Posts tagged episode 4
The “Grimm” episode “Quill” was revealing in several ways. It reveals how Hank (Russell Hornsby) will react to new truths about the Wesen world, and how Juliette (Bitsie Tulloch) will react to strange memories involving Nick (David Giuntoli). It also shows another side of Rosalee (Bree Turner) that viewers may never have expected to see. The episode also introduces two new creatures, one of which is sent to find Nick’s key.
“Quill” began as the aforementioned Wesen-infecting virus hit Portland. It caused the carriers to break out in horrifically gross boils and yellow pustules and basically made them act like 28 Days Later rage zombies. Now, last week everyone was mad at me for not recognizing Mark Pellegrino, so get ready for me to call out the name of the guest actor who played the porcupine Wesen every two seconds: Kevin Shinick, from Robot Chicken, Ugly Americans, Mad TV, and Where In Time Is Carmen San Diego?!
In the next scene, Nick and Hank are sharing a meal at a diner, discussing everything “Grimm” related. Nick isn’t sure how Hank can see Wesen, or why he only sees certain ones. He also informs him of Aunt Marie’s trailer and all the treasures (books, weapons, etc.) inside. Then Nick and Hank are called to the scene of the hit and run. When they arrive, they go with Sgt. Wu go to investigate the building with shattered glass. They hear something upstairs. They find there is blood everywhere in the building, though it is supposedly empty.
The case is limited, perhaps by budgetary constraints, so there’s never really any sense that a plague outbreak is going to take the city’s sizeable Wesen community by storm or create a larger panic. The origin is never fully explained, there are a ton of loose ends about containing the resurgence of the old plague, but maybe it’s a sickness equivalent to Legionnaires’ disease, which recently had an isolated outbreak in Chicago at a Marriott hotel. Either way, the plot holes aren’t that concerning, since there are moments of suspense and delight throughout.
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The Ecstasy and the Agony
Well, it happens with every show. They hit a point in the season when a throw away episode is needed and “The Ecstasy and the Agony” was that episode for Major Crimes. Generally Major Crimes actually has character development, interesting moves between characters, and interesting things to pay attention to during the episodes.
It seems like there are a good number of you who really don’t like the addition of Rusty to the mix. I’m quite enjoying him and his smart ass attitude. He’s a great foil for Sharon Raydor. They both say things with a straight face and then reply similarly and end up staring at each other dumbfounded, as if they can’t believe they’ve found each other. Sharon’s line about how to look Catholic was classic. Even if you weren’t raised as such, certainly you’ve seen the rest of us wearing the mask of guilt.
Raydor is talking to Provenza (G. W. Bailey) and Buzz (Phillip Keane) when Rusty storms over to tell her he’s going to be late. Raydor asks Buzz to drive him to school. Provenza points out that asking a civilian employee to do a personal favor is against the rules. She points out that it’s not a personal favor since going to school is one of the requirements for their material witness. Provenza withdraws his objection and puts in a coffee order. Poor Buzz.
Well, he uses them in this Major Crimes episode. He was the best part of “The Ecstasy and the Agony.” Watching his scenes with series regular, G.W. Bailey, was worth the price of admission. Besides NCIS, Weatherly’s other TV credits include Dark Angel, where he played Logan Cale/Eyes Only; he played opposite Christina Applegate on the NBC sitcom Jesse; he was Theo’s college roommate in an episode of The Cosby Show; and on the daytime front, he was rich hottie Cooper Alden on a soap called Loving. Plus, if you ever get to see Michael appear on a talk show do so. He’s always entertaining.
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This week’s Hell on Wheels, Scabs, is about the usurpation and exercise of power. It’s about who has rights and who doesn’t, and it answers the question by suggesting those who have rights are those who fight for them.
It took a season and a half, but Hell On Wheels has finally gone ahead and told a story that’s actually, properly about building a railroad. Even more promisingly, the episode that does so places Bohannon front and center, dropping the McGinnes brothers and Joseph subplots for the episode in order to place all the focus on the two protagonists, Cullen and Elam.
During the opening minutes, this week’s episode once again reminds us that Hell on Wheels isn’t your grandfather’s western. Cullum Bohannon is overseeing a construction crew out in the field when work suddenly halts while everyone pays heed to nearby screaming. Attention focuses on a nearby hilltop, where one of the Irish laborers is being tortured by Sioux tribesmen obviously intent on making a point. (That point: The same thing could happen to any of you other palefaces.) Cullen asks for someone to bring him a rifle. Suitably armed, Cullen fires – not to kill a Sioux, but to put the Irishman out of his misery. (Actually, that sounds like something Ethan Edwards might have done in The Searchers.) The other railroad workers – Irishmen and “Negroes” alike – don’t question Cullen’s action. But that doesn’t mean they’re willing to keep working on the railroad all the livelong day.
Not only is there a competition with other railway lines on trying to get to the west first, but the Sioux aren’t pleased people are messing on their land, and the workers themselves have got demands and issues to be dealt with before even striking pins or laying tracks.
