer for the show if the cast is going to be strong. The first thing I noticed about The Following is that Kevin Bacon, Maggie Grace and Billy Brown (remember him from Dexter?) are all great actors with varying degrees of success. I think the best moment of the Pilot took place when Grace's character Sarah Fuller testified against the killer in a flashback and described a moment where she couldn't remove a knife from her so she pushed it deeper inside in hopes that she would bleed out sooner. It was heavy. It was deep. It was creepier than I'm used to with prime time network television. It was just plain good.
Unfortunately, that's where the good ends. Everything about the writing, directing and production feels like everything else on successful network TV - it is cheap and boring, but it is familiar and doesn't require much from its audience. It is perfect for the every-fattening Americans who sit on the couch and talk about how much they like franchise television shows like Law & Order, CSI, and NCIS. Shaun Ashemore's acting is weak, his character vacillating back and forth from cocky cop running the show to fanboy. And here's the really sad part: there is nothing the least bit menacing about the murderer. It doesn't matter if James Purefoy is a fantastic actor, because the murderer Joe Carroll was written to be so bland that nobody could make him interesting.
I had invested first in the Cinemax show Banshee, second in the FOX show The Following and then finally in the FX show The Americans. Banshee and The Following were both weak enough that I found it difficult to watch the entire pilot - forty minutes of commercial-free programming can be a very long time for a busy young individual, after all. Thank goodness that FX delivered with The Americans. Skip the others.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Showing posts with label television. Show all posts
Showing posts with label television. Show all posts
Saturday, February 23, 2013
Wednesday, February 20, 2013
The Americans S01E02: "The Clock"
In this episode, superspies Elizabeth and Phillip Jennings undertake an impossible mission in order to get ears on a meeting between US Secretary of Defense Caspar Weinberger, British Prime Minister Margaret Thatcher, and her defense secretary John Nott regarding the Strategic Defense Initiative. For that to happen, they will have to attach a bug to the clock in Weinberger's office, hopefully without blowing their cover and sacrificing nearly two decades of residency. Meanwhile, Agent Beeman has a similar strategy: he wishes to convince a woman to work for the FBI as a spy in the Soviet embassy.
Due to the likelihood of this mission going bad, Elizabeth Jennings is forced to look at her own mortality and to examine the consequences for their children should their mission in America go bad. Phillip is much more concerned with the details of the mission while Jennings appears to spend her time worrying about the family, which stands in stark contrast to the events of the first episode where Jennings nearly ratted out her husband for losing his faith in the mission and wanting to live a normal life with their American children. While the pilot episode brought intrigue, the second episode brought depth - both of these people are both Soviets and Americans. Their concerns are divided over two worlds, and they believe that only one of these worlds can win.
With all of this one the line, Phillip is forced to bluff Weinberger's maid into switching out the clock for them with only the threat of her son's death and the threat that there are more of these operatives watching her every move. We see him walk a tight rope, hoping all the while that things will go all right. The thin wall between victory and failure is shown by comparison to Phillip's relationship with his son. Phillip gives young Henry an imperative, and Henry's response is, "Or you'll do what?" What would happen if the maid were to ask the same thing? Would he have to kill her and find some other way into the office?
As I mentioned in my first post for The Americans, the creators have no problem dealing with difficult sexual situations. In the pilot, we see that Phillip is disturbed when his wife has a one night stand with an American government official. But in this episode, Elizabeth is jealous when she sees a picture of the beautiful blonde that Phillip has spent a decent amount of time turning into an asset. Certainly, Elizabeth's extramarital sexual act is hard to deal with, but what of Phillip's repeated infidelity and the fact that he's convinced this woman that he's in love with her? Add to this the fact that the Jennings family is forced to put these under-trained operatives in harms way time and time again with a fairly high mortality rate and you run into some serious moral dilemmas.
Many reviewers ooed and aaed about the pilot of The Americans and complained that the second episode wasn't as good. I'm here to say that both episodes are of the same quality. They tell a fantastic family story balanced with intriguing spy action. The Americans is developing into a robust family story with the potential for several seasons of quality entertainment. If you're not watching it, you're missing out.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Due to the likelihood of this mission going bad, Elizabeth Jennings is forced to look at her own mortality and to examine the consequences for their children should their mission in America go bad. Phillip is much more concerned with the details of the mission while Jennings appears to spend her time worrying about the family, which stands in stark contrast to the events of the first episode where Jennings nearly ratted out her husband for losing his faith in the mission and wanting to live a normal life with their American children. While the pilot episode brought intrigue, the second episode brought depth - both of these people are both Soviets and Americans. Their concerns are divided over two worlds, and they believe that only one of these worlds can win.
With all of this one the line, Phillip is forced to bluff Weinberger's maid into switching out the clock for them with only the threat of her son's death and the threat that there are more of these operatives watching her every move. We see him walk a tight rope, hoping all the while that things will go all right. The thin wall between victory and failure is shown by comparison to Phillip's relationship with his son. Phillip gives young Henry an imperative, and Henry's response is, "Or you'll do what?" What would happen if the maid were to ask the same thing? Would he have to kill her and find some other way into the office?
