Archer Season 6, Episode 9, “Pocket Listing”
Air Date: March 5, 2015 Grade: B+
Some of Archer’s best episodes involve the entire group stuck in one place or working together towards a common goal. They each have their own unique neuroses and idiosyncrasies, and together they form a hilarious symphony of dysfunction. Although “Vision Quest” saw the entire cast trapped in an elevator, “Pocket Listing” is the first episode this season to feature everyone (except for Malory) on a mission together. Fahad Fawaz, the crown prince of Durhan, has accepted an internship on Wall Street and must find a suitable residence. Slater orchestrates an elaborate plan to steal his electronic and biometric data during a tour of the Tunt mansion, with the entire team helping to distract the crown prince, his mother, and their legion of body guards. It’s a fun episode where everyone does their part to completely ruin the mission, and perhaps most significantly, finally sees Archer and Lana kicking off another fling.
The complicated, baggage-filled minefield that is Archer and Lana’s relationship isn’t easy to navigate. The two being together again was inevitable–the introduction of wee baby AJ drew them unavoidably closer, even as they tried to resist and maintain clear boundaries. So it was never so much “will they, won’t they” as “when will they, and how”. It seemed a little odd for the tipping point to be after Archer and Lana attempt to make the other jealous by sleeping with the the queen and the crown prince (respectively); I thought for sure that baby Abbiejean would have some role in the eventual catharsis and reunion. Still, that doesn’t mean the moment isn’t forthcoming–this happened in the spur of the moment, and neither character seems keen on confronting the larger implications just yet.
That aside, the episode was a lot of fun–everyone had something to do, and it’s great to see them all fumbling towards a common goal. Cheryl revels in her role as the listing agent for her own home, and the tour she gives provides amusing glimpses into the Tunt family history. Cyril, meanwhile, is trying to sleep with Lana again, but all his attempts to exploit Lana or Archer’s jealousy backfire hilariously. Ray of course performs his job admirably, only to be stranded in the conservatory with a large, “Audrey 2”-esque carnivorous plant who takes his hand in the ensuing life-or-death struggle. And Krieger’s mere presence on screen makes the episode better, despite him being tranquilized for most of it.
Archer’s realization that Pam is his best friend is one of the episode’s best moments. Her joy and excitement over his admission is incredibly sweet (“You’re my best friend!”), even after Archer asks about Cheryl (“You’re my second best friend!”) and the fact that she’s ultimately a little disappointed at the revelation (“I thought by now I’d be doing a little better in the old friend department”). Archer and Pam are perhaps the show’s strongest friendship–they’re the only two characters who seem to genuinely enjoy each others’ company most of the time, and they have a great chemistry together.
Slater’s elaborate plan fails spectacularly, of course. In many ways, “Pocket Listing” is about as classic as Archer gets: a dangerous mission that goes completely off the rails, some drama between Archer and Lana, shenanigans from just about everyone, and Ray ends up losing a hand.
“You know what?” “I’m sure I do…”
“Are all the cameras in bathrooms?” “No, just my faves.”
“You’re like Wile E Coyote with access to predator drones.”
“Or wherever else. Although she didn’t look like a Back-Dorothy.”
“Well, that backfired. Or did it…? Yes, yes, it most certainly did.”
“I told you idiots that wasn’t the real Famous Ray’s!”
“Hello? Front desk? Watergate hotel? This is the Bay of Pigs, in room 61? Can you send up 1500 poorly trained cuban exiles? … Yes, that’s right, and a bucket of ice. Hm, what’s that? No, we won’t be needing any air cover!”
I say “fanboy’s champion,” but odds are Adi Shankar, producer of last week’s mind-bending Power/Rangers short that already has somewhere around 18 million views, doesn’t want that moniker. I could use some sort of slapped together Robin Hood metaphor, where he magnanimously gives us content at octanes that would cause most executives to balk. Or, I could bastardize a Dark Knight quote saying that he’s the “producer we need, but not the one we deserve right now” but that wouldn’t be apt (or correct) either.
Because Adi isn’t making his “bootlegs” for the nerd residing inside you or I, and he certainly isn’t creating them to show the studios, “Hey, look what I can do!” He’s doing these “no profit” pieces for himself; and making them with his friends – albeit those friends are immensely talented and highly sought after.
Clearly a man with a drive to see long gestating ideas come to fruition; I spoke with Adi about independent filmmakers leveling the playing field, a possible Alf idea, and the artistic themes in his shorts that escape all the naysayers.
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The Workprint: So you have had a super crazy week! You and Joseph Kahn’s Power/Rangers “deboot” literally took the internet by storm, I think it’s around 13 million views. Are you at all surprised by the rabid response to it?
Adi Shankar: Well 13 million is just on my YouTube channel – it’s about 18 million views [total], in Vimeo, and Facebook, and other places that ripped it. Was I surprised? Yeah, yeah, very. I get surprised all the time…I guess that means I should follow my instincts.
TWP: Oh totally, you have great instincts! I feel that there’s an origin story to pretty much every project. How did this one evolve and come to fruition?
AS: Well, so, it actually started when I was seven. I got into trouble at school talking about it, cause I would tell kids – I would lie to them – and tell them I had this other version of Power Rangers, and I would tell them these messed up stories. And then I got in trouble cause the parents complained. I used to tell them odd stories of Power Rangers and Captain Planet. And then, I don’t know, I started writing it down, writing beats down, [at the] end of 2013. And then we shot it over the summer and then you guys saw it last week.
TWP: So you started writing it before you and Joseph kind of teamed up. How did that process end up coming to be? You and Joseph teaming up?
AS: I met Joseph, we talked, had dinner, talked some more, and then he gave me the best experience I’ve ever had in Hollywood. He came over to my apartment and he gave [me and my boys] a lesson on Detention – shot by shot on how he made it.
TWP: Detention being Joseph’s last feature that he did.
AS: Yeah! And I was like, “Oh my God this is amazing!” A lot of times you’ll see a movie, and you see it once and you don’t really see all the work that goes into it. And I was like, “Dude, you should be doing action! Like you really should be doing blockbusters, your style is so conducive to that.” You take Phil Joanou or something, you remember Phil Joanou? He did Dirty Laundry. So Phil should be doing dark crime thrillers, that’s what he should be doing.
TWP: Dirty Laundry was great, I loved that, your Dredd: Superfriends cartoon, obviously this Power/Rangers short, and Venom: Truth in Journalism. They’re excellent pieces. And after looking at the behind the scenes video of Power/Rangers they appear to cost a substantial amount, and yet for legal reasons, you’re not allowed to make a profit. Knowing that you’re not going to make a profit, why do you go ahead and make these?
AS: I like it. I don’t know, I like it, and – it’s all favors. It didn’t cost, you know, as much as it looked like – it was all favors….Plus I think there was a common theme with my friends so when I’m doing stuff, just because the world knows who they are, whatever they’re still my friends. They’re my friends who happen to act. Like this is my friend who happens to direct.
TWP: You’ve been in Hollywood for the past five years and you have a hand in features and you also have a very prominent hand in digital as well. Is digital kind of your playground to have fun and do all the stuff you want? Or where do you draw the line between: this is feature, this is [digital].
AS: There’s no line, there’s no line. We’re slaves to dichotomy, we need to categorize things, and classify things, that’s how we got where we are… So once you remove the idea of dichotomy, you go “Oh, shit. Okay. There’s really no difference there from TV and a movie because they’re both on Video On Demand.” But to make a movie – or you make a TV show – people are still watching it on the TV….or their iPad. And by the way, if they’re watching it on their iPad (and they watch YouTube on their iPad) then what the fucks the difference?
TWP: So, I’d like to get into the conversation about all the legal issues that have popped up this past week. [Power/Rangers] was taken down from Vimeo, it was taken down from YouTube. Mark Zuckerberg championed the project keeping it up on Facebook, correct?
AS: I really shouldn’t get into any of the legal stuff.
TWP: Oh, really? Okay. Okay. I understand. I was going to ask the specifics, but I totally understand if it’s, “they’re very nice people” and you guys had to put a warning on there, and then just move on from there.
AS: Yeah, you know the problem is that once I get into legal stuff, I don’t like talking about it cause – it’s like, I love having creative conversations about the stuff, right? And then whenever it becomes, “Oh let’s talk about the law.” Or, “Hey, let’s talk about financing” or that kind of stuff. It almost puts a damper on things, you know?
TWP: In regard to fan films, you guys made such a great product, do you see great products continuing to be made and [fair-use] being an issue or not?
AS: Yeah! Yeah totally, man. I totally do. Because look at it this way. Why has Hollywood had a monopoly on the culture? I don’t mean American culture, I mean the world culture. Why? Two reasons. Three reasons! Movie stars. Distribution. And equipment. Right? They had better equipment, they had the movie stars, and they had – they basically controlled distribution. Well now because of the internet, no one controls distribution. The internet is a pulpit, right? Movie stars don’t really exist in the same way that they used to, right? It’s become less about being the Rock God that graces us with their presence once every two years, and it’s become more about being relatable and acceptable and being someone’s friend versus – or the perception of being someone’s friend – versus some Rock God, right? And technology; everyone has the same equipment now. I think [is] what you’re seeing.
Everyone keeps harping on the fact that, “Hey, you make ‘real movies’ so why are you doing this?” Well, okay, what’s going to happen when a kid from – I don’t know – the Middle East, decides to make a He-Man movie, and it’s really good, and he decides to release it online?
TWP: Those three points make so much sense – the new stars are YouTube stars. The playing field is level. And they’re not concentrated anymore.
AS: No, [they’re] not at all….You know what I told someone today? I was doing an interview and playing “devil’s advocate” and I said “Dude, just back up. What is art? What is the point of art? Why do we care about art? Why do we create it?”
TWP: Mhmm.
AS: To spark a conversation. All of Hollywood was having a conversation last week about this thing. A lot of internet companies were having a conversation about this thing. A lot of lawyers were having a conversation about this thing. It created a conversation. It’s art.
TWP: What’s amazing, is that these films that you create, the characters that you draw from, they act as placeholders.
AS: Totally! Totally! Thank you. You’re the first person to figure that out, literally. Everyone there was like “Hey, you’re making a Power Ranger’s movie, you’re making a James Bond!” Whatever, it’s like no Man, it’s social commentary. And if you use social commentary, these are the people, our society. These characters, they’re the archetypes that are errant in our society. The most popular TV show when I was a kid, was show about a bunch of kids who were weaponized by aliens. What does that say about who we are? The most popular iconic character that everyone was up in arms about…is a spy who’s an alcoholic, womanizer, total douche-bag, and is given a license to kill. And that’s considered the ultimate form of masculine showmanship. I’m not making just fan films, there’s something deeper going on.
TWP: You’re developing this style, have any pre-existing franchises come to you asking for the “Adi treatment”?
AS: All the time.
TWP: Are you still in talks with them?
AS: No. I don’t want to. It’s like – I’m already doing it. I’m not doing this, so that I can be able to do it. I’m already doing it. That’s basically my response. I just did it.
TWP: I imagine that you don’t want to get bogged down with the “studio system”
AS: Or it’s not only that, but see here’s the thing: the creators, it’s near and dear to their heart. I have this whole pitch for an Alf movie for instance. Where Alf was like a real dude in the 80s. And he was on his fake TV show. He’s basically like Bojack Horseman, where he’s [now] paying for all these years, and he’s a coke head, and a complete douchebag, and he has all these illegitimate kids, and he’s trying to work -it’d be like Birdman with Alf.
TWP: This sounds amazing!
AS: I could totally see how that pitch goes down and I’ve done it before. I’ve had meetings with people, and they’re like, “How would you approach this movie?” And I’m like okay, “Boom! Here we go.” And then they’re like “…..can we do it a little light” and I’m like “No!”
TWP: Do you think it’s them trying to force a PG-13 mentality on you?
AS: It’s not even a PG-13 mentality. What it is, is that they’re trying to perpetuate a culture of fear, and consumerism, and sell fucking toys and happy meals, and that that’s more important than anything else.
TWP: If given your pick of the litter what would you go after? You mentioned Captain Planet a little bit earlier when you were talking about when you were seven and coming up with the ideas. Is that something?
AS: Yeah, I want to do a really dark Captain Planet movie…like a realistic Captain Planet movie, where it’s set years after show. Basically, it’s the world today and the planet’s too small. It got fucked up. I mean the Planeteers, straight up lost. They straight up lost, ya know? They’d be labeled eco-terrorists today. And Captain Planet would be very weak because he draws his power from the planet and the planet is dying.
TWP: That sounds awesome! Lastly, you’ve done a parody of turning something that’s light and turning it dark. Have you ever thought about doing a parody on a dark subject matter and turning it light?
AS: Batman. I would make Batman almost like the one where they dance with Adam West. I’d do a modern Adam West Batman.