Not surprisingly, Durant and Lily couldn’t really do anything to fix the problem leaving it all up to Bohannon. It’s a good thing he’s a man of the people, or at least knows how to push people in the right direction even if they don’t realize it. He’s a natural born leader and his skill with a gun adds credence to his barking orders. Truly, Bohannon continues to show how great of a character he is, no matter what the situation. His scenes are always fantastic.
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Heisenberg is back. At least sort of. The black-hatted baron of terror and meth dealings has been cultivating and brewing within Walt’s frame for several seasons now. We’re finally seeing its froth seep out of Walt’s pores, the bulk of the violent matter yet to come to surface.
“Breaking Bad” the series began as Walter White was turning 50, and this season began with him turning 52. There’s still a birthday in between, and “Fifty-One” uses that occasion to look back over the past year in show time (which, in a meta touch, feels longer than that to Marie) and see who Walter White used to be, what he’s been through, and what he’s become.
When Walt, Hank, Marie and Skyler are all outside, having dinner together, the entire scene is about Skyler about to break; and when it comes to a head—when Walt describes how Skyler was there for him, taking care of him during the cancer, one year ago—the camera doesn’t shift to the table at all. It is entirely on Skyler, her face unmoved with a twinge of regret, cut-to her point of view of the pool, cut-to her face. Cut to her walking into the pool.
Skyler’s walls finally crumbling as she admits to Walt that she has no plan, that she’s just going to bide her time until the cancer comes back. Turns out she really does have a death wish – just not in the usual sense…
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Better Luck Next Year
If you promise not to waterboard the salads (and to cut off the crusts because it just looks cuter) you can come on in to read this Bunheads review of “Better Luck Next Year.” A show’s first bad episode isn’t exactly the end of the world. Or, well, it doesn’t have to be. Rare is the series that has it completely together from the word go, so there’s bound to be some growing pains and missteps while it’s still figuring things (and itself) out. And as long as they happen early enough and the show improves following a bad move, you can easily write them off as a product of new beginnings and growing into the world of the show. In the case of Bunheads, though, its first bad episode has me feeling a bit less confident than I was before about the potential of the show to blossom.
The episode opens with some moving guys bringing Michelle Simms (Sutton Foster) all her stuff from Las Vegas. Fanny Flowers (Kelly Bishop) is completely oblivious to Michelle being robbed in reverse (her landlord sent her a bunch of furniture that wasn’t actually hers) as she directs some handymen to fix things for the auditions. Finally she figures out what’s going on and tells Michelle to clear everything out from the driveway immediately. Michelle asks if there are any nooks and crannies where she can store her begrudgingly inherited furniture, and Fanny says absolutely not.
Michelle explores her hot fridge and gas stove. Oh wait, now she has gas leaking into her cramped guest house. Well, who doesn’t want to sleep with all the windows and doors open at night, right? Later that night Fanny sneaks into Michelle’s house while she’s asleep. Your mother-in-law standing over you is not the best way to wake up, in my opinion. Apparently, Fanny has chosen to unpack and organize Michelle’s storage shed of a house. She only needs sleep for a couple of hours a day and finds the best time to do things is at night. Fanny is so glad to finally have someone to talk to in the middle of the night. Michelle’s version of passive aggressive agreeing is to pass out. I like her methods.
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Falling Skies season 2 harnesses its fourth episode of the year “Young Bloods” as Hal and Ben encounter a new group of youths, one of whom has ties to Captain Weaver, while Matt finds himself increasingly drawn to dangerous missions.
This theory is readily apparent in ‘Young Bloods’ – which really should have been titled: ‘How To Be a Good Soldier: 101.’ From the onset, the episode depicts the rebellious nature of young men and women against the pressing and unstoppable force of responsibility and duty. In fact, it’s practically spelled out as two unknown survivors abscond with Hal (Drew Roy) and Ben’s (Connor Jessup) motorbikes while an Army recruitment billboard stands perfectly framed in the background. This sets up a brief, but tense face-off between the Mason boys and what at first appears to be a Dickensian group of orphans with dirty faces proclaiming adults only get them into dangerous situations.
Case in point, Matt has his first mission. It deviates from the original assignment. Tom doesn’t take too kindly to his nine year-old being Skitter-bait. He reams out the dudes responsible for the recklessness and sends them to laundry duty. Matt has a fit for being embarrassed – he wants missions, he wants to grow up (the anti-Peter Pan syndrome).
Now that Jeanne has left her father, the fall out from that will haunt Weaver far more than her being there ever could. Not only will Weaver be devoting time to protecting the Second Mass, but now he’ll also deal with the mental struggle that somewhere in Skitter central is his daughter, whom he’ll never have a status update on. Maybe until it’s too late. A parents worst nightmare, the fear of the unknown.