As I mentioned in my first post for The Americans, the creators have no problem dealing with difficult sexual situations. In the pilot, we see that Phillip is disturbed when his wife has a one night stand with an American government official. But in this episode, Elizabeth is jealous when she sees a picture of the beautiful blonde that Phillip has spent a decent amount of time turning into an asset. Certainly, Elizabeth's extramarital sexual act is hard to deal with, but what of Phillip's repeated infidelity and the fact that he's convinced this woman that he's in love with her? Add to this the fact that the Jennings family is forced to put these under-trained operatives in harms way time and time again with a fairly high mortality rate and you run into some serious moral dilemmas.
Many reviewers ooed and aaed about the pilot of The Americans and complained that the second episode wasn't as good. I'm here to say that both episodes are of the same quality. They tell a fantastic family story balanced with intriguing spy action. The Americans is developing into a robust family story with the potential for several seasons of quality entertainment. If you're not watching it, you're missing out.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Tuesday, February 12, 2013
House of Cards S01E02: "Chapter 2"
In the second episode of the acclaimed new Netflix series, Frank Underwood continues his vendetta against his colleagues by convincing the denuded Secretary of Education to give over control of an important education bill and making the Secretary of State step down from office after looking like a racist jerk on national television. While Frank was able to accomplish quite a bit toward furthering his own agenda, much of the focus of this episode moved to Frank's wife Claire's struggles, both at work and in her relationship with Frank.
Robin Wright works very hard to make Claire Underwood downright inscrutable. It is nearly impossible to see what she is feeling beneath that shell of hers, both in terms of her decision to let go of most of her staff at her non-profit and in terms of her competitive/uncaring/caring/weird relationship with Frank. What we get from her is subtle, and it was wonderful to see Claire unpacked a little bit during this episode. If my interpretation is correct, Claire Underwood is concerned with aging and its ultimate result: death. This is why she bought a rowing machine for Frank, because health is one of the ways that we fight against entropy. This is also why she is going in such a difficult position with the non-profit: if she does not distinguish herself as hip and fresh, she and her entire enterprise will be distinguished as old and outmoded, and that's a situation where nobody wins. The question of mortality and replacement was hit home when Claire watches an older woman who is incapable of ringing up her coffee and who is immediately replaced by a younger, more capable employee.
These Death-of-a-Salesman-style themes permeate all of House of Cards. One needs only look to Frank being passed over for Secretary of State, Zoe Barnes rung-climbing past her colleagues because of her relationship with Frank, and the fact that the new education bill was written by six young wannabe-politicos to see this fact. The question becomes: Is Frank using this changing of the guard theme to his advantage or will he ultimately fail at his attempts because he's old and the next model has already come out?
House of Cards remains cleverly written and intelligently delivered. Kevin Spacey is still amazing, and he's even growing into that Southern accent a little bit better. The supporting cast is doing a great job of distinguishing themselves, but also of playing their parts. The second episode made it more clear to me just how fantastic the cinematography is in this series during a scene where Frank stands in front of a building in the night and the balance of light and darkness was absolutely stunning. Netflix pumped a lot of money into this series - this is true - but it is delightful to see that the money is going to good use. (If you've forgotten just how that much money can be misused, I direct your attention to Michael Bay's series of Transformers movies. What a waste!)
In the future, I'd like to see more about what made Frank and Claire Underwood into the people they are now, what their hopes and dreams were, what their early life was like, all that. It's not a problem yet, but if we don't get something that makes them more human within the first five episodes I fear it could hurt the program. As of now, however, House of Cards is the aces. (Get it?)
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Robin Wright works very hard to make Claire Underwood downright inscrutable. It is nearly impossible to see what she is feeling beneath that shell of hers, both in terms of her decision to let go of most of her staff at her non-profit and in terms of her competitive/uncaring/caring/weird relationship with Frank. What we get from her is subtle, and it was wonderful to see Claire unpacked a little bit during this episode. If my interpretation is correct, Claire Underwood is concerned with aging and its ultimate result: death. This is why she bought a rowing machine for Frank, because health is one of the ways that we fight against entropy. This is also why she is going in such a difficult position with the non-profit: if she does not distinguish herself as hip and fresh, she and her entire enterprise will be distinguished as old and outmoded, and that's a situation where nobody wins. The question of mortality and replacement was hit home when Claire watches an older woman who is incapable of ringing up her coffee and who is immediately replaced by a younger, more capable employee.
These Death-of-a-Salesman-style themes permeate all of House of Cards. One needs only look to Frank being passed over for Secretary of State, Zoe Barnes rung-climbing past her colleagues because of her relationship with Frank, and the fact that the new education bill was written by six young wannabe-politicos to see this fact. The question becomes: Is Frank using this changing of the guard theme to his advantage or will he ultimately fail at his attempts because he's old and the next model has already come out?
House of Cards remains cleverly written and intelligently delivered. Kevin Spacey is still amazing, and he's even growing into that Southern accent a little bit better. The supporting cast is doing a great job of distinguishing themselves, but also of playing their parts. The second episode made it more clear to me just how fantastic the cinematography is in this series during a scene where Frank stands in front of a building in the night and the balance of light and darkness was absolutely stunning. Netflix pumped a lot of money into this series - this is true - but it is delightful to see that the money is going to good use. (If you've forgotten just how that much money can be misused, I direct your attention to Michael Bay's series of Transformers movies. What a waste!)