Man Seeking Woman Season 1, Episode 8- “Branzino” Air Date: March 4, 2015 Grade: A
I enjoy how this deep into the season Man Seeking Woman doesn’t bother with a somewhat normal introduction into the episode, instead opting to go straight for the surreal. The episode kicks off with Josh coming back to his apartment with the mail, which is full of letters from a supposed admissions process for dating. The girlfriend admissions process is something that I could totally go for. I feel like my strong resume as well as my writing skills would somehow translate better to a written application to the current process of meeting someone randomly at whatever social gathering I happen to be at. As you can tell, my opinion of my own game is terrible. As a logical extension, I thought what something like early decision or even a waiting list would actually translate to an application driven dating world. As someone who’s about to dive into that process again, I was both humored, terrified (the dreaded polite rejection letter), and again reminded that you only need one yes.
Rachel, the only girl who he got an acceptance letter from, actually isn’t that bad of a prospect, even though Josh has to painfully pretend that he loves everything that she likes. The honeymoon period of a relationship is something everyone has either experienced first-hand, or more likely has seen a friend of theirs who has newly discovered someone go through. It is a brutal time of forced delusion that people go through because finally, they found someone who they think completes them. This of course, leads straight into the madness of introducing someone to your parents three weeks into a relationship.
Introducing a significant other to your parents any time before a month has passed in a relationship is madness. I love my parents dearly, but my lovelife and my family life are two separate realms which I like to keep from one another. The only time I’ll breach the divide is when I know it’s serious and it’s going to go somewhere, which you definitely can’t tell after three weeks. The mom talk show bit didn’t land as well as I think it could, but it was saved by the late night band (comprised of Josh’s mom’s new squeeze) and the seemingly insignificant fact that it’s a real dinner party and not a potluck, that wins the mother over. I can’t tell you how incredibly true this is, at least for me. My friends are all good people, but my mother always adores them or doesn’t care for them due to some random fact that she remembers during talking to them, which brings me to the dinner party.
In college, I lived with four other guys. One day, one of my roommates stumbled facefirst into a relationship. Living in close quarters with one guy in a relationship and three single college aged dudes is a recipe for awkwardness, which of course, became magnified when my roommate’s girlfriend decided to throw a dinner party, neither inviting nor notifying the rest of us. What ended up happening was two couples eating at the dining room table, while about ten feet away, the three of us were playing Halo 3 on the Xbox 360. Supreme awkwardness, which is why I abhor dinner parties on principle. Josh and Rachel’s is no better, just pretention and “adulthood”. The stark contrast to which is Mike.
Man Seeking Woman
Prior to this episode, I didn’t think Mike was that terrible of a guy, but then came this full blown example of douchebaggery. Playing with your food is generally frowned upon, but taking the fish which is the main course and doing a one man puppet show is just a bit more extreme than that. Timing how fast you can chug wine certainly does help either. Mike is a one-man wrecking crew to the attempted civility that is the dinner party. Due to my prior experience, I was actually half rooting for Mike, but his behavior was just too much, and the subsequent portrayal of him as a wayward dog is great, mainly because it leads to the best part of the episode, the Bro Pound.
When Josh needs to finally get rid of Mike, because of his newfound love of Rachel, Josh has to find someone to take care of Mike, and where else do you go except to drop him off? At the pound. You obviously just can’t set the bros of the world free in the wild, that’s just irresponsible. They would breed irresponsibly, and who would control them? Mike, lured by the prospect of Salsa Verde Doritos and the latest Call of Duty, is placed in a cell where he can live for thirty days, till they can find him a new friend. Of course, what Josh doesn’t realize immediately is that if Mike doesn’t find a friend within that time, Mike will be euthanized. As they say, when a bro “can’t pound Patron and mad sloppy gash, sometimes the best option is death”. Josh reluctantly agrees, until he actually sees a bro being euthanized, and then he goes back to lead a massive exodus (broxodus?) to the nearest strip club, releasing the formerly impounded bros into their natural habitat.
Now, Mike free, Josh and Rachel decide to take the next step and become conjoined, and who are we to judge, none of us of course have ever known a love like theirs. Their relationship is unique, their love transcends all other relationships, and of course, that relationship condescension is the worst fucking part being friends with part of an annoying couple. Of course, because this is Man Seeking Woman, the series hits the reset button and Josh is single again by the end, torn apart, and with Mike observing the female form.
Branzino is a stellar episode that exemplifies what makes Man Seeking Woman so unique in the TV landscape which is currently populated by so many overused tropes and formulaic writing. I hope that with the second season renewal the creative team can keep going in this strong direction and perspective on modern love.
The Americans Season 3, Episode 6 – “Born Again” Air Date – March 4, 2015
I can’t remember the last time a television show kept me on the edge of my seat like The Americans. It’s so subtle, too, but the writers and actors keep winding the tension tighter and tighter until I’m honestly not sure where it started and I’m more than a little afraid of where it’s going to end.
This week, the main thing that’s forcing my hands into fists and my eyes to beg me to look away from the screen is the seemingly inevitable moment when Philip (Matthew Rhys) is going to have to sleep with a fifteen-year-old girl. Kimmy (yes, really, because knowing she’s fifteen isn’t enough – her name has to be Kimmy and she has to look like she’s twelve and act like a clueless flop), still has no clue that her absentee father is in the CIA and even less of a clue that her new, older boyfriend James is a KGB agent looking to slip a microphone into her father’s briefcase. She’s got major daddy issues and apparently the only thing that’s going to fix them is in Philip’s pants.
Even though the Jennings’ spend a good portion of their time sleeping with other people in service to Mother Russia, Elizabeth (Keri Russell) doesn’t seem any more keen on Philip defiling a girl their daughter’s age than he does.
Their daughter, of course, remains a major point of contention in the household. Paige (Holly Taylor) goes through with her baptism and seems at peace with her choice. Her whole character really emerges with poise and confidence as the seasons of the show wear on and whether or not she decides to follow in her parents spy-sized footsteps, it’s becoming clearer that no one – not her mother or her father – has the influence over her that they would like to think.
In a sort of random, I’m-not-sure-where-they’re-going-with-this scene, we meet Stan’s new girlfriend from the support group thing at dinner, then later get to watch them consummate their fledgling relationship. At the end of the episode, Stan (Noah Emmerich) learns that several FBI agents, including a good friend, have died in the line of duty, His ex-wife and estranged son comfort him over the loss while he uses the moment to try to get her to go out of town with him to the memorial services. Could this be the beginning of a reconciliation? Or just more disappointment for Stan on that front? I’m guessing the latter. Maybe I’m just hoping the latter because that poor woman is just so clearly better off without him.
But enough of Stan.
Philip goes to see Gabriel and learns that, even though he got out of sleeping with Kimmy by proclaiming a new and profound love for Jesus Christ, it’s not going to last. They need to be able to get into the CIA agent’s house once a week, which means his relationship with Kimmy needs to be serious and rock solid (pun intended). In addition, he tells Philip that Irina has been found, captured, and extradited and that his son – or the boy she claims is his son – has enlisted in active military duty. Philip asks if Gabriel has told Elizabeth about the illegitimate child and he replies no, but we all know it’s only a matter of the most advantageous moment for him.
Philip and Elizabeth have a sweet moment of camaraderie – smoking a joint and laughing about believing in Jesus – that have been too few and far between this season. I don’t know if I am alone in rooting for them as a couple but my heart just wants them both to have a safe place to come home to.
We can assume all of that is going to blow up now, since after Gabriel points out to Elizabeth that nothing has been initiated as far as Paige, she takes her daughter out for a serious talk. Elizabeth tells her about her younger days, about fighting for things that matter, how sometimes doing the right thing isn’t as easy as signing petitions and picketing with signs, and begs Paige to believe that the two of them are more alike than different, The groundwork is being laid, the charges set, and this storyline is sure to explode sooner than later.
Elizabeth recruiting Paige. Paige finding out who her parents really are and what they do. Philip eventually having to sleep with Kimmy. Philip and Martha and the whole baby thing. Elizabeth and her AA lady friend, the new college boy they’re following. Stan’s office still looking of the Russian spy couple. There are so many irons in the fire that the chances of one or more of them burning our couple are slim to none and I’m biting all of my fingernails off in fear and anticipation.
Oh! I almost forgot about Nina (Annet Mahendru), which is silly because I adore adore adore this storyline they’ve got going on with her. She began on this show as a weak woman, at the mercy of the many men in her life, but slowly but surely we’re seeing her turn into a fierce spy in her own right – a woman who will take care of her own interests first and maybe kick a few asses in the process. This week, she finished her job with Evi, getting the information the KGB wanted, and coldly ignoring the girl’s screams when she realized she’d been betrayed.
I don’t know what kind of person it makes me, but I loved it.
The International Business Times is reporting that HBO is in discussions with Apple to bring its streaming subscription service to Apple TV in April, just in time for the fifth season of “Game of Thrones.” The standalone service is being called “HBO Now,” where users will be able to sign up through HBO for the first time instead of going through a cable or satellite TV provider.
HBO is looking to target the estimated 10 million U.S. broadband users that do not pay for cable television bundles by partnering with distributors like Roku, Apple TV, Xbox, PlayStation, and Amazon.
When it was first announced last October, cord cutters everywhere rejoiced at the prospect of being able to watch HBO shows without having to pay for expensive cable packages. At $15 at month, it’s not cheap but it’s better than the alternative. While other video subscription services like Netflix only costs $8, HBO argues that it is offering newer premium content that warrants the higher price tag.
Regardless, you won’t have to cash in those favors to use someone’s HBO GO password to see “Game of Thrones.”
We are a few months out from Avengers: Age of Ultron, but that hasn’t stopped Marvel from dropping the third trailer for their upcoming blockbuster.
Unlocked early by Marvel fans via Twitter, the third trailer brings our favorite superheroes back for a more action packed look at the second Avengers film.
The trailer also gives us the first look of the Vision, a robotic humanoid superhero, that will fight alongside the Avengers in Age of Ultron. Marvel’s wiki lists Vision’s powers as the following:
The Vision possesses complete control over his density, and so is able to render himself intangible or extraordinarily massive and diamond-hard at will. He can partially materialize within another person, causing his victim extreme pain. The solar cell on the Vision’s forehead emits beams of infrared and microwave radiation, with temperatures ranging from 500 to 30,000 degrees Fahrenheit.
The latest Avengers’ trailer will have its broadcast premiere later tonight during the series premiere of ABC’s American Crime.
The movie is written and directed by Joss Whedon and stars Robert Downey Jr. (Iron Man), Chris Evans (Captain America), Scarlett Johannson (Black Widow), Chris Hemsworth (Thor), Jeremy Renner (Hawkeye), James Spader (Ultron), Paul Bettany (Vision), Aaron Taylor-Johnson (Quicksilver), Elizabeth Olsen (Scarlet Witch), and Samuel Jackson (Nick Fury).
Marvel’s Phase 3 will kick off next year with the release of Ant-Man starring Paul Rudd and Michael Douglas. The Phase 3 release schedule can be seen below:
Agents of S.H.I.E.L.D. hit the ground running in the first of what will be an uninterrupted run of episodes for the back half of the season, diving into the aftermath of Skye’s transformation and Tripp’s death. While the first half of this season was very much about the team coming together after being torn apart by Hydra — and the struggles that they went through as they re-learned how to trust — it’s clear that the rest of season 2 will be about the team coming together once again…only this time, they’re being torn apart from the inside.
But before we talk about Skye’s “Daisy Johnson” transformation and its affect on those around her, let’s dive into this flashback: a young boy with no eyes teleports in an empty room, while a woman watches. This is 1983: the boy’s name is Gordon, the woman is Skye’s mother, and this is our first real look at an Inhuman in the Agents of S.H.I.E.L.D. world. I’m on board. (More importantly, did you catch that Skye’s mother said that she had been training Gordon for a long time, but she wouldn’t live forever? It’s the comment that segued into Skye waking up in the quarantine ward, and something interesting to think about. What other powers, if any, did Skye’s mother have that she could possess, besides being Daisy Johnson?)
Skye’s been dreaming about Tripp’s death, and is basically on the verge of having a PTSD breakdown, as the events of the finale would be hard to deal with even without the superhero thing. Coulson tells Skye everyone is dealing with Tripp’s death in their own way (May’s beating up a punching bag, Fitz and Mack are working in the garage, you know, the usual) before telling her that the Obelisk brought the Temple down. Skye, naturally, blames herself for what happened to Tripp, even as Coulson gets angry and tells her that they didn’t fail. This whole scene was part of the show’s cold open, and it was, by far, one of the most emotional and impressive exchanges I’ve seen between Chloe Bennet and Clark Gregg.
During an apparent gathering of recent Hydra heads (with an empty chair, RIP Whitehall), the members are not only stuck in an argument about who should replace Whitehall. They’re also quite unhappy thanks to recent events, and one of the men offers Whitehall’s position to anyone who can wipe out S.H.I.E.L.D. for good. Meanwhile, back in the cave, where Simmons has been working (as her own version of “dealing with Tripp’s death”), a researcher is killed by a deadly unseen creature with thorns on their face. Simmons shoots at it (LIKE A BAMF — does anyone remember when Simmons was too terrified to even touch a firearm, back in season 1?) but the culprit gets away. Simmons soon figures out that the killer is Raina, who has transformed into her own Inhuman state after being hit with the terrigan mist. She decides to come back to the team so she can do more research about Skye, having procured some of Raina’s tissue to study.