In the future, I'd like to see more about what made Frank and Claire Underwood into the people they are now, what their hopes and dreams were, what their early life was like, all that. It's not a problem yet, but if we don't get something that makes them more human within the first five episodes I fear it could hurt the program. As of now, however, House of Cards is the aces. (Get it?)
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Saturday, February 9, 2013
The Americans S01E01: "Pilot"
The year is 1981. Two Russian spies have been posing as an American couple for a decade and a half complete with a house and two kids at the center of American policy, Washington DC. The Cold War seems everything but cold with the election of Ronald Regan and the difficulties his spy-hunting stance bring for these KGB operatives. Phillip and Elizabeth Jennings speak perfect English, and if rumors are correct they haven't spoken a word of Russian since they met. They also hunt down former Soviets who have turned into informants for American money while also making certain that their daughter has the clothing she needs and their son gets to hockey practice on time.
In the first episode, The Americans delivers some of the best story telling I've encountered since watching The Godfather for the first time. A scene will create a question in the viewer - like, "Why was Elizabeth romancing that Department of Defense guy in the beginning?" - and right when it seems like that scene might have just been a throw-away scene about sacrifice and the spy life it is tied perfectly into the story. Every scene is necessary and plays an important role in the development of the narrative. After the one hour ten minute long pilot has completed I found myself amazed that I not only knew who the five main characters - Phillip, Elizabeth, Paige and Henry Jennings, and Agent Stan Beeman - were, what motivated them and a rough idea of the trajectory of their story arcs, but I also understood a lot about the American and Russian governments and their aims during the time period.
The acting is surprisingly strong. Keri Russell has been a favorite actress of mine for years now. I was never as much of a fan of her during the Felicity days, but when she started taking more adult roles she really showed that she is incredibly professional and very dedicated to the art of acting. But Russell is not the only one who delivers. There is not a single awkward actor in this series, at least not as of episode one. Furthermore, and I think this might be the key to the future success of The Americans, the creative team is brave. Already in the pilot, they tackle some seriously difficult issues of sexuality, from Elizabeth's sexual intelligence sortie and its implications for her relationship with Phillip to a KGB commander who is sanctioned to rape his underlings as part of their training to a brute who believes it is OK to take advantage of under-aged girls to the most difficult topic of all: the balance of duty to country and love of ones family.
Furthermore, if you want to win me over, there are two things you need to do: have a good story and make it a period piece in the 1980s. I was really impressed by the music and how well it was mixed into each scene. I'm not talking cheap, pop tunes that anyone would hear on some BMG "I Love the 80s" disc, although there was a little cheese to the fact that the song "In the Air Tonight" played during an integral sex scene. And who doesn't love a family who cares about hockey. While the Jennings family are proclaimed Washington Capitals fans, I can only imagine the drama that might have unfolded just a year earlier when the American Olympic team had their "Miracle on Ice" which pitted them against the seemingly invincible Russian team in the semi-final game. I'm going to admit that if we don't get a flashback to that game, I'm likely to be a little disappointed.
While the spy family concept has been done to death in such depictions as Mr. and Mrs. Smith, the Undercovers, and True Lies, The Americans stands out because of its incredible delivery. I have to admit that The Americans isn't likely to be my favorite new show in a year where House of Cards hits the scene, but then again, The Americans doesn't have the budget of House of Cards, so the accomplishment that this show marks means a little bit more. Ultimately any doubt I have about the series is overshadowed by hope and intrigue, and I highly recommend this show to anyone with eyes to see and ears to hear, but also to those with disabilities because of closed captions and whatever blind people use to enjoy visual art.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
In the first episode, The Americans delivers some of the best story telling I've encountered since watching The Godfather for the first time. A scene will create a question in the viewer - like, "Why was Elizabeth romancing that Department of Defense guy in the beginning?" - and right when it seems like that scene might have just been a throw-away scene about sacrifice and the spy life it is tied perfectly into the story. Every scene is necessary and plays an important role in the development of the narrative. After the one hour ten minute long pilot has completed I found myself amazed that I not only knew who the five main characters - Phillip, Elizabeth, Paige and Henry Jennings, and Agent Stan Beeman - were, what motivated them and a rough idea of the trajectory of their story arcs, but I also understood a lot about the American and Russian governments and their aims during the time period.
The acting is surprisingly strong. Keri Russell has been a favorite actress of mine for years now. I was never as much of a fan of her during the Felicity days, but when she started taking more adult roles she really showed that she is incredibly professional and very dedicated to the art of acting. But Russell is not the only one who delivers. There is not a single awkward actor in this series, at least not as of episode one. Furthermore, and I think this might be the key to the future success of The Americans, the creative team is brave. Already in the pilot, they tackle some seriously difficult issues of sexuality, from Elizabeth's sexual intelligence sortie and its implications for her relationship with Phillip to a KGB commander who is sanctioned to rape his underlings as part of their training to a brute who believes it is OK to take advantage of under-aged girls to the most difficult topic of all: the balance of duty to country and love of ones family.
Furthermore, if you want to win me over, there are two things you need to do: have a good story and make it a period piece in the 1980s. I was really impressed by the music and how well it was mixed into each scene. I'm not talking cheap, pop tunes that anyone would hear on some BMG "I Love the 80s" disc, although there was a little cheese to the fact that the song "In the Air Tonight" played during an integral sex scene. And who doesn't love a family who cares about hockey. While the Jennings family are proclaimed Washington Capitals fans, I can only imagine the drama that might have unfolded just a year earlier when the American Olympic team had their "Miracle on Ice" which pitted them against the seemingly invincible Russian team in the semi-final game. I'm going to admit that if we don't get a flashback to that game, I'm likely to be a little disappointed.