It seems that each person on Coulson’s team is visiting Skye in quarantine, and talking to her/helping her in their own way. I really like this set-up, because it not only allowed for more emotionally charged moments between the characters, but because it also it helped ground an episode that moved fast, with a lot of action and a lot of information. Bobbi brings Skye a “survival” kit with cards and headphones and, of course, protein bars. Because who would want to be in quarantine without protein bars? Skye’s not doing too well mentally, but unlike Coulson’s heated exchange, Bobbi takes the gentle way out: she tells Skye she’s a rockstar and reminds her of how awesome she was. Can I have Bobbi Morse as my life mentor, please?
Coulson finally calls a team meeting, in which all hell breaks loose once he tells them he’s planning on trying to pull off a prisoner exchange with Bakshi to get to Hydra. Mack gets angry at Coulson, insisting that he’s putting them in danger, and blaming him and Skye for being too caught up in their alien tech to think about the lives of others. The others soon start arguing, which leads Skye to start quaking, and it’s kind of like the whole lab scene in The Avengers, except without the glowing scepter and Hulking Bruce Banner.
Coulson and May start to drive with Bakshi when they’re ambushed, and seriously, what is it with S.H.I.E.L.D. people and car crashes? May and Coulson start attacking the soldiers who are shooting at them, and Coulson manages to pull Bakshi out of the car, when another soldier shoots both Coulson and May and takes their prisoner. The soldier reveals himself to be Hunter — surprise! But don’t worry, he’s not really Hydra, he’s just playing along so they can carry out the rest of their plan. May and Coulson have staged their deaths, and Bakshi calls Hydra while believing Hunter is on his side.
Simmons has taken her turn with Skye, and she tells her about Raina — how she was different and changed, and altered genetically. Skye freaks out again, thinking she’ll cause an entire epidemic, repeating what Mack had said in the argument earlier: that she should’ve destroyed the power instead of trying to understand or control it. I need to say it again — Chloe Bennet is really doing some of her best work in this episode, and it’s amazing to see how much she’s grown since the first season…and even since the last few episodes.
Cal finds Raina sneaking around a dock, and we get our first real look at Raina’s transformation. What has she become? I’m not sure at this point whether we’re looking at an actual Inhuman from comic history, or someone entirely new…but either way, I’m intrigued, and I can’t wait to learn more. Cal is upset that Skye has gone back to Coulson, and is by no means done with making Coulson’s life a living hell. Raina, meanwhile, seems to be a parallel of Skye — upset at her new self, and miserable. She pleads with Cal to fix her but he insists that it’s what she wanted, before basically telling her she doesn’t have to live with it…if she knows what he means.
While Bakshi goes inside the Hydra home, Bobbi joins Hunter in the car. He’s still trying to find out Bobbi and Mack’s secret, which Bobbi admits is…a support group for people who survived the Hydra infiltration. You know, kind of like those support groups for people with mental trauma. For such a big hinted secret, Bobbi gave that up way too easily, so I’m going to assume that this is only sort of kind of true in the sense that there’s something deeper waiting to be unearthed here. But let’s talk about how much I’d missed the chemistry of these two together. Seriously. I would watch a spin-off of their snark. You couldn’t get better chemistry if you tried.
Bobbi and Hunter break their cover and storm the Hydra base, killing basically everyone much to Bakshi’s dismay. He’s been promised to Talbot, per Talbot’s agreement to give them the resources to help with the infiltration, and I really wonder where we’re going with this particular thread of story. Bakshi is too good of a character to keep underground, so I’m guessing there’s a point where he meets up with the M.I.A. Ward, perhaps before he makes it to Talbot’s at all.
While Mack apologizes to Coulson for his earlier outburst, Simmons tells May about Raina, suggesting they break protocol and kill her. Skye overhears the conversation, and it can’t be good for someone who is now different and volatile to hear her friend talking about wanting to kill someone who is ALSO different and volatile. It doesn’t get much better when Fitz finally goes to visit her, saying that his studies have found that her heart rate is so off the charts, it’s almost…inhuman. Well done, Marvel. An increasingly emotional Skye tries to hide the powers she can’t control, but Fitz puts together pretty quickly that she’s the one who triggered the earthquake in the cave.
Simmons and May start to question what happened to Skye once they see the destruction, and Skye is clearly terrified of herself and of the consequences that will come with people knowing what she can do. In what amounts to one of the best scenes of the night, Fitz steps up and takes the blame, claiming that Skye’s DNA is unchanged, and that no one needs to worry. His evidence is enough to let them release Skye from quarantine, and Fitz admits to Skye that he swapped the DNA results — she is changed, probably more than anyone can handle, but they can keep it a secret for now. Skye breaks down and Fitz comforts her, and I really, really loved everything about this moment. I loved seeing Fitz become more capable again, sure of his abilities and able to be the strong one rather than the timid one, after spending so much of the first half of the season in depression. And I love the potential of a Fitz/Skye friendship, and I hope we get more of it. (Though we already did the Tripp/Simmons friendship last season and I don’t want to repeat another round of jealous lab buddies.)
Raina decides to take Cal up on his offer — no, she doesn’t have to live with it — and walks into traffic, which stops all around her. Another batch of soldiers corner her and try to take her in, but Raina refuses, and a force appears around them. Who rescues her? Gordon — grown up Gordon, who has apparently mastered teleporting. Inhumans, everyone!
While the team trades stories and memories about Tripp in a more somber moment, Mack confirms he’s found Fury’s toolbox in Coulson’s office and he confirms it with Bobbi, who says she’ll “make contact soon.” Ah, I knew there had to be more to the secret than a support group. But just who is Bobbi going to call? The Avengers, perhaps? Will this lead to Fury telling them that their friend is indeed alive, since no one seems to know in the Marvel universe outside of Maria Hill? It would be a way to tie things back into the MCU for sure…
Odds & Ends:
Did you catch that in the Hydra meeting, the “man” that was being spoken for was Baron Von Strucker? We know Strucker from the credits of Winter Soldier, where he was shown keeping two other people with powers locked up — Quicksilver and Scarlet Witch. Nothing is ever casually thrown around on this show and given that Avengers: Age of Ultron will be htiting theatres right before Agents of S.H.I.E.L.D. airs its finale, it’s pretty safe to assume that this storyline will tie in somehow. Maybe w’ll be seeing an appearance from Strucker somewhere down the line?
I wasn’t prepared for the Easter Egg of the Howling Commandos photo on the wall in Tripp’s mom’s apartment when Coulson goes to tell her about her son’s death. Talk about being burned by emotions.
I will gladly start a fund for “S.H.I.E.L.D. lady spies riding motorcycles.” Come talk to me, Marvel.
After Rollins takes a couple of shots at his expense, Jon Stewart comes to the ring.
(NOTE: I usually do the WWE RAW reviews over at my own blog and this is a bit of a trial article. The Total Divas recap had a fairly good audience so we will see where this leads…hope you enjoy it! — Matt)
The main event at WrestleMania is still Roman Reigns vs. Brock Lesnar. Rumors are flying that Lesnar’s unhappy with his current contract and that he’s considering a UFC comeback and that he may not even show up at WrestleMania.
Even if Creative had a “plan B” to fix that, that doesn’t make me feel any better.
We should have had an incredible WrestleMania in Santa Clara.
And look what we ended up with:
Daniel Bryan returning to WWE…and he’s buried in placed in mid-card hell.
Ambrose is a comedy jokester, rubbing elbows with R-Truth.
Bad News Barrett becomes IC Champion and loses all the fucking time, so why not put him in a Ladder Match so he can job to the rest of the dressing room all at once?
John Cena vs. Rusev where we’re all supposed to believe that Cena’s gonna win the United States Championship.
The Undertaker, held together with string and tape, to…do what again? The Streak’s over. Where’s the velocity?
Balding Sting vs. Slighty More Agile Scott Steiner
Rollins vs. Orton? Good idea. Just kidding, let’s have him feud against Jon Stewart from The Daily Show.
Something involving Kane and Big Show and J&J Security which has lead me to believe that they all have some serious shit on Vince.
Miz-dow/Miz, a feud that turns to dust if sunlight hits it.
And speaking of boring feuds involving the word “Dust”…
None of this is gonna get any better. I want to hold out some hope but we all know it isn’t gonna be fixed.
Let’s blindly stumble along, shall we?
We are LIVE(!!!) from Newark, New Jersey!!!
Cole, Booker and JBL are the guys still employed to announce this shit.
Seth Rollins starts us off as we’re reminded that he’s in a feud with a dude who’s retiring from a completely different show that has nothing to do with wrestling. Apparently, Rollins invited him to RAW, so our prayers for WrestleMania have finally been answered. Rollins says Stewart’s on his way from a movie shoot. Rollins tells him to turn around and go home. This whole thing gets worse when Rollins reminds us that he’s holding the MITB case. He yells until Roman Reigns’s music hits to some heel heat.
Crowd is TNA soft right now as Reigns looks smug as shit. Reigns says he wanted to come out and hear the crowd yell “YOU SUCK”. He tells Rollins to continue. Rollins says he can rap better than Wiz Khalifa and out-eat Mark Henry and he can out-wrestle Reigns, which delights the crowd somewhat. He says he will be the next WWE Champion. He says Reigns can’t beat Lesnar, but he can. Reigns says that Rollins can’t beat Lesnar. He already had a shot and failed. Rollins reminds him that he could beat the survivor at WrestleMania — or even the next night on RAW. He can even do when the champ “least expects it” because now it’s the Hardcore Title.
Reigns slaps the taste out of his mouth. Rollins bails. J&J attack but eat a Superman Punch and Spear. Reigns stands tall as promo times have been cut in half!
TONIGHT:
The Daily Show with Seth Rollins
Divas Championship rematch: Nikki Bella vs. Paige
That’s right. Your main features on tonight’s show are talking and a Divas match.
Ambrose is on the way to the ring from backstage.
Meanwhile, Rollins’ jaw hurts because Reigns punched him real hard and Rollins “forgot what that was like”. Holy fuckballs, I wish I was making that up. He blames J&J Security for failing him even though they constantly fuck up. PSEUDOVIPER Randy Orton shows upand also blames J&J. He wants Rollins to ask Reigns to fight so he can prove that he can “wrestle and talk like Jon Stewart”. Or something.
Ambrose faces Barrett because Ambrose stole the IC Title. So did R-Truth. Then he gave it back to Ambrose. Also, R-Truth is going to WrestleMania. Also, 4,200 WrestleMania seats are available on StubHub. That can’t be coincidence.
MATCH #1: WWE Intercontinental Champion Bad News Barrett vs. Dean Ambrose (non-title) Ambrose is all over Barrett in the corner and beats him while he’s on the mat. Ambrose gets up and takes over but Ambrose hits a forearm on a counter and a Bulldog. He tries to go off the top rope and Barrett yanks him to the mat, then boots Ambrose outside and we go to a break. When we come back, Barrett is beating on Ambrose, then turns his attention to Truth, who he shoves. Ambrose attacks on the distraction, hitting a dive, then a flying elbow off the mat on the other side. Meanwhile, Truth rips off the IC title. Back in the ring, Ambrose chops away at Barrett but Barrett comes back with Winds of Change. Suddenly, Luke Harper shows up. And he wants the IC Title, too. He takes it and walks away. Barrett sets up the Bullhammer in the ring but gets distracted by Harper. Dirty Deeds by Ambrose and Barrett loses at around 9:39. Again. WINNER: Dean Ambrose via Dirty Deeds
RATING: DUD.
Post-match, Ambrose blames Truth for the belt getting lost.
ON SMACKDOWN: Miz yelled at Miz-dow backstage because he was filming a penis pill ad without his permission.
And then he does it again tonight on RAW. We even get the actual commercial with Miz saying how small and soft his penis is, which is what I totally want to see on a three hour RAW show. Miz is enraged and slaps Miz-dow. Miz-dow is pissed…but backs down.
Bray comes out to the entrance ramp and there’s an empty coffin with him. He wants to know what’s left of The Undertaker. He says he made a coffin for him. Because that’s what Bray does now: he makes coffins. Also, Bray likes lighting shit on fire because it destroys like he does. He pours gas on the coffin, then lights it on fire. Undertaker never shows up and we go to commercial. We’re in the home stretch and we’re imagining a feud.
WWE Network is number on online over everyone. Except porn. Chyna finally gets one up on Vince.
MATCH #2: Cesaro, Tyson Kidd, & Natalya vs. The Usos (Jimmy & Jey) & Naomi Cole: “This match is something to smile about!” Jey uppercuts the shit out Tyson but gets taken out on a double team by Cesaro. Jey hits a quick Samoan Drop and tries the Rikishi Splash. Cesaro tags Natalya and bails from the ring. Naomi tags on and it’s a series of counters before Naomi hits a Sunset Flip fro two. Natalya injures her leg on a jump spot off the ropes and tags Tyson. Jimmy gets the tag on the other end. He manhandles Tyson and punches Cesaro. The Uso’s try a double Rocker kick but Tyson tags his wife who gets pinned by Naomi at 2:53. WINNERS: Usos and Naomi
RATING: DUD.
Post-matchm Nattie yells at Tyson for tagging her in. Tyson hugs her and Nattie cries like a wimp into his shoulder. Awwww.
TONIGHT: Seth Rollins is gonna take on Roman Reigns to prove he can talk on a talk show!
NEXT: Cena announces his plans for WrestleMania, which he totally controls.
Sheamus is still returning, btw. Eventually.
Out pops John Cena.He shows us clips from last week. He says the people are probably happy that Rusev beat him at Fastlane. He says that those people shouldn’t stay happy. He will overcome. Get back up, etc. Fans aren’t buying it. He says that Rusev is a marked man who he will face later. But, right now, he wants to go to WrestleMania. And he will do so by going to the Andre the Giant Battle Royal.
That brings out Stephanie McMahon and she’s not happy that Cena is just declaring his candidacy for that battle royal. She says that Cena being in the battle royal is an insult because Andre was an icon who once held her when she was a little girl. Or something. None of this makes any sense. Cena says his past credentials should get him in. Steph says nope because Survivor Series. Cena calls her a bitch, which is certain to win her over now. Steph says that Cena’s got an ego like Hogan, Hart, The Rock and Austin. They all left and thought WWE would sink. She says it’s time to find somebody who can beat Rusev.
Out comes Curtis Axel who the crowd is behind for some reason. He kisses Steph’s ass and says he deserves a spot at WrestleMania because he also met Andre as a kid. Steph thanks Axel and says that Cena can prove himself worthy by wrestling Axel. Or, alternatively, convince Rusev that he deserves a re-match. Either one. To top off this shit sundae, Axel imitates Hogan’s “whatcha gonna do” spiel and rips his shirt off. Why don’t we bring back Juventud Guerrera as “The Juice”, also? I don’t think we’ve hit the floor yet. Cena’s had it. He grabs the mic and tells Axel to leave the ring. If Axel stays, he’s not walking out.
We get ready to go and then go right to a commercial.
MATCH #3: John Cena vs. Curtis Axel Axel plays to the crowd and imitates Hogan some more. Cena just glares. Axel poses. And poses. And poses. And poses. And poses. And points. Cena hits a clothesline. Axel Hulks up and points at the WM sign, then gets AA’ed and STF’ed and Cena wins at 2:02. WINNER: John Cena
RATING: DUD.
Post-match, Axel leaves the ring just like Cena said he wouldn’t do. But, whatever. Rusev also appears with Lana. They mock him. Answer’s STILL no. Russian flag.20 minutes just to get that.
Cole segues into Triple H vs. Sting. He got an interview from Arn Anderson and Michael Hayes who say that Sting was the “first to enter and last to leave”. Booker says Sting never came to WWE all these years because the “door was always locked”.
Triple H comes to the ring and it’s time to settle in for more talking. Triple H reminds us of what he offered Sting last week. However, Sting spat it back in his face. Triple H says everyone has theories on why Sting never came to WWE until recently. That includes Booker T, who he invites into the ring. He asks if Booker really believes what he said a few minutes ago.
Booker says that he knows Sting. He would have locked him out, too. He says that Sting cannot be controlled. Hogan couldn’t and neither could the nWo or Eric Bischoff. Sting’s here in the WWE and Triple H has to deal with that. Triple H hears what he’s saying. He thanks Booker, then fires him. Happy Black History Month. Then he says he’s just kidding because he’s the boss and that’s what he can do. And he will use that to beat Sting.
TONIGHT:
Daily Show with Seth Rollins
Divas Match
Seth vs. Reigns
After break, Cole is depressed that Triple H didn’t fire Booker T. And holy shit, we’re back and there’s a wrestling match.
MATCH #4: Paige (challenger) vs. Nikki Bella (champion) (w/ Brie Bella) for the WWE Divas Championship Paige beats on Nikki and tries the PTO but Nikki breaks using the ropes. She falls out of the ring and, REALLY?! A fucking commercial?! When we come back, Nikki is in control because stuff happened on the WWE App. She hits a Spinebuster on Paige and tries to follow with a body drop but Paige kicks her and rushes her. They both clothesline each other and hit the mat. Paige hits Short Arm Clotheslines and a dropkick. Two count. Paige goes for a PTO but Brie hops up on the mat. Paige charges her, knocks Nikki down and hits the PTO again. Brie interferes for the pointless DQ spot at 6:37. WINNER: Paige via DQ
STILL CHAMPION: Nikki Bella
RATING: 1/4*. Ugh. No point to this.
Post-match, the Bellas get ready to beat up Paige — but AJ Lee makes another comeback to WWE and saves Paige. Together, the two faces rid the ring of the Bellas.
Backstage, Paige kinda, sorta thanks AJ for her help. AJ is weird and awkward as usual. Hooray. Divas. Wooo.
Rollins does The Daily Show. We get clips of when Rollins invaded The Daily Show. He wants Jon Stewart…but Stewart doesn’t show. So, he tells a bunch of lame jokes until he does. Stewart gets a bigger pop than Reigns. Stewart and Rollins exchange goofy banter. Stewart calls him a “SWAT Team Stripper with Lady Gaga’s hair,” then goes for the Mick Foley city pop. Stewart says he doesn’t fear the Curb Stomp because that’s how people from New Jersey say “good morning”. He name drops a bunch of older wrestlers and says that Rollins is nothing but a poster that people will get tired of and take off their wall. He says that The Authority doesn’t care about him. If they did, he would be in the main event at WrestleMania. He says that Rollins didn’t earn the MITB case. Kane did it for him. Rollins has had enough. He and J&J attempt to swarm Stewart. Orton’s music hits, Stewart kicks Rollins in the nuts and rolls out of the ring, killing any heat Orton had to begin with and making his appearance fucking pointless. Wow.
Renee interviews Jon Stewart who’s really nervous about Rollins finding him backstage. He runs off because he senses danger.
MATCH #5: Luke Harper vs. Daniel Bryan Harper brings the IC title with him. Harper just runs over him and slams him, then punches at him in the corner. Finally, Daniel Bryan sidesteps Harper’s attack and tries a dropkick but Harper grabs him and tosses him over the top rope. Guess what? Commercial time! When we come back, Bryan unloads YES Kicks and goes for the leapfrog off the buckle but Harper catches him and hits Snake Eyes and a German Suplex for two. Harper goes for the Powerbomb but Bryan counters and scoop pins Harper for two. Superkick by Harper. Two count.Harper follows up but Bryan counters with the YES Lock for the win at 6:21. WINNER: Daniel Bryan via YES Lock
RATING: *1/2.
Bryan points to the WM sign, post-match as Barrett comes down to the ring to re-claim the IC title. Ambrose attacks him and grabs the belt. Harper boots Ambrose in the face and he has the title. Harper rests in the corner, so R-Truth pops out of the fucking floor and steals the Hardcore IC Titlefrom Harper. Harper destroys Truth and he has it. Crowd chants for Ziggler, the obvious choice, and he finally shows up and Superkicks Harper, taking the title with him backstage. And Daniel Bryan watches Ziggler with the IC Title. Bryan takes a long look at the belt on the big screen, which is as insulting as it gets. They have a staring contest.
The next 2015 WWE Hall of Fame entrant is…Alundra Blayze & Madusa.
Backstage, Seth Rollins is seething over Jon Stewart beating him up. Orton shows up and says he saved Rollins and wants to help Rollins tonight against Roman Reigns. Kane and Show show up and say they’ll be there. Orton isn’t happy and wanders off.
Paul Heyman is in the ring to address rumors. Lesnar will be at WrestleMania. He’ll be anywhere he wants before and after that. He says that people need to believe in Lesnar instead of believing in fairy tales like Daniel Bryan. The mic keeps cutting out. He says that everyone “believes that” when it comes to Reigns. He can beat every single Superstar ever in the history of WWE. He goes on a huge rant about being conquered and beaten by Brock Lesnar. Believe THAT.
Out comes Reigns for the main event.
NEXT WEEK: Rapper Wiz Khalifa is guest starring on RAW next week for some reason.
EARLIER TONIGHT: Roman Reigns hit Seth Rollins with the biggest punch ever in the history of punches.
MATCH #6: Roman Reigns vs. Seth Rollins (w/ Jamie Noble, Joey Mercury, Kane and Big Show) Reigns attacks and Rollins rolls out of the ring. Once he regroups, Reigns hits a couple of simple atomic drops. Rollins regroups again and tghen gets back in. He tries kicking Reigns but Reigns grabs his foot and uppercuts him. Reigns just manhandles Rollins, flipping him to the mat and hammering his head. Rollins finally breaks Reigns’ offense with a dropkick and begins punching away. He eventually tosses Reigns outside. J&J jump Reigns but Reigns throws them off of him like Chozen in the Karate Kid, Part II, then clotheslines Joey Mercury. He gets back in the ring — and Orton’s music hits. We go to break.
When we come back, shit, the match is still going. I was holding out hope that somebody was pinned during the commercial. Rollins has taken over and has Reigns in a Sleeper. Reigns breaks free, lifting Rollins up and slams him to the mat while Orton looks smug at ringside. Rollins charges but misses his corner splash. Reigns hits clotheslines and a Tilt-a-Whirl Slam. He sets up for the Superman Punch but Joey Mercury grabs Reigns foot which the ref just allows to happen. Reigns dumps him outside and gets dropkicked by Rollins. Rollins goes top rope but Reigns attacks and goes for a Superplex. Rollins breaks the hold and tries the neckbreaker. Reigns counters.
Noble jumps up on the mat and gets taken out. Rollins shoves Reigns to the mat and then hits the Championship Kick That Won Alberto Del Rio the World Title for two. Both men are down but get back up. Rollins rushes at Reigns but Reigns tosses him out of the ring. Reigns dives at Rollins but hits Big Show instead. He rolls Rollins back in the ring but Kane clocks Reigns with a chair and rolls him into the ring. Two count by Rollins. Rollins goes for the Curb Stomp and misses. Reigns hits the Superman Punch and goes for the Spear but Orton grabs Reigns’ leg. Rollins rolls Reigns up for like a a full ten-count, which is ridiculous, and wins at 15:32. WINNER: Seth Rollins
RATING: **. Horribly overbooked. Do we really need five dudes at ringside with Rollins?
Post-match, Reigns dives at the entire Authority. Show comes back in and gets taken out. Rollins goes top rope but Reigns hits a Spear in mid-air. He stands tall as we go off the air.
OVERALL: *, overall. That’s being generous.
THE TOP COMMENTS FROM YOUR LOCAL WRESTLING INTERNET FORUMS:
House of Cards Season 3, Episode 1 – “Chapter 27”
Air Date: February 27, 2015
When last we left Frank Underwood, he was knocking his coveted class ring on the hardwood desk in the Oval Office. His scheming and manipulations had paid off, leaving him in the White House and us believing him a chess master of men. Season 3 of Beau Willimon’s epic continues, but not in the way we’d expect or necessarily want.
Frank briefly opens the season with all the swag and bravado we’ve come to relish, by literally pissing on his father’s grave. He then recedes into the background for the story to focus on a different character.
Thankfully, and here’s where the SPOILERS start – so get ready, a large portion of this opening is spent on Doug Stamper. Not in a way that leads to a D.C. Detective putting on their sunglasses before it cuts to The Who covering the now quintessential trumpet blasts that get me so giddy. But he’s in the hospital, recovering from a blow to the back of the head by the now ghost-like Rachel. We watch as he endures the recovery process; a lap-dog trying his best to get back to his master. One of the biggest disappointments at the end of season two was Doug’s presumed death. His removal from the show was further solidified among fans with his absence in this season’s promos. However, the slow reveal on him adjusting his shirt cuff was fantastic, and had me waffling between whether it was Raymond or Doug, until I saw his severe soldier-like expression staring straight ahead. Personally, I’m excited that Mike Kelly gets to continue this role as the President’s former Chief of Staff, and his performance should make him a household name.
The beginning heightens our anticipation, making us wait twenty-five extra minutes till we see Frank – or should I say “Mr. President” – as Commander-in-Chief. When we do, months have passed since Underwood ascended to power; he’s in full stride as the Prez, and doing a terrible job.
Say what? Yes, his approval rating is in the crapper, leaving Democrats sidestepping away and Republicans out for blood. Meanwhile he’s trying to get his beloved AmWorks – a jobs program that has the ability to piss off both parties by cutting entitlements and nationalizing jobs – up and running. The topic of unemployment is one of the many issues season three mirrors in regards to our own current political landscape. These allusions make the third installment better and more relevant than its previous iterations, even if some might find the overall story lacking.
Finally there’s Claire. (spoiler) Essentially the emotional antagonist throughout this whole season. Just like her paramour, her current title of First Lady isn’t enough and she’s seeking the role of Ambassador to the United Nations. It’s seemingly part of a prearranged deal made before the then happy couple ever stepped foot in the White House. Frank deflects her insistence on this appointment, wanting his own bills to pass instead. It’s here that we first see Claire’s desire to be more than second fiddle. She strong arms Francis ambushing him while he sleeps, and all but demanding the position.