While the spy family concept has been done to death in such depictions as Mr. and Mrs. Smith, the Undercovers, and True Lies, The Americans stands out because of its incredible delivery. I have to admit that The Americans isn't likely to be my favorite new show in a year where House of Cards hits the scene, but then again, The Americans doesn't have the budget of House of Cards, so the accomplishment that this show marks means a little bit more. Ultimately any doubt I have about the series is overshadowed by hope and intrigue, and I highly recommend this show to anyone with eyes to see and ears to hear, but also to those with disabilities because of closed captions and whatever blind people use to enjoy visual art.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Friday, February 8, 2013
House of Cards S01E01: "Chapter 1"
Frank Underwood is the House Majority Whip and architect of the president's recent successful election strategy, two facts that should clinch him an appointment to Secretary of State. In fact, this cabinet position was promised to Frank when he put his name in support of the president. House of Cards follows the drama that unfolds when Frank's victorious colleagues deny him what is rightfully his and Frank decides to dedicate his devious political prowess to vengeance against those who wronged him.
By episode one, I can already tell that this is some of Spacey's best work in years. He is multifaceted and downright frightening like he was in the Usual Suspects. He is matter-of-fact, sarcastic and somewhat conceited like in American Beauty. He acts, he reacts, he narrates, and if he doesn't win awards, I will be incredibly surprised. The supporting cast does their job, but nobody is stealing the spotlight from Spacey. Perhaps this is because of his brilliance, and perhaps it has more to do with his character's need to be vindicated. I originally thought Spacey talking to the camera like he was Zack on Saved by the Bell or Wayne in Wayne's World was weak and it underestimated the intelligence of the viewers, but now I believe that there is no other way to deliver the complexity of Spacey's character on the screen.
The big talk about House of Cards is that Netflix invested mounds of money in this series. The money was invested wisely, at least in terms of artistic value: House of Cards is written, directed and acted superbly. The series gives credit to a hypothesis that I have been developing that subscription services like Netflix and Hulu Plus are going to be the future refuge of well-written scripted television. Of course, two things remain to be seen, whether Netflix can make back at least as much money as they have put into this original series, and whether their risky move of releasing the entire first season of House of Cards at once will sit well with viewers. I will have to admit that the only negative I could think of in regards to this new series was that it feels weird not having a new episode each week, but like the many changes to Facebook that everyone always complains about, I think I will get used to it.
What I look forward to in House of Cards is how Frank Underwood is able to get revenge on the highest ranking members of his party without jeopardizing his party, his personal beliefs, the good of the people, and his soul in the process. Since the entire first season is already out, I'm sure there are those of you out there who already know that answer. For the sake of the rest of us, keep it to yourself.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
By episode one, I can already tell that this is some of Spacey's best work in years. He is multifaceted and downright frightening like he was in the Usual Suspects. He is matter-of-fact, sarcastic and somewhat conceited like in American Beauty. He acts, he reacts, he narrates, and if he doesn't win awards, I will be incredibly surprised. The supporting cast does their job, but nobody is stealing the spotlight from Spacey. Perhaps this is because of his brilliance, and perhaps it has more to do with his character's need to be vindicated. I originally thought Spacey talking to the camera like he was Zack on Saved by the Bell or Wayne in Wayne's World was weak and it underestimated the intelligence of the viewers, but now I believe that there is no other way to deliver the complexity of Spacey's character on the screen.
The big talk about House of Cards is that Netflix invested mounds of money in this series. The money was invested wisely, at least in terms of artistic value: House of Cards is written, directed and acted superbly. The series gives credit to a hypothesis that I have been developing that subscription services like Netflix and Hulu Plus are going to be the future refuge of well-written scripted television. Of course, two things remain to be seen, whether Netflix can make back at least as much money as they have put into this original series, and whether their risky move of releasing the entire first season of House of Cards at once will sit well with viewers. I will have to admit that the only negative I could think of in regards to this new series was that it feels weird not having a new episode each week, but like the many changes to Facebook that everyone always complains about, I think I will get used to it.
What I look forward to in House of Cards is how Frank Underwood is able to get revenge on the highest ranking members of his party without jeopardizing his party, his personal beliefs, the good of the people, and his soul in the process. Since the entire first season is already out, I'm sure there are those of you out there who already know that answer. For the sake of the rest of us, keep it to yourself.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Monday, April 9, 2012
LOST Easter Eggs in Arkham City
I think the concept of "Easter eggs" first started getting popular once videos changed over from VHS tapes to DVD discs. That is the first time I remember hearing this term. And what better topic to discuss the day after Easter than the phenomenon known as Easter eggs. If you're not familiar with the term, it simply means pictures or sounds hidden within something else.
I finished the main story of Batman: Arkham City about a week ago, but decided to keep playing until I defeated the Riddler. To do so, you must hunt down four hundred Easter eggs: Riddler trophies and riddles hidden throughout the game. I finally completed that Easter morning and then moved on to killing zombies (which also seems very Easter appropriate).