They’re interrupted by a need in the “Situation Room” where as President, Frank has to order the drone strike (another topical issue) on a building where a terrorist is currently residing. Despite possibly killing women and children in the process, he orders the strike. The episode closes with Frank and the First Lady ascending the stairs, passing a portrait of Henry Truman (a man who epitomizes hard Presidential decisions) on their way back to bed.
Unlike the opening to season two, this opening is reserved; and that’s a good thing. The first chapter in last season was great because it hinged on the surprise of Zoe’s death. Like other great TV shows, they did the unexpected. In the opening this year, they stayed true to doing the unexpected by countering last year’s opening. We didn’t have to wait until the end of the episode for Francis to look into the camera and talk to us, in fact, it’s the very first thing we hear. Also rather than kill off a main character, the writer’s brought Doug Stamper, a presumed dead-man, back to life. Like any good first act this foray into the season laid the groundwork for the many issues that will arise in later episodes.
Today we have our first look at the sixth season of Community with a brand new trailer.
To call NBC’s cancellation of Community at the end of the show’s fifth season a travesty would be an understatement. The series had come so close to its running joke of “Six Seasons and a Movie” and was cut short.
Thankfully, Yahoo, the most unlikely hero, stepped in and announced the series would continue under their Yahoo Screen application.
Stars Joel McHale, Gillian Jacobs, Danny Pudi, Alison Brie, Jim Rash, Ken Jeong are all returning for the new season. Paget Brewster and Keith David will be joining the cast.
Josh’s hopeless love life will return next year as FXX has renewed Man Seeking Woman for a second season.
The half-hour comedy series based off of Simon Rich’s The Last Girlfriend on Earth: And Other Love Stories follows Josh (Jay Baruchel) through the world of dating and breakups while throwing him into surreal situations.
“Simon Rich has delivered an incredibly smart and original take on the search for love,” FX President, Original Programming, Nick Grad said. “Critics and fans alike have embraced his unique storytelling, Jon Krisel’s stunning visuals and the brilliant performances of Jay Baruchel, Eric André and the rest of the cast that has made Man Seeking Woman one of the best new comedies on television.”
Man Seeking Woman‘s second season will return in 2016 with a ten-episode order.
In Man Seeking Woman I definitely identify more with Josh than anything else. Neurotic, overthinking, that’s my sort of guy. Sadly, I think even Josh has more luck with women than I do. This is contrasted directly by Mike, as played by Eric Andre. The serial chauvinist waltzes in and out of Josh’s life, half serving as a catalyst for his misadventures, the other half serving as someone that Josh envies.
I was able to spend a few minutes talking to Eric Andre, the talented actor who plays Mike in Man Seeking Woman last Friday and get a couple of insights on Mike, how Andre sees him, and how the character will evolve as the show continues.
Man Seeking Woman takes a very familiar sitcom trope (guy trying to find love) and throws some ridiculously high concepts onto it. Andre puts it best when he describes Man Seeking Woman as,
“I say cartoon come to life. I say John Cusack Rom-Com mixed with a Salvador Dali painting. I say the Meg Ryan movie ‘You’ve Got Mail’ on Peyote. It’s a psychedelic Rom-Com.”
Andre also does not have a very high opinion of his character. “I take from all of the biggest douchebags I grew up with in Florida and I channel them and put them into Mike.” Furthermore, when Eric was asked if he would hang out with Mike in real life, he responded with a resounding, “No. I would run for the hills.”
If this was the case, I asked what Eric thought Mike saw in Josh.
“That’s a good question. What do I think Mike sees in Josh that most people don’t? I think there’s an inner playboy in Josh that Mike is trying to channel. They have a Mr. Miyagi – Ralph Macchio kind of relationship sometimes there I think he’s trying to change. He sees potential. He thinks Josh is like the young grasshopper, and his flower is waiting to blossom like a Georgia O’Keefe painting.”
If that’s the angle, I can see why Eric thinks Mike is such an asshole. Sure, he’s trying to “help” his friend, but that’s because he sees Josh as either a stepping stool or just someone he can mold. Friendship is about accepting and loving who someone is as a person, warts and all. Trying to change someone, in any relationship, is unhealthy if it’s only a one way street. Josh is obviously in awe of Mike’s ease with women, because no wizard came to help him at puberty (see Pitbull), but I really don’t think Josh has a grasp of who he is as a person, and continually seeks to define himself by the women that he dates, something that Mike sees and preys on. As someone who actually enjoys Mike on the show, this kind of left me in the lurch. It’s not fun to root for assholes. Luckily, when asked if Mark will ever give a piece of good advice, Andre follows up with,
“I think so, with time. In the last episode (Stain), we saw some softer sides of Mike. Towards the end of the season, the subtle nuances of Mike’s character will come out where he’s a bit of a walking contradiction. He has a softer; or he’s in touch with his feminine side more than we think, eventually.”
It will be interesting to watch the development of this seemingly womanizing playboy reveal more of himself, because while the show is centered around Josh, Mike plays a huge part in how Josh sees women and the world around him. Hopefully, we can see their friendship evolve maybe that confidence will rub off on Josh, and Josh can ward off some of Mike’s pervasive chauvinism.
The Walking Dead Season 5, Episode 12 – “Remember”
Air Date: March 3, 2015
Grade: A-
For The Walking Dead, Alexandria marks the return of more than just security. It’s the return of society and civilization. With it, comes the dangerous mores of trust and power shrouded behind politics. “Remember” is filled with tension merely by the fact that our heroes haven’t interacted with a proper community of people since Woodbury. They have encountered nothing but monsters–groups for whom the threat is immediate and apparent. But Alexandria is unfamiliar; if the community is hiding a dark secret, our heroes haven’t stumbled upon it yet. As our group surrenders their weapons and enters the walls of Alexandria, they remain suspicious of their welcoming hosts in a brooding, unnerving hour of television.
What made the post-prison arc of The Walking Dead so compelling was its focus on survival. It seemed like the popular trend of dark, gritty reboots extended its way even into established television shows–everything was stripped away from our group (and Rick in particular) until all that was left was the hunger that kept them alive. When Rick first meetings with Alexandria’s leader, Deanna Monroe, he warns her:
“You should keep your gates closed… Because it’s all about survival now, at any cost. People out there are always looking for an angle, looking to play on your weakness. They measure you by what they can take from you, by how they can use you to live.”
Deanna Monroe can see the value in a person like Rick, and having people who are experienced survivors join the community. A former congressperson who might’ve become a professional poker player, she claims to have an exceptional talent for reading people and puts a lot of faith in Rick. Even when Rick mentions the countless people he’s killed in order to keep his family alive, and Deanna simply tells him, “Sounds like I’d want to be part of your family.”
The contrast between Rick’s people and the people of Alexandria is immediate and striking–Alexandria’s citizens are soft, naive, and complacent in their security. We learn that Alexandria has existed since the start of the outbreak, and that Monroe has been there since the beginning. In a troubled confession, she admits to Rick that she’s “done things.” As it turns out, she’s merely exiled three men from Alexandria, “and we both know that’s as good as killing them.” As the others explore the community and meet people, they come across vestiges of the former world they never thought they would see again: the elderly Millers relaxing on their front porch, an owl sculpture Jessie and her sons are working on in their garage, and Jessie’s Pete lounging outside after dark (who isn’t even fazed when a stranger like Rick approaches).
Daryl, being typically Daryl, doesn’t like the place at all. The others are similarly cautious: Carl meets a group of similarly-aged children who spend their days going to school, hanging out in secret attic clubhouses, playing videogames, and skirting around the strict pool table rules imposed by Mikey’s father. Glenn, Tara, and Noah spend the afternoon on a “dry run” with Aiden Monroe and Nicholas, who are in charge of the community’s supply runs. Cocksure and reckless, Aiden calls guns “biscuits” and endangers everyone by capturing and stringing up one of the zombies who killed four people on a previous supply run. He receives a pretty satisfying punch to the face from Glenn, and Deanna is more convinced than ever that the group of hardened survivors is exactly what Alexandria needs–she offers Rick and Michonne positions as constables.
“Remember” plays out under the assumption that the group is being observed and vetted for a place in Alexandria. Additionally, of course, there’s the abundance of caution exhibited by our heroes as they attempt to size up their hosts and potential home. There’s a lot of tension to be drawn from the carefully chosen words and the cautious scrutiny between the two groups, but what propels the episode from good to great is its brilliant final moments. Having spent a couple of days living within Alexandria and amongst its people, Rick decides that they can make something for themselves there. He tells Carol and Daryl: “We won’t get weak–it’s not in us anymore. We’ll make it work. If they can’t make it… then we’ll just take this place.”
Rick’s final words completely cast the episode in a chilling new light. He’s been taking note of Alexandria’s many weaknesses, and the vulnerability of its people. Suddenly, these aren’t necessarily things that need to be fixed–these are things that can be exploited. Perhaps more importantly, he’s also been observing his own people and their reactions. He takes comfort in the trepidation and concern the others share. Even Michonne, the most eager of them to settle and join the community. has trouble sleeping at night. Rick and his group are ultimately survivors, and Alexandria is quite simply, an opportunity. There’s only one question remaining: have they been out there too long?
Another detail I enjoyed: in addition to stocking the usual amenities, each empty house comes with a pile of empty picture frames, under the assumption that any survivors they take in will be carrying a lot of photos.
“Nothing like a cathartic shower, shave, and haircut sequence,” said every movie or TV show about a good guy having done bad things.
Enid, the only girl around Carl’s age, also came from the outside and has a habit of climbing over the walls of the compound.
Blender gun is gone. My guess is Enid.
I wonder whether Deanna, who claims to be able to read people exceptionally well, will be able to detect or anticipate these ulterior motives before it’s too late.
Vincent D’Onofrio always makes a formidable bad guy and as The Kingpin in Netflix and Marvel’s upcoming “Daredevil,” he looks just just as intense and intimidating as any villain in the MCU.
Here’s his official character bio:
The shadowy figure behind organized crime in Hell’s Kitchen, Wilson Fisk has one mission in mind: to save Hell’s Kitchen by any means necessary, no matter the cost. This immediately puts him at odds with Matt Murdock’s vigilante alter-ego, who also seeks to protect the city – but sees the criminal element as the root of the city’s problems. Central to this conflict is that Fisk truly believes he’s doing good for Hell’s Kitchen and at times may seem more of a hero to its people than Daredevil. Intelligent, complex and physically imposing, Wilson Fisk is the perfect foil for Matt Murdock, and the two will collide dramatically in Marvel’s Daredevil.
Here’s a close up look of D’Onofrio as Wilson Fisk:
The series also stars Charlie Cox as Matt Murdock / Daredevil. Vincent D’Onofrio as Wilson Fisk, Rosario Dawson as Claire Temple, Deborah Ann Woll as Karen Page, Elden Henson as Foggy Nelson, Vondie Curtis Hall as Ben Ulrich, Scott Glenn as Stick, Ayelet Zurer as Vanessa Marianna, Bob Gunton and Leland Owlsey, and Toby Leonard Moore as Wesley.
“Daredevil” comes out April 10 on Netflix where you’ll be able to binge watch all 13 episodes asap (I know I will!).
Brooklyn Nine-Nine Season 2, Episode 17 “Boyle-Linetti Wedding”
Air Date: March 1, 2015 Grade: A
Brooklyn Nine-Nine is, as ever, a finely tuned ensemble comedy machine. It doesn’t shy away from throwing its entire cast into the mix in any given episode, often with their own small but satisfying story arcs. “Boyle-Linetti Wedding” contains what seems like half a dozen storylines for its various characters, but the short half hour somehow never feels overcrowded or underdeveloped. The entire precinct scrambles to complete their assigned tasks in preparation the marriage of Charles and Gina’s parents; meanwhile, Peralta pines after a grade school crush, Santiago closes in on a counterfeiter she’s been chasing for two years, Diaz struggles with admitting her feelings to Marcus, and Terry and Captain Holt try their best to prepare a heartfelt speech. That’s an awful lot to fit into a short half hour, but the storylines keep humming along and everyone gets a moment to shine in a masterful exercise in controlled chaos.
The time has finally come. As Gina so succinctly puts it: “My mother is marrying–shudder–Charles’s dad, toilet emoji.” While she and Charles try their best to keep the wedding running smoothly, the rest of the precinct encounter their own problems while helping with the preparations. The largest storyline is probably the “will they, won’t they” pairing of Jake and Amy. Jake is tasked with picking up the wedding ring, but is preoccupied upon learning that his childhood crush will be attending, and loses it while helping Amy catch her counterfeiter. While it’s exciting to see the spark be reignited between Jake and Amy, Brooklyn Nine-Nine is foremost a show about friendships, and never loses that priority here. The sentimentality doesn’t weigh down the storyline at all–the fun they have and the support they provide each other is the main focal point. The two make a great team when they’re getting along, and ultimately the best argument that they should be together is their incredibly healthy friendship.
Terry and Captain Holt, meanwhile, are tasked with officiating the wedding and preparing a speech when Gina’s priest drops out. Terry is too sentimental to give the speech without crying, so the responsibility falls on Ray, which goes about as well as you’d expect. Where Terry can only utilize gym metaphors without breaking down into tears, the best analogy Holt is able to muster is a comparison between love and oatmeal (it sustains you), and it took him two hours to write. He finally finds his inspiration when thinking back upon his own wedding to Kevin (which was rushed because they weren’t sure how quickly gay marriage would be struck down). It’s the most touching speech containing an oatmeal analogy ever written.
Rosa avoids inviting Marcus to the wedding because of her fear of commitment. Her relationship with Marcus is one of Brooklyn Nine-Nine’s stronger storylines this season. It’s given her character a lot of depth and opportunities for growth, and it’s always amusing to watch her out of her comfort zone. Her uncertainty proves to be contagious, as she causes Charles’s father Lynn to panic and second guess every decision he’s ever made (“Oh my god, why did I buy a cube-shaped car?!”). Despite Charles and Rosa’s attempt to calm his fears, it ultimately takes Gina to talk some sense into him. Her appeal to Lynn’s courage also resonates with Rosa, who musters up the courage to invite Marcus. Charles and Rosa’s friendship is proving to be one of the show’s stronger elements–they both fill important supportive niches for each other and their chemistry is unique and hilarious. It’s easy to forget the awkward obsession Charles had for her last season.
Bringing up the rear are Hitchcock and Scully, who still haven’t gotten a significant storyline of their own, but are there to add their own distinct flavor to the chaos. When the smoke machine breaks, Hitchcock offers to crouch behind the altar and vape, while later on Scully buys the group time by singing songs (cut to his terrible, music-less rendition of Simple Minds’ “Don’t You (Forget About Me)”).
It’s an incredibly busy episode that doesn’t feel rushed, and manages to fit in a wedding, some police work, and several other subplots into a short half hour without ever missing a beat. What other show can claim that?
“We are going to be brother and sister. To think, this started with us just going to town on each others’ sexy parts!”
“My mom likes champagne, baked ziti, the Bahamas. Charles’s dad probably lives under a bridge, and uses a puddle as a mirror. I don’t know. You figure it out.”
“I would do it, but it’s bad luck for a boy to see his father on his wedding day.”
“Actually, my dad can really rock a turtleneck. Gives him a sexy, Elliott Gould vibe.”
“Oh yeah, I’m really into rented clothes. I love how many butts have been in them.”
“I found an extra place setting for your psychic.” “Strange… she said you wouldn’t be able to.” “Because she’s a fraud! You need to start seeing my psychic.”
“And you’re a weirdo. I’d call you a hobbit. A human pile of mashed potatoes. But you are no coward, Lynn Boyle!”
Marvel has been giving us a lot lately, including all those fancy character posters that are far and away better than the official Avengers: Age of Ultron poster. I thought the individual posters were pretty darn nifty so I decided to use their backgrounds as a springboard for making my own photoshopped posters of wishful thinking. I present to you, my dreams for additions to the already crowded second Avengers film:
Obviously, Captain America will be in Age of Ultron. As will Falcon and Bucky Barnes, but Marvel has yet to release a poster for the lovely Cap, so I took it upon myself to make one.
Not enough people know about Black Panther. We should solve that egregious failure.
Now that Spidey is set to appear in the MCU, why not do some dreaming and put him the Avengers 2? (He’ll likely be in the third, so I won’t be sad if he doesn’t show.)
At this point, Katee Sackhoff as Carol Danvers appearing in Age of Ultron is pretty much headcannon as far as I’m concerned. Besides, her beau Rhodey is already in the film, so there’s your intro to Captain Marvel!
Captain Marvel and Star-Lord have a long relationship and she is the perfect person to bridge the gap between Avengers and Guardians. Doing so sooner would make fans (me) much happier. Besides, more Star-Lord could only be a good thing, yes?
If Spiderman were to be in the movie, we would need someone to offset his angst. Or pummel him into silence. Enter: Wolverine.
Yes, I probably do have too much free time on my hands.
The Last Man On Earth Season 1, Episode 1-2, “Alive in Tucson” and “The Elephant in the Room” Air Date: Sunday, March 1, 2015 9/8c Grade: A-
The Last Man On Earth is perhaps one of the most grounded and unique depictions of the post-apocalypse ever put to screen. Sure, we all have our fantasies of being the tough, resourceful survivors on The Walking Dead, but if we’re truly being honest with ourselves, most of us would be more like Phil Miller (creator, executive producer, and star Will Forte). He’s just a regular guy, and as far as Phil can tell, he’s the only one left on Earth. Created by Forte along with executive producers Phil Lord and Chris Miller (the duo behind the recent Jump Street movies and The Lego Movie), the series is first and foremost a comedy, but nevertheless provides an often tragically honest depiction of the last hope for civilization left to his own devices, without direction or purpose.
After searching the entire country without finding anyone, Phil leaves signs directing survivors to his hometown of Tucson. Phil isn’t really sure what to do with himself; there are no zombies or monsters to fight off, nor any scarce resources to struggle over. Initially, Phil revels in his newfound freedom. The early scenes are a comic display of self-indulgence, from the various souvenirs that fill his mansion from his journey around the country (mostly fine art and rare sports and film memorabilia) to all the ways he finds to amuse himself (bowling with aquariums, blowing up cars with flares and propane tanks). In one particularly self aware scene, he watches and heckles the film Castaway, vowing that he would never talk to a volleyball. It’s a painfully obvious set up, but one for which the over-the-top payoff is hilarious nonetheless.
It isn’t long before the ennui and isolation start to weigh on him, however. The mansion he has taken up residence in has become a complete mess, as has Phil himself. He spends his days constructing a massive Jenga tower and bathing in / drinking out of a kiddie pool filled with margarita. When his toilet becomes inaccessible due to the garbage accumulating around it, he merely cuts a hole in the swimming pool’s diving board. He also makes regular visits to Rozco’s Mexi-Irish Pub, his local watering hole that has become completely filled with dozens of sports balls (and a badminton birdie) with faces scribbled on them. Fans of Forte or Lord and Miller’s previous work will be familiar with the absurd comedy on display here. Anything worth doing is worth doing to excess, and Forte has a masterful sense for when to pull back and when to take a gag to its lunatic extreme.
As amusing as all of Phil’s existential putzing around can be, it’s ultimately unsustainable. Forte lends a lot of poignancy to the character as he slips further into despair, but even at its darkest, the show punctuates the gloom with plenty of tragic humor. Alone and completely unhinged, he finds himself suddenly confronted with a glimmer of hope in the middle of the Arizona desert. I won’t provide spoilers here, even though most could probably guess what happens. It brings up a whole different set of challenges for Phil, and propels him down the path towards salvaging what’s left of human civilization. It’s an occasionally dark, mostly hilarious start to one of the television’s most unique and interesting premises.
“Hello? Hola? Bonjour? Chinese hello?”
“The whole women situation is… the craps.”
Watching Castaway: “No way. No way! That would never happen! That is so stupid. I got news for you, Tom Hanks: I will never ever talk to a volleyball. Not buying it. Balls aren’t people, dude! Balls are for fun!”
I enjoyed how Phil carries a gun, which he mostly just uses to casually shoot out glass doors and windows to enter places
“Oh and I just gotta say, huge apology to Tom Hanks and the whole crew that put together Castaway. ‘Cause they nailed it… They friggin nailed it.”
“When there’s something strange, in the neighborhood… who you gonna call?”
Archer Season 6, Episode 8, “The Kanes”
Air Date: February 26, 2015 Grade: B+
Archer’s comfort zone is the Danger Zone; he’s at his best in shootouts and car chases, and laughs in the face of avalanches and cyborgs. This season seems to have been a lot more self aware and indulgent with Archer’s reckless impunity of late, but “The Kanes” balances all of that out by placing him firmly outside of his element. Lana and Archer bring baby Abbiejean to visit her parents and it soon becomes apparent that everyone is in way over their heads.
Lana’s father Lemuel (voiced by Keith David) is a prominent microbiologist, while her mother Claudette (CCH Pounder) is a professor of public policy with a focus on feminist issues. More importantly, neither of them know that Lana is a spy; they believe she’s still working on her PhD in environmental science. The familiar “meet the parents” premise was doomed from the start, as Archer learns that they had already met once in the past when he was blackout drunk (“… Did they find me utterly charming?”). Things go downhill from there.
Watching Archer squirm under the patient but disapproving gaze of Lana’s parents is pretty great. It goes without saying that Archer’s a bit of an ass, and he approaches nearly everything with a mix of supreme confidence and casual indifference. Seeing him both struggle in an uncomfortable situation and putting forth a genuine effort is surprisingly uncommon for the series, and lends “The Kanes” a refreshingly different tone. It’s also humanizing and endearing for Archer, whose raging id of a character is often in danger of becoming too ungrounded. Out of his element and out of his league, all of his efforts to ingratiate himself to the Kanes land hilariously flat. Archer digs himself deeper and deeper until he finally strikes bedrock by misinterpreting a free-spirited nude hot tub conversation with Lana’s parents as an invitation for a ménage à trois.
There isn’t much time to dwell on Archer’s faux pas, however, as Lemuel’s prized research on algae as a biofuel is stolen from his study. As the thieves speed off, Archer, Lana, and Lem give chase in his green 1968 mustang. Yes, it’s the car from Bullitt and yes, the thieves are driving a black charger. Archer pays homage to the classic car chase while Lana has to explain the truth of their professions to her father. As is typical of the show, there’s some great animated action and a convenient vehicle to hash out some character conflicts.
Unfortunately, the B plot once again feels like a bit of an uneventful diversion. Pam, Krieger, Cyril, Carol, and Krieger’s virtual girlfriend are on their way to league night at the bowling alley when Krieger’s van runs out of gas, stranding them in a rough part of town. In total, it amounts to a mere 3-4 minutes of screen time, which is plenty of time to fit in some amusing banter from the group, but not nearly enough to feel like a properly fleshed out story. Balancing the various plots of each episode is a recurring issue for the series, whose tight scripting and editing already make for some pretty crowded episodes.
The chase ultimately comes to an end when the thieves turn out to be Slater and his team, who are confiscating Dr. Kane’s research in the name of national security. Lemuel is compensated handsomely for his life’s work, and Archer gets an invitation to the annual Kane family reunion. The episode ends on a touching moment for Lana and Archer, whose absurd and complicated relationship serves as one of the show’s greatest strengths. Lana apologizes for not considering Archer family and hurting his feelings, and lest the moment risk becoming too treacly, the best Archer can muster is “Sorry I tried to spit roast your mom.”
Krieger’s van merely has “Van” graffitied on the side.
“Can I call you Lem?” “Of course you may, absolutely! But it’s actually pronounced ‘Dr. Kane.’”
“How does an entire city get a pass on acceptable behavior!?”
“This, from the man who just tried to have a threesome with me and my wife!” “I WAS BEING POLITE.”
Lana’s middle name is Anthony, after Susan B. Anthony. “Oh right, our ugliest president!”
Here’s the photo that inspired Lana’s childhood flashback.
Are you sick of comic book TV shows and movies yet?
WELL, TOO BAD.
The CW would like to make sure you are very familiar with DC Comics, so they are taking several recurring characters from both Arrow and Flash to form a spin-off series. With all the crossovers between these two shows as it is, it may just become an extra hour of comic extravaganza each week, and who are we to complain?
Right now, the cast looks as follows: Arrow‘s Ray Palmer/The Atom (Brandon Routh), Flash villain Leonard Snart/Captain Cold (Wentworth Miller), Flash‘s Dr. Martin Stein (Victor Garber), and Caity Lotz in an unknown role because her character, Arrow’s Black Canary, ahem, is no longer around.
Deadline has also stated that the show will include three more major DC Comics characters that we have yet to see on the show. They also gave some hint as to the timeline:
This is the project CW president Mark Pedowitz vaguely referenced at TCA in January. It will not be part of the current pilot cycle. With the creative auspices and talent involved, I hear that it could go straight to series, possibly for next midseason.
Thoughts? Fears? General excitement and euphoria? Let us know in the comments.
Man Seeking Woman Season 1, Episode 7 – “Stain”
Grade: B-
I’m single, and sometimes I get miserable. Please, for the love of all that is holy, just let me wallow in my misery. Do not try to drag me out, don’t think that you have to fix me, believe me, I know that I’m broken, I’ll eventually piece myself back together. The absolute worst thing you can do is make me a third wheel, which is exactly what Josh is subjected to at the hands of his well-meaning sister.
Liz starts going off on how Josh can’t spend another Saturday holed up in his apartment playing videogames and ignoring the world outside his door. I get this, and the speech half makes you believe that yeah, it is time to get off my ass, and the other half just makes you want to go out so you don’t have to listen to the full spiel about how “she’s out there”. Of course, this leads to a surreal scene where Josh is now a third wheel on his sister’s ice dancing date.
Couples ice dancing, which is typically not a sport for three, spells extreme awkwardness and floundering for Josh while Liz and her boyfriend dazzle the audience with their synchronicity. Now, normally my forays don’t end in embarrassing myself on an ice rink, but Josh and I both share the same trick, using our cell phones to get out of there. Of course, I usually have mine on and fake getting an important call, while he chooses to just leave his phone off and use it as a distraction brick. I’d like to think that my way works a little better.