I was never the type to hunt for Easter eggs until the 2004 ABC television program LOST first aired. I got sucked into all the Hurley's in the background of Jin's flashback stuff, trying so hard to find the hidden messages in the show. I recently came to find out that Paul Dini, an early story editor for LOST was responsible for writing Arkham City.
I discovered my first reference to LOST fairly early on in the game. You see, Batman can detect the chatter of bored henchmen as he flies around the rooftops, and one such bored henchman states, "Did they ever explain what the island was?" But the really big LOST reference takes place in one of the Joker's video monologues:
It was nice to see an homage to a television program that took up so many hours of my time in a video game that has taken up so many hours of my time. I wasn't sentimental enough to cry - no, I used up all of those tears watching the last few minutes of Star Trek II: The Wrath of Khan on Good Friday, but it was a good moment for me no less.
I finished the main story of Batman: Arkham City about a week ago, but decided to keep playing until I defeated the Riddler. To do so, you must hunt down four hundred Easter eggs: Riddler trophies and riddles hidden throughout the game. I finally completed that Easter morning and then moved on to killing zombies (which also seems very Easter appropriate).
I was never the type to hunt for Easter eggs until the 2004 ABC television program LOST first aired. I got sucked into all the Hurley's in the background of Jin's flashback stuff, trying so hard to find the hidden messages in the show. I recently came to find out that Paul Dini, an early story editor for LOST was responsible for writing Arkham City.
I discovered my first reference to LOST fairly early on in the game. You see, Batman can detect the chatter of bored henchmen as he flies around the rooftops, and one such bored henchman states, "Did they ever explain what the island was?" But the really big LOST reference takes place in one of the Joker's video monologues:
It was nice to see an homage to a television program that took up so many hours of my time in a video game that has taken up so many hours of my time. I wasn't sentimental enough to cry - no, I used up all of those tears watching the last few minutes of Star Trek II: The Wrath of Khan on Good Friday, but it was a good moment for me no less.
Friday, October 21, 2011
Sunday, October 16, 2011
Spoiler Alert: Death of Spoiler Alert
The whole Spoiler Alert project was a lot of fun for me, but it was also a whole lot of work. It didn't really turn into a community discussion like I had hoped, so I'm just not going to do it anymore. No hard feelings. It's not you. It's me.
Saturday, October 15, 2011
Venture Bros
In the tradition of such cartoons as Harvey Birdman, Attorney at Law and Space Ghost: Coast to Coast, Venture Bros quite brilliantly takes on the cartoons of our youth. As a result, it is, for the most part, aimed at those of us who were kids in the late 70s and the 80s. It is not a cartoon for children. Like much of anime, it is a cartoon for adults, and that is why it is featured on Cartoon Network's Adult Swim.
The distinctions that I have drawn above assume that there is some way of measuring whether and to what extent one is a child or an adult. Venture Bros does not make this assumption. Rather, with an emphasis on the psychology and politics of heroes and villains, it reveals that, like the rest of us, cartoon characters carry with them, throughout their lives, the pains of their childhood. They act out the wars of their parents. And, most of all, they are motivated by the things that they lacked in their youth.
Don't get me wrong. I'm not trying to say that Venture Bros is a serious television program. No. Venture Bros is a comedy. A smart and witty comedy. A penetrating comedy. Sometimes a painful comedy. Maybe this means that they're making fun of the adults who watch this program. We carry with us our Johnny Quests and our Fantastic Fours, and where do we carry them? Into the office of our therapists.
Venture Bros is awesome. And, yes. That's a word I learned from the Teenage Mutant Ninja Turtles. And, no. I do not want to lay down on a couch and tell you how I feel about this fact. (OK, I feel a little frightened. Smiling emoticon.)
Friday, October 14, 2011
30 Rock
No network has ever made fun of itself nearly as much as NBC does with 30 Rock. A direct rip-off of the live comedy program Saturday Night Live, 30 Rock is capable of making fun of NBC, Lorne Michaels, and prime time programming, while also making time for pokes at producers, directors, actors and writers. Nobody is safe from 30 Rock, most especially not the people who are involved in making 30 Rock. And how could you lose with a cast of Tracey Morgan, probably my favorite SNL comedian, Tina Fey, one of the best writers for SNL, and Alec Baldwin, one of the most prolific and recognizable hosts of SNL. The only way that they could make 30 Rock better is to add the up-and-coming most prolific host, singer/actor/comedian/multi-threat Justin Timberlake to the cast. I just saw him in the movie Bad Teacher and I have no doubt that he's ready to join Tracey, Tina and Alec. ("Hi. I got you something." "What? You didn't have to do that." "It's nothing. It's, well, my favorite book." "Eat, Pray, Love?" "Yeah." "This, this is my favorite book too." "What's your favorite part?" "Love.") If you want some fun, superficial comedy that makes fun of everything else you see on TV, then watch 30 Rock. You're bound to have some office quotes for the next day that aren't simply dumb quotes from The Office. (Seriously? Planking?)
Spoiler Alert: Fringe S04E03
While this episode was pretty interesting, a little mix of E.T.: The Extra-Terrestrial (the child's psychic connection to the fungus), Star Trek (the needs of the many outweigh the needs of the few, or the one), and Care Bears (the child doesn't feel like anyone cares for him), there wasn't a whole lot of development of the central season-long story arcs.