Following the title sequence (which I really like for some reason), we’re introduced to the main conceit of the episode, which is a destination wedding in hell, literally. The whole hell setting was kind of overkill for the episode and left me feeling that it was milked for some cheap gimmicks (buying holy weapons and the purchase of a lightweight suit). A friend’s wedding where your ex is going is already a minefield. There’s no need to bring in additional fantastic elements that aren’t really played upon.
Seeing your ex is always a complicated thing. Seeing your ex in the honeymoon period of a relationship is the fucking worst. Yes, you want them to be happy, but that happy? Because of another guy? Fuck. Fuck. Fuck. Seeing Graham emasculate Josh was painful, and as much as you want to make Graham the asshole, he doesn’t really play to type. Let’s be really honest, when you see an ex, a tiny part of you wants to see them jealous, to show them that they made a mistake. You see Josh try to dance with a single girl, but what’s worse than not making your ex jealous? Your ex being so madly in love that she doesn’t even notice you at all.
Josh’s final stand, after suffering the insults and taunts of a demon that Graham slew to save Josh’s life, is a spiteful move in which he tries to paint Maggie as a cheating slut by referencing the last time that they had sex in the timeline of her and Graham’s relationship, only to realize that he has the timeline wrong. Facing abject humiliation, Josh further exacerbates his tenuous stand at the wedding by spilling red wine over the bride’s dress (Becky, of Ben and Becky, aren’t they great). He exiles himself from the wedding and after going over his sad-sack story of where he is in his life, Josh decides to man up and go into the wedding to apologize and own up to his mistakes.
The funny thing is, when he goes back in, he realizes that no one really cares about what happened. He had gotten so self-absorbed that he forgot the reason he was there in the first place, which was to celebrate the love of Ben and Becky. What ultimately happens to him is irrelevant, because yeah, this show might be about Josh, but the wedding in hell? That’s about Ben and Becky. So, get over yourself, and enjoy what you’re there for. Everything else is secondary, and maybe once you stop worrying about the million little insecurities that you have, you’ll realize what you actually have to offer.
Just when the “Let it go” covers were finally dwindling down to a respectable amount, Disney goes and hypes up the Frozen train again. It’s not an update on the sequel or Frozen on Broadway, but it is a short film that hopefully has a lot of Olaf. The short film, Frozen Fever, maintains the original cast and directors and follows Elsa as she plans a birthday party for Anna. Things probably go awry. I shouldn’t sarcastically roll my eyes and mutter, “riveting” because Disney has proven me wrong in the past, but I’m gonna do it anyway.
Check out the promo below:
You’ll only be able to watch the short film before Disney’s live-action Cinderella, so be prepared for excited squeals from Frozen fans in the theatre.
Like many people, I didn’t watch Parks and Recreation when it first aired. I curse myself on a regular basis for never finding shows until it’s almost too late, but thank goodness NBC had the foresight to keep Parks and Rec going, even after an abysmal first season. NBC, even through low ratings, then gave us seven wonderful seasons and I am incredibly grateful because we all need shows like Parks and Rec in our lives.
I found Parks and Rec during a low point in my life. It’s sound like a cliche, and maybe it is, but I don’t care. I’m not sure what compelled me to watch through the show other than Amy Poehler’s friendship with Liz Lemon Tina Fey. But watch I did and slowly, that icy exterior around my heart warmed up to the Pawnee’s Parks Department. Parks became a ray of sunshine against a storm of dark and gritty TV shows and I don’t give a shit if you think I’m being cheesy because it’s the truth.
I don’t mean this in that Parks is somehow superior to these other shows–because hey, there’s some great entertainment out there–but rather that Parks never relied on the “usuals” to get viewers emotionally hooked. There aren’t dramatic rifts between characters that last a season or more. (Ron and Leslie’s fight this season was the closest they got.) There aren’t any intense villains for Leslie to face, other than that devious monster, Change. There aren’t emotional deaths or overly drawn out tear jerking scenes to show us how “resilient” these characters are in the face of adversity. They just were.
Lacking the drama of most sitcoms is part of what made Parks beautiful. Flaws were accepted, eccentric behavior embraced. Whether or not you can relate to the wacky antics, watching Parks just makes a person happy. The stories are positive and supportive, steered by Leslie’s need to do good in the world. There aren’t many shows on TV with that sense of generosity guiding their stories. Jane the Virgin is the only one in my mind that even comes close. I don’t mean all this to say that shows shouldn’t have some darkness to them, but that for all the Game of Thrones and Homelands and Gothams, sometimes we need a cleansing show like Parks and Rec to remind us of the good in the world.
Watching the finale, “One Last Ride,” was bittersweet, knowing that these characters each received the best the world had to offer and at the same time, knowing their stories had come to an end. Parks made no effort about hiding the fact that this was a goodbye episode. No over-the-top last minute declarations of love or insane races to finish the intense plot, it was simply a continuation of the relationships that had already been established. And that’s the best part. Parks never tried to be something it wasn’t. Of course it wanted to take the high ground and teach us lessons about life and make us happy. That’s what Leslie Knope is all about. Sickening and stubborn though she may be at times, Leslie looks for the good in others, for any way to help someone and make their day even just a little brighter.
And that’s why I clung to Parks so desperately. In my darkness, there was this show, this show that boasted a wide array of characters who never pretended to be anything but what they were, and this show held my hand. It didn’t make some grand gesture, forcing this existential epiphany on me to make me a better person and blah blah blah, but it was just there when I needed it for a smile or a good happy cry. It was there to remind me why we fall in love, have friendships, and chase our dreams. So often while watching movies or TV shows, I looked to protagonists as people with traits I wanted to embody–heroic, charismatic, independent, witty–even though in my depression, I didn’t believe I could be any of those things. As ridiculous as it sounds, with Parks and Rec, I didn’t want to BE any of the characters. Their lives were so real and honest, I realized I didn’t have to be Leslie or a Donna or a Ron to make someone love me. I could just be me. Though it may be fictional, Pawnee felt like a place where I could be myself. And I needed that support, that bright light, that hope that things can be okay.
First in friendship.
I’ll miss you, Pawnee, and all of your crazy residents.
If you’re an avid comic book reader, you’ve probably heard of Matt Fraction or Kelly Sue DeConnick. The couple has written some of the best comics over the past few years–Hawkeye, ODY-C, Invincible Iron Man from Fraction, Captain Marvel, Bitch Planet, and Pretty Deadly from DeConnick, to name a few. Now, Team DeFraction is heading to the small screen, thanks to a two-year deal with Universal TV. Deadline has revealed that the two will adapt some of their comics, along with original TV series concepts. Their Milkfed Criminal Masterminds production company will become a TV launchpad for IP from other comics creators. Lauren Sankovitch has been hired as their managing editor. Universal TV EVP Bela Bajaria said:
“We’re always excited to usher in fresh voices to the television space, and we couldn’t be more thrilled to partner with Matt and Kelly Sue, a fantastic pair whose award-winning comics are as deeply realized as they are entertaining.”
First up on the list is Fraction and artist Chip Zdarksy’s Eisner and Harvey-Award winning comic Sex Criminals. Criminals focuses on a female librarian and male actor who discover that they can freeze time when they orgasm. So naturally, they take to a life of crime. There’s no word on what, if any other properties from them that will make their way to TV. Here’s hoping Bitch Planet is one of them!
As Chris Traeger would say, that was literally the best series finale ever.
Parks and Recreation has always been the underdog in NBC’s comedy lineup. The first season is almost universally agreed to be the weakest link in the entire series, but the show really came into its own in season two. By season seven, we’ve grown attached to these characters and look forward to their weekly adventures.
Last season’s finale jumped the plot forward to 2017. Leslie is a Midwest Regional Parks Director with three kids, Ben is still the City Manager, and the rest of the cast has split off. It comes across more as a series finale than anything else, albeit one that doesn’t let us see what happens to Tom, Ron, Donna, or Gary. In an unjust world, the elevator door would’ve closed on Parks for good, but NBC realized what a great show they had on their hands and gave it a true final season. Jumping the plot forward three years didn’t make things jarring; if anything, the first four episodes breathed new life into the show, giving it entirely new plots and taking the characters in unexpected directions. Ron forming his own company with his now revealed brothers? Totally makes sense. Andy having a TV show based on one of his many goofy personas? 100% plausible. But then it came time to say goodbye.
“One Last Ride” opens with a concerned citizen asking for a swing to be fixed, but that’s just the framing device for the series to do what it does best–letting us see its characters be themselves. This past season has featured the various odd people that make up Pawnee, Chris and Ann included (with their kids!), and the finale gave us a look into the future for the key players and the most recurring characters. It’s fitting that each of these flash-forwards began with Leslie giving a heartwarming speech to and touching the respective character. Leslie helped these people discover the best in themselves.
Some will think that these glimpses into their futures will border on cheesy at times, and admittedly they do, particularly with Ann and Leslie’s children possibly getting together, or April and Andy finally deciding to have a kid of their own (Burt Snaklehole Ludgate Karate Dracula Macklin Demon Jack-O-Lantern Dwyer, Jack for short). But each of the characters got their own cheesy ending. Donna created a “Teach Yo-Self” nonprofit organization for her husband Joe; Jean-Ralphio faked his own death so he and his sister Mona-Lisa could use the insurance money to start a casino in Tajikistan; Craig married the hairdresser, Typhoon and they grew old together (“We love each other, and the tax break is substantial”). These futures feel consistent with what we know about these people. Even Garry got a moment, albeit one where they spelled his name wrong on the tombstone.
The swing plot in the present day almost feels like an afterthought, and Leslie’s speeches aside, there’s nothing that really makes it all that memorable or relevant. Which seems like the point, since the characters are the heart of the show, and the Parks Department is secondary. Because of this, the show could have just as easily flashed forward for each of its characters and it would’ve been more satisfying. Since “Donna and Joe”, perhaps “Leslie and Ron”, the episodes after have given a true sense of closure. “One Last Ride” is just an epilogue, a definite assurance that everyone we cared about got their happy endings. It feels like things have finally come full circle with Leslie, who becomes governor of Indiana, maybe even a co-governor with Ben, or maybe more. It’s unclear, but then, it doesn’t really need to be. Whoever the Secret Service detail is referring to, they remain a team. A team that has a deep hatred of the library and a huge love for calzones.
It’s fitting that the final shot of the cast of Parks and Recreation is of them hugging each other. The characters and the way their lives have all connected make them feel like a family. She was a mother before she even had her triplets in the way she cared for Tom after his real divorce with his fake wife and how she treated April. April jokingly calls her “mom” at one point, but their relationship has always felt like one between a mother and daughter. When you pair Leslie with any member of the main cast, you see that she treated each of them like they were family, like they were her children. And like any mother, she gave one important piece of advice:
“Go find your team, and get to work.”
You will be missed, Parks and Recreation. I love you and I like you. I will miss you in the saddest fashion, and you’ll always be 5,000 candles in the wind.
Additional Notes:
I will always be curious about “The Red Thing” Donna wears that Joe likes so much.
In the future, Ben’s Cones of Dunshire game has a sequel: Winds of Tremorrah. Apparently, it’s “punishingly addictive”, so Dark Souls fans, come and get it.
Burt Macklin: “That sapphire has the power to activate the Cuban Missile Crisis!” Lady Snakehole: “Dammit Macklin, I love it when you take charge! Make love to me you fool, you animal!”
Leslie: “Craig, when I met you, I first thought: “There’s a man who loves his job. Then I thought, “Oh no, he’s insane. That person is psychotic and I need to call the police.” Craig: “Yeah, that’s usually the way it goes.”
“Will you do me one final kindness? Will you pretend to be my wife for an insurance scam, but then we fall in love for real? Also, can I have a pair of your gym socks? It’s not for anything weird, it’s just a fetish I have.” Oh, Jean-Ralphio Saperstein. Your funeral song is “Bend Over” by Lil Jon, featuring Tyga, and it’s now going to be my funeral song.
I will always miss Leslie’s sexy-creepy observations about Ben’s body.
Tom: “It’s a whole documentary about my failure.” Lucy: “That you made!”
Who would’ve thought that the country would run out of beef in the future? If that comes to happen, I’m done with this world.
“Oh, sorry, that’s actually for Kendrick Lamar.”
Leslie: “Aren’t you worried [your watch] might give you cancer?” Chris: “…Well, I am now.”
That library callback was amazing. Leslie’s quiet reaction (“A fucking library?”) is priceless.
Lady Gaga is headed to American Horror Story: Hotel!
You seriously couldn’t ask for a more fitting casting.
FX has announced the queen of monsters will be starring in the new season. While no details have been given on her role, Gaga has posted her announcement video on Twitter.
Whoever shipped April and Jerry is about to have an awesome morning.
Last night the cast of NBC’s Parks and Recreation appeared on Late Night with Seth Meyers to talk about the show’s series finale.
What no one expected after seven seasons was a passionate make-out session between Aubrey Plaza and Jim O’Heir as the cast sang “Bye, Bye Li’l Sebastian” at the end of the show. The kiss appeared to be unplanned as the cast members around them break into hysterics as they begin to notice what is happening.