1. Walter and Olivia's Insane Outing
Not only is Walter bound to his laboratory and his living quarters, but he has to have continuing analysis by approved therapists to assure that he can remain out in the world. The appearance of Dr. Sindel casts a very troubling light on an upcoming problem. Walter needs to, at the very least, appear sane, or else he is going to be carted back to the looney bin. Of course, he's seeing his erased adult son Peter in reflective surfaces and hearing him everywhere, so we've got some sort of problem here.
The problem is only exacerbated by the fact that Olivia has been seeing the same person, Peter, in her dreams. She presents Walter with a picture that she drew of this "Man in the Mirror," a picture that she has been running through facial recognition programs.
The episode ends with Walter exclaiming, "We have to find him." And it sounds like the beginning of an adventure. But will this adventure end with Walter, and possibly Olivia also, in the mental asylum?
2. Aaron
This child, Aaron, who established the psychic link with the murderous fungus, has been alone for some time. Nothing is said about his parents. It is said that he has been staying with a neighbor for a while, but that the neighbor ignores him. He has absolutely nowhere to go and nobody to care for him. But Walter has a hole in his heart where once Peter lives, and Walter promises to care for Aaron.
At the end, Aaron is carted off to the hospital. We are left wondering whether Aaron will actually join the regular cast of the show, which seems to be what Walter promised, or whether he will be brushed off and only serve the purpose of making this particular episode work. I hope that he becomes a regular, and I think it is likely considering the mystery regarding his loneliness.
See you next time.
1. Walter and Olivia's Insane Outing
Not only is Walter bound to his laboratory and his living quarters, but he has to have continuing analysis by approved therapists to assure that he can remain out in the world. The appearance of Dr. Sindel casts a very troubling light on an upcoming problem. Walter needs to, at the very least, appear sane, or else he is going to be carted back to the looney bin. Of course, he's seeing his erased adult son Peter in reflective surfaces and hearing him everywhere, so we've got some sort of problem here.
The problem is only exacerbated by the fact that Olivia has been seeing the same person, Peter, in her dreams. She presents Walter with a picture that she drew of this "Man in the Mirror," a picture that she has been running through facial recognition programs.
The episode ends with Walter exclaiming, "We have to find him." And it sounds like the beginning of an adventure. But will this adventure end with Walter, and possibly Olivia also, in the mental asylum?
2. Aaron
This child, Aaron, who established the psychic link with the murderous fungus, has been alone for some time. Nothing is said about his parents. It is said that he has been staying with a neighbor for a while, but that the neighbor ignores him. He has absolutely nowhere to go and nobody to care for him. But Walter has a hole in his heart where once Peter lives, and Walter promises to care for Aaron.
At the end, Aaron is carted off to the hospital. We are left wondering whether Aaron will actually join the regular cast of the show, which seems to be what Walter promised, or whether he will be brushed off and only serve the purpose of making this particular episode work. I hope that he becomes a regular, and I think it is likely considering the mystery regarding his loneliness.
See you next time.
Monday, October 10, 2011
Spoiler Alert: Dexter S06E01
Everything seems pretty status quo for Dexter so far this season. While critics are saying that if the show wants to stay on the air it needs to breathe some new life into its stories, I can't help but wonder if the show is strong enough to simply keep going at the same pace as it has been. It's Dexter, after all. Who is going to stop watching Dexter? I was pretty entertained by this new episode, except for glazing over the whole Angel and his sister having an abusive father thing. ("I should beat you for that." "Exactly like pop." Hahaha. End scene.)
1. Evolution?
The theme of this episode was Dexter's exclamation, "We're all moving forward." It seems like Dexter has been evolving when it comes to how he kills his victims. In the beginning, we see Dexter kill two victims with a defibrillator rather than a knife. At the end, Dexter hits his victim with a hammer before stabbing him. And throughout the episode Dexter's subconscious (his father) tells him things we wouldn't expect, like that he should fly a little bit higher than above the radar.
Of course, some things stay the same. Dexter continues to take blood samples and hide them in his air conditioning unit.
It's gotten to the point where I don't know which is more likely to get him in trouble. When Dexter flies by the seat of his pants, killing in different ways, hiding less and acting more, it would seem like he is more likely to leave clues behind. On the other hand, by using his old methods he is leaving tons of clues behind, easy to find clues. Oh, Dexter...
2. A Little Too Close...
When I say that things are getting a little too close, I'm not referring to the weird familiar sexuality between Angel and his sister. I am referring to the fact that with Angel's sister babysitting Dexter's son Harrison and Angel getting closer to his sister because he has nobody else after his divorce, there is more of a chance for Detective Angel Batista (future Lieutenant Angel Batista?) to have insight regarding Dexter's deadly habits.
Here's an example of danger. When Angel and his sister are out having a classy dinner, Angel's sister lets it spill that Dexter disappears in the middle of the night in order to go out on his boat. This is clearly a reference to the fact that Dexter is killing people and disposing of their bodies. Maybe it's nothing, but when two other detectives begin discussing how the body of their most recent victim was tossed into the water a quarter mile off of shore it's hard not to start wondering if Dexter is about to be under investigation once again.
3. Like a Prayer
Remember how Star Trek: Deep Space Nine was the Star Trek that devoted itself most thoroughly to religion? Well, I think that Dexter's sixth season will be remembered similarly as the Dexter season that devoted itself most thoroughly to religion.