It’s safe to say that the whole of Agent Carter has led to this moment: Peggy walking into the SSR — the office that initially rejected her, laughed at her, and ignored her — and being received with applause, respect and a standing ovation for her work in stopping Ivchenko, aka Dr. Fennhoff. Not that it lasts. No sooner does Peggy get her validation than does the U.S. Senate appear, ready to commend the man they think should be recognized for the job: Agent Thompson. Peggy seems unconcerned though, content to let Thompson take the credit she rightfully deserves, and it’s a great show of how much she’s evolved from the past few episodes.
Because that’s really what this finale was all about — Peggy’s growth. I feel bad for the people who gave up on or wrote off Agent Carter because they were tired of the lapse in action, because in doing so, they missed the journey that was the payoff of the entire eight episode arc. The Peggy we saw at the end of the finale was vastly different than the Peggy who walked into the SSR on Howard Stark’s orders in the Pilot, and the beauty of a short mini-series type show is that we’re able to recognize that difference.
But let’s back up — the episode started where we left off last week, with Peggy, Thompson and Sousa investigating Dottie’s movie theater massacre. While checking out the damage, Sousa is the unfortunate recipient of Item 17, which causes him to violently attack Thompson before Peggy and the police subdue him. When he wakes up shackled to a bed (in a scenario that reminded me very much of Black Widow and Hawkeye in Avengers), he seems to be confused at his actions, but does remember the urge of wanting to kill Thompson. As he’s trying to explain the weapon’s effects to the team, who should appear but none other than Howard Stark (and Jarvis. Always Jarvis.) I had a wonderful moment of happiness when Jarvis comedically put his hands up, which I feel sums up the series quite well — it can be dark and intense at times, but it still manages to inject humor in those moments that deserve to be a little lighter.
Naturally, no one is too thrilled to see Howard, until he explains his reasoning for returning: he heard about the attack on the movie theater, and felt like he needed to come back and clean up his own mess. Item 17 is known as “Midnight Oil,” and according to Stark, it was designed to keep soldiers awake during the war. Obviously, it wasn’t intended for homicidal use, but once the military stole some, they used it on the Germans in Finnow. Peggy reveals that Ivchenko is actually Doctor Fennhoff, and Stark agrees to be bait to draw him out. First, though, he wants to see his inventions — and is less than pleased to find out how the SSR has treated them, much to Peggy’s annoyance.
At a press conference (which Howard seems to be handling better than his son would some years later), Thompson clears Stark of all charges, when he’s interrupted by what seems like an attempt at an assassination. It’s merely a ruse, however, as Peggy soon learns when Stark is driven off in a car with the police officer who had earlier stopped Dottie and Fennhoff in their travels.
Once news of Stark’s capture sinks in, Peggy and Thompson put two and two together: it’s VE-day, and that means that Fennhoff must have something bigger planned — like an attack on Times Square. (If it’s any indication how much of a New Yorker I am, I actually asked out loud, “why would you want to go Times Square?” before realizing 1940’s Times Square was probably less touristy than it is today.) We then flash back to six months ago, where Stark is shown meeting Dottie, which I thought was a cool little Easter egg — I really like that Dottie would’ve infiltrated Peggy’s life in this way, knowingly or unknowingly, and it’s always fun for me to see how womanizing Stark really was. In the present day, Dottie and Fennhoff have taken him to the same secret hanger where he met Dottie in this first meeting.
Fennhoff proceeds to explain how Stark’s Item 17 killed his family at Finnow, which leads to a truly great scene from Dominic Cooper. Everyone really sold it in this final hour, but Cooper — who I feel hasn’t gotten enough credit — was wonderful in this whole exchange. It’s easy to pass off Howard Stark as a sleazy, uncaring guy who only likes money and women, but if Cooper showed us anything, it’s that Stark has a heart. And when Fennhoff was talking to him about the damage he’d unknowingly done to his family, you could practically see the guilt setting in, which made the final act of the episode that much more poignant. Even though Stark’s actions on the plane were influenced by Fennhoff’s hypnosis, the underlying feelings were prominent.
It also made it that much more significant when Jarvis learned that by default (being the only person able to fly a plane) he had to be the one to make the sacrifice and take Stark down, should he not be able to shake himself out of Fennhoff’s spell. As Jarvis takes off, Peggy confronts Dottie and Fennhoff and the two ladies finally get to face off. And unsurprisingly, the fight is well worth the wait. Agent Carter‘s stunts this season have been nothing short of fantastic (not surprising given the great work Marvel TV does with their stunt sequences) but this was intense and impressive, and one of my favorite moments of the hour.
Peggy seems to get the better of Dottie, who ends up being thrown out a window, landing on an airplane wing. Meanwhile, Fennhoff has Thompson and tries to convince Sousa to shoot his friend via hypnosis. It’s a tense couple of moments until Sousa turns the tables and knocks out Fennhoff instead, revealing that he’s been wearing earplugs, therefore making it impossible for Fennhoff to brainwash him correctly. Score one for Sousa! I’ve been a fan of Sousa’s from the beginning and have continually been rooting for him, so I was happy to see him kick some serious butt in the last few episodes.
Jarvis has Stark in his sights and is preparing to shoot, but Peggy attempts to radio Howard and talk him down in order to save him. In a moment very, very reminiscent of the final moments between Captain America and Peggy in The First Avenger — the strongest and most emotional scene of the night, by far — Peggy pleads with Stark not to go through with his mission. Hayley Atwell kills it in this scene, and drives home how great of an actress she is.She tells him that they all need to let Steve Rogers go, and right there, in those few words, we get the through-line of the series. Since the first episode, the show has been as much about Steve and his legacy as it has been about Peggy, or Howard, or Sousa, or Thompson. From the radio show to the blood vial to the fact that Peggy is constantly seen as Cap’s “girl” aka a dame in distress, Steve Rogers has had an overwhelming influence on the foundation of the show and on Peggy’s life. But eight episodes later, Peggy has come into her own. Like the scene in Captain America when Steve realizes his purpose in life is to sacrifice himself to save the world, Peggy finally realizes her purpose is to be enough for herself — no matter what anyone else thinks. When Peggy tells Howard to let Steve go, she’s very much telling herself the same thing. The words work, as Stark lands safely.
The second emotional scene of the night came not too long after, with Jarvis giving Peggy the vial of blood that Howard had thought he had lost during his hypnosis. What does Peggy do with this precious blood, now that she finally has it back? She takes it to the Brooklyn Bridge, and says goodbye to Steve in the most heartbreaking way possible: by pouring the last parts of him into the ocean. And in doing so, Peggy officially releases herself from what the radio shows and work places want her to be, letting the past go. She’s not removing Cap from her life, but rather, moving forward, taking the steps to become the person that we saw in Captain America: Winter Soldier — someone who has lived a life, saved lives, and changed the world.
Growth, indeed.
The episode tag, by the way, was both a great payoff and an Easter Egg to Marvel fans — Fennhoff in a prison, meeting Arnim Zola (kudos to the Agent Carter team for keeping Toby Jones’ name out of the credits until the end, to hide the surprise.) What does Zola want? To collaborate, of course. He’s heard of Fennhoff’s talents and muzzled or not, he thinks they can do great work together. Would this work perhaps include working on someone named Bucky Barnes? I guess we have a year to ponder…
Odds & Ends:
I was assuming based on everything we’d seen that Dottie wasn’t dead, and I was so glad to find out I was right. If Agent Carter does get renewed for a second season (and I have faith that it will), I hope that we can continue to explore Dottie’s back story, which still has so much potential — after all, there are certainly more Black Widows out there…
How many of you got emotional when Stark turned around in his dream and saw Peggy holding Cap’s shield? How many more of you thought for a brief moment we were going to get a Chris Evans appearance? Either way, that one hurt.
Peggy and Angie living together? Yes, please! If there’s a second season, I also respectfully request that we have more scenes of Angie and Peggy living together, especially now that Angie knows Peggy doesn’t work for a phone company. I’m all for best girlfriend hang-outs.
That’s a wrap on Agent Carter! I truly enjoyed this series, which became one of my favorite shows of the season, and I’m truly thankful to the entire team for the ride that we were taken on. Next week, we return to our regularly scheduled Agents of SHIELD — Inhumans! Skye! Raina! The growing Marvel universe awaits.
There’s a trend traveling around all manners of media these days: take a well-loved icon and turn it into something darker, grittier, and more plot-driven. Look at Christopher Nolan’s Batman Begins, or that ridiculous thing Michael Bay had the nerve to call a Ninja Turtle film, or any comic book movie/show from the past five years, and don’t even get me started on the darkness in Care Bears: Journey to Joke-A-Lot. I think you get my point.
Joseph Kahn (Torque director) and Adi Shankar (Dredd producer) have followed this trend and taken our beloved Power Rangers, stripped them of the cheese and geekery, and made them into…well, humans, actually. I mean, minus the Tarantino-esque blood and murder. Surprisingly, they managed to craft an entertaining and engaging (if graphic) premise in under fifteen minutes.
Check out the newly released “Avengers: Age of Ultron” poster! Now why isn’t it May yet???
This is the second “Avengers” film directed by Joss Whedon and stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Jeremy Renner, Scarlett Johansson, Mark Ruffalo, Samuel L. Jackson, Elizabeth Olsen, James Spader, and Aaron Taylor-Johnson.
Here’s the official synopsis:
When Tony Stark tries to jumpstart a dormant peacekeeping program, things go awry and Earth’s Mightiest Heroes, including Iron Man, Captain America, Thor, The Incredible Hulk, Black Widow and Hawkeye, are put to the ultimate test as the fate of the planet hangs in the balance. As the villainous Ultron emerges, it is up to The Avengers to stop him from enacting his terrible plans, and soon uneasy alliances and unexpected action pave the way for a global adventure.
The Walking Dead Season 5, Episode 11 – “The Distance”
Grade: B+
The post-prison period of The Walking Dead has been pretty bleak thus far, but it looks like the show is getting a much-needed shot in the arm with “The Distance,” in which the promise of sanctuary reignites hope in our beleaguered heroes. After recent events, any good news seems too good to be true, and the mysterious Aaron and his offer to “audition” for a place in his community is rightfully met with suspicion. While most of the group is eager for respite, Rick still struggles to let his guard down.
This was a good episode for many reasons, but the single biggest improvement is a genuine sense of optimism that has been so elusive for the past season or two. The Walking Dead has made a point of pushing the group as far as it can towards despair and darkness, and it has done such a good job that even the audience is hesitant to believe the pendulum could truly be swinging back the other way. It’s been a long, unforgiving exercise in behavioral conditioning, and the show revels in further toying with the expectations of both its characters and the audience. What’s interesting is the tangible suspense that this unfamiliar hope brings–the tension exists not merely because lives are at stake, but because the light at the end of the tunnel might finally be something other than another oncoming train.
Understandably and amusingly, Rick greets Aaron’s offer with a punch in the face, but the rest of the group is more willing to hear him out due to their desperation for the safety and community he promises. Michonne and a few others are sent to investigate Aaron’s claims of vehicles nearby, while the rest stay near the barn to prepare for the worst. Aaron tries his best to be disarmingly nice and cooperative, but Rick makes a good point when he says “it’s hard to trust anyone who smiles after getting punched in the face”. Despite Aaron’s reassurances, everyone is on high alert, and the episode draws a lot of its tension from the ambiguous evidence that lends itself to all manner of interpretation.
Aaron’s flare gun and hesitance to eat the applesauce didn’t do him any favors, but it’s the conspicuous lack of people in the photographs he brought that finally arouses Michonne’s suspicions during the nighttime drive to his camp. It’s almost comical how quickly things escalate from here–Michonne remembers to ask Aaron the three questions just before the car plows through a herd of walkers. Aaron then attempts to flee after a flare is seen in the distance, and all Rick, Glenn, and Michonne can do is to follow in hopes of finding the others. The excessive action and gore on display is a nice payoff to all the tension the episode has slowly built up, and a refreshing change of pace from the more subdued, “artsy” direction recent episodes have taken. There’s a time and a place for muted slow motion zombie violence, but Rick shooting a flare into a zombie’s face isn’t it.
The group is soon reunited, and Aaron is reunited with his partner Eric. They agree to continue onto the community Alexandria in the morning, where Rick is met with the sounds of children’s laughter beyond the wall. Andrew Lincoln continues to do amazing work depicting the toll ruthlessness and hyper-vigilance has taken on Rick; and the relief that washes over him in this moment is palpable. He’s been conditioned to expect the worst and struggles to let that part of him go. It’s difficult to say whether his suspicions will be justified–all the communities on this show have a bad habit of being founded on some horrible, dark secret. The show seems to be laying the optimism on pretty thick though, so it’s very tempting to let down your guard. Maybe that’s exactly what The Walking Dead wants…
I don’t think Rick told Aaron to shut up this episode, which is a shame because there were plenty of opportunities and I seriously think it should be his catchphrase.
This episode notably contains a refreshing bit of humor as well–I particularly enjoyed how Abraham’s corny optimism was immediately met with a dead battery.
Chekov’s blender gun!
They need to stop giving Carol stupid lines. Silly way to end the episode.