Dexter's main personal plot seems to surround getting Harrison into a Catholic school called Our Lady of the Gulf. When interviewed, Dexter admits that he doesn't believe in anything. He admits this to a nun, and the nun can decide whether or not Harrison gets into the school. After this interview, Deb instructs Dexter that he is going to have to put aside his own beliefs (or lack thereof) and start thinking about what he wants Harrison to believe. In an attempt to do so, Dexter gets a religion lesson from Batista, only to find himself more confused than before. Finally, he honestly appeals to the nun for Harrison's sake and explains to her that while he is spiritually ignorant he doesn't want Harrison to be put in the same situation. And I think the nun buys it.
Almost as a foil, an older man (played by Edward James Olmos) instructs a younger man (Colin Hanks) in carrying out a ritualistic killing that involves catching a pregnant water snake, extracting seven baby water snakes, killing and disemboweling a fruit vendor, sewing the snakes inside and embroidering an alpha and omega on his abdomen, and displaying this victim for the world to see. All the while the two are citing verses that they have memorizing, ending with the phrase, "It begins."
My guess is that these two individuals believe that they are being instructed by God in order to carry out these killings. They will likely quote partially from the book of Revelation and partially from a more personal revelation. And what they have begun is likely a kind of apocalypse in which the sinners of the world will be destroyed and God's glory will be revealed. While Dexter seeks out all of those things about religion that lead to good - a moral compass, faith, compassion, etc. - it appears that these two will likely provide a reductio ad absurdum argument pointing out all the evils of religion - misunderstanding, death, alienation, madness, etc.
1. Evolution?
The theme of this episode was Dexter's exclamation, "We're all moving forward." It seems like Dexter has been evolving when it comes to how he kills his victims. In the beginning, we see Dexter kill two victims with a defibrillator rather than a knife. At the end, Dexter hits his victim with a hammer before stabbing him. And throughout the episode Dexter's subconscious (his father) tells him things we wouldn't expect, like that he should fly a little bit higher than above the radar.
Of course, some things stay the same. Dexter continues to take blood samples and hide them in his air conditioning unit.
It's gotten to the point where I don't know which is more likely to get him in trouble. When Dexter flies by the seat of his pants, killing in different ways, hiding less and acting more, it would seem like he is more likely to leave clues behind. On the other hand, by using his old methods he is leaving tons of clues behind, easy to find clues. Oh, Dexter...
2. A Little Too Close...
When I say that things are getting a little too close, I'm not referring to the weird familiar sexuality between Angel and his sister. I am referring to the fact that with Angel's sister babysitting Dexter's son Harrison and Angel getting closer to his sister because he has nobody else after his divorce, there is more of a chance for Detective Angel Batista (future Lieutenant Angel Batista?) to have insight regarding Dexter's deadly habits.
Here's an example of danger. When Angel and his sister are out having a classy dinner, Angel's sister lets it spill that Dexter disappears in the middle of the night in order to go out on his boat. This is clearly a reference to the fact that Dexter is killing people and disposing of their bodies. Maybe it's nothing, but when two other detectives begin discussing how the body of their most recent victim was tossed into the water a quarter mile off of shore it's hard not to start wondering if Dexter is about to be under investigation once again.
3. Like a Prayer
Remember how Star Trek: Deep Space Nine was the Star Trek that devoted itself most thoroughly to religion? Well, I think that Dexter's sixth season will be remembered similarly as the Dexter season that devoted itself most thoroughly to religion.
Dexter's main personal plot seems to surround getting Harrison into a Catholic school called Our Lady of the Gulf. When interviewed, Dexter admits that he doesn't believe in anything. He admits this to a nun, and the nun can decide whether or not Harrison gets into the school. After this interview, Deb instructs Dexter that he is going to have to put aside his own beliefs (or lack thereof) and start thinking about what he wants Harrison to believe. In an attempt to do so, Dexter gets a religion lesson from Batista, only to find himself more confused than before. Finally, he honestly appeals to the nun for Harrison's sake and explains to her that while he is spiritually ignorant he doesn't want Harrison to be put in the same situation. And I think the nun buys it.
Almost as a foil, an older man (played by Edward James Olmos) instructs a younger man (Colin Hanks) in carrying out a ritualistic killing that involves catching a pregnant water snake, extracting seven baby water snakes, killing and disemboweling a fruit vendor, sewing the snakes inside and embroidering an alpha and omega on his abdomen, and displaying this victim for the world to see. All the while the two are citing verses that they have memorizing, ending with the phrase, "It begins."
My guess is that these two individuals believe that they are being instructed by God in order to carry out these killings. They will likely quote partially from the book of Revelation and partially from a more personal revelation. And what they have begun is likely a kind of apocalypse in which the sinners of the world will be destroyed and God's glory will be revealed. While Dexter seeks out all of those things about religion that lead to good - a moral compass, faith, compassion, etc. - it appears that these two will likely provide a reductio ad absurdum argument pointing out all the evils of religion - misunderstanding, death, alienation, madness, etc.
Friday, October 7, 2011
Spoiler Alert: Person of Interest S01E03
Person of Interest continues to deal with sensitive human issues related to broad-scale political issues. In this episode, we have reference to September 11, to the wars in Afghanistan and in Iraq, and to the economic downfall of our nation. It seems like Person of Interest is good at dealing with problems that affect the people of New York City. One question I have is whether or not the irrelevant numbers will ever take John Reese out of New York City. Furthermore, I got to thinking that with the escalation of Reese's violence, at what point will "the machine" view him as a relevant threat. That would be insane: one man versus just about every bureau and agency in the United States of America.
1. A Little Ditty About John and Jessica
While the flashback in this episode from 2006 could probably be summed up by the line, "You're still fighting the war. She's still waiting," there was certainly more behind this tripartite scene than simply motivation for John Reese to understand the victim that he was sent to save.
When John and Jessica meet in the airport, Jessica notes that John is back from "over there." I think John mentioned earlier in the episode that he was in Iraq, but I suppose "over there" could mean Iraq, Afghanistan, or possibly even a covert operation somewhere else entirely. John says that he is heading back but it is noted that he is not wearing a uniform. He explains that he has a new job. The easiest explanation is that John took up a private contract with one of the security firms that established a presence in our war efforts over the last few years. But, then again, there could be any of a number of other reasons for John to be leaving without a uniform to a new job.
2. The End of the World as We Know It
Whenever "the machine" displays the timeline for flashbacks, it always ends in 2012. Does this mean that Person of Interest will be dealing with the 2012 end of the world conspiracies connected to the ending of the Mayan calendar? Does this mean that "the machine" is so good at tracing trends that it has limited future vision? This has already been hinted at, considering the fact that the show deals with predicting possible threats. Of course, since this is based on probability there is always a decent probability that "the machine" will be wrong. There's a decent chance this is nothing, but in case it is something, I don't want to be scooped by anyone else. Lois Lane style.
3. Carter is Harder than We Thought
Detective Carter seemed like a simple New York City beat cop turned detective. That's what I assumed, because that's what always shows up on TV. Even John Doggett was a cop who just did the work and became a special agent assigned to the X-Files. Well, it turns out that Carter had at least two tours of duty in the military, in both Iraq and Afghanistan. Maybe Carter and Reese aren't so different after all.
4. Cliffhanger
This week's episodic storyline was not completed within the scope of one episode. Everything that happened was mere puppet work, but who was the puppet master?
The only detail we have is the particular item that was stolen from the police department. The envelope was surrounding CASE H73-36 surrounding NAME ELIAS, M. In the envelope was a picture of a woman who appears to have been stabbed to death and what appears to be the murder weapon.
Someone is trying to cover up a murder that they committed. If it's someone we know, then we only really have Lionel, the dirty cop, Finch's friend from the flashback (who we presume is dead), and Jessica from John's flashback (who we presume is dead; also, the killer would seem to be a man considering the phone conversation that took place). If it's someone new, then maybe we have a villain who will be around for more than just an episode.
See you next week.
1. A Little Ditty About John and Jessica
While the flashback in this episode from 2006 could probably be summed up by the line, "You're still fighting the war. She's still waiting," there was certainly more behind this tripartite scene than simply motivation for John Reese to understand the victim that he was sent to save.
When John and Jessica meet in the airport, Jessica notes that John is back from "over there." I think John mentioned earlier in the episode that he was in Iraq, but I suppose "over there" could mean Iraq, Afghanistan, or possibly even a covert operation somewhere else entirely. John says that he is heading back but it is noted that he is not wearing a uniform. He explains that he has a new job. The easiest explanation is that John took up a private contract with one of the security firms that established a presence in our war efforts over the last few years. But, then again, there could be any of a number of other reasons for John to be leaving without a uniform to a new job.
2. The End of the World as We Know It
Whenever "the machine" displays the timeline for flashbacks, it always ends in 2012. Does this mean that Person of Interest will be dealing with the 2012 end of the world conspiracies connected to the ending of the Mayan calendar? Does this mean that "the machine" is so good at tracing trends that it has limited future vision? This has already been hinted at, considering the fact that the show deals with predicting possible threats. Of course, since this is based on probability there is always a decent probability that "the machine" will be wrong. There's a decent chance this is nothing, but in case it is something, I don't want to be scooped by anyone else. Lois Lane style.
3. Carter is Harder than We Thought
Detective Carter seemed like a simple New York City beat cop turned detective. That's what I assumed, because that's what always shows up on TV. Even John Doggett was a cop who just did the work and became a special agent assigned to the X-Files. Well, it turns out that Carter had at least two tours of duty in the military, in both Iraq and Afghanistan. Maybe Carter and Reese aren't so different after all.
4. Cliffhanger
This week's episodic storyline was not completed within the scope of one episode. Everything that happened was mere puppet work, but who was the puppet master?
The only detail we have is the particular item that was stolen from the police department. The envelope was surrounding CASE H73-36 surrounding NAME ELIAS, M. In the envelope was a picture of a woman who appears to have been stabbed to death and what appears to be the murder weapon.
Someone is trying to cover up a murder that they committed. If it's someone we know, then we only really have Lionel, the dirty cop, Finch's friend from the flashback (who we presume is dead), and Jessica from John's flashback (who we presume is dead; also, the killer would seem to be a man considering the phone conversation that took place). If it's someone new, then maybe we have a villain who will be around for more than just an episode.
See you next week.
Thursday, October 6, 2011
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