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We’ll Meet Again
As we promised, True Blood’s “We’ll Meet Again” was full of shockers for Bon Temps’ supernatural residents — and even its few remaining mortals too. I haven’t really been loving True Blood that much this season, but I was happier with this episode because of the final moments . . . and that long-awaited kiss. Let’s get to the best and worst parts of the episode after the jump.
If you hadn’t already guessed, Tara isn’t vampire goo. For making such a drastic leap with her, the show’s writers have yet to do anything truly interesting with the character. Tara finally changes her clothes, and like many of the others, voices her disdain for Sookie’s knack for survival. “She’s always safe,” says Tara. “There’s always some fool that will take a bullet for her.” And though Tara is unknowingly leading the hate-train, it’s not a totally unforeseen remark by Sookie’s former best friend. After all, angry Tara is angry.
But after being treated to two flashbacks’ worth of Pam crying bloody tears over her remembered origins, we know she’s got a heart hidden somewhere under her pink velour sweatsuit, and lo and behold, it makes an appearance again in this episode; after sobbing her way through a confrontation with Eric over the whereabouts of one Russell Edgington, she calls his bluff. If he doesn’t trust her, she says, “then release me and get it over with.”
Even if we do get tired of her, drunk Sookie, newly dubbed “the Angel of Death,” was a refreshing part of this episode. In true “Gossip Girl” fashion, Sookie gets to link up with yet another unattached gentleman on this show now that she’s done with Bill and Eric, but this particular match felt overdue so we were OK with it. And look, Bill’s taking a page out of Edward Cullen’s book and watching creepily outside the window.
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Drop Dead Diva starts with a whole lot of sweaty men. It’s lawyers versus judges, and Grayson (Jackson Hurst) is struggling to find the basket. Owen (Lex Medlin) is doing well. Jane (Brooke Elliott) wonders if Grayson is working too many hours. Turns out Teri (Margaret Cho) is a heckler. Not really surprising news.
It is the 4th episode of the Season 4, Created by Josh Berman and produced by Sony Pictures TV, Drop Dead Diva centers on a beautiful-but-vapid model wannabe who, after dying in a car accident, is reincarnated in the body of Jane Bingum, a brilliant, thoughtful and overweight attorney.
How does Jane continue to land the least interesting case week after week? Even with a stellar set-up (suing a TV producer over the suicide of a women he rejected from his makeover show for being too ugly), Jane’s case doesn’t hold a candle to the craziness of Parker’s arbitration. What beats the intrigue of reality television, suicide and wrongful death?
We’ll find out in this Sunday’s episode of Drop Dead Diva when his son Eric shows up at the firm, unbeknownst to his mother Elisa. Parker who had gone in search of his son last season after Elisa dropped the bomb that Parker had fathered her child — will finally get to..
It seems like the jury consultant was there to tell Jane to tone down her dramatic courtroom bravado, but isn’t that part of what we love about Jane? She isn’t some boring drone. She is smart, sassy and knows how to put on a good show. The truth is, Jane isn’t even trying to put on a show; it’s just naturally the combination of Deb and Jane. So why would Jane’s guardian angel hire someone like this?
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“Single Ladies” is described by VH1 as a romantic comedy series about Keisha (Lisa Raye McCoy), Raquel (Denise Vasi) and April (Charity Shea), who are best friends with different philosophies on love, sex and relationships, proving not all women have the same desires.
Season 2 introduces Raquel (replacing Val — Stacey Dash‘s former role), who is a sophisticated business woman coming into her own and calling the shots.
In this week’s episode of VH1?s “Single Ladies” the girls attend the lavish Kappa Boule Ball where Raquel meets an intriguing guy, but also learns a family secret that shatters her foundation. Meanwhile, April secretly dates a stripper, and Keisha is surprised to run into Malcolm at the Ball and is shocked to learn why he is there.
Elsewhere, Raquel and her first love, Antonio, get hot and heavy until he reveals some shocking news that may prove too much for her to handle; April wonders if she’s lost her dating mojo and worries about her bond with Keisha; and Omar gets engaged to Derek, but has second thoughts.
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Teen Wolf this week focuses on the new lizard-like monster in town called the Kanima. A few questions were answered, but not the most important one: Who is it? Lydia, Jackson or someone else? We also witness firsthand the evil of Allison’s grandfather Gerard Argent. He is so ruthless and pure evil.
Before we get to the meat of this episode, let’s take a brief moment to study Allison’s grandfather, Gerard. We have still only seen the surface of what this man is capable of, but I cannot wait to delve deeper into the history that comes with him. For starters: he and the vet have a past of sorts (did the vet ever work with the hunters?), he loves food if that recipe book holds any truth, he has to take a whole bunch of pills on a regular basis (that at some point better be explained considering we’ve seen them twice now), he has a bestiary (what else is out there!?), he wants everyone to underestimate him, and oh yeah, he loves playing with pointy blades. I know it is always important to leave a strong impression, but stabbing Scott in the abdomen? Not cool grandpa, not cool! That’s definitely one way to threaten someone, that’s for sure, but why pocket a favor from Scott considering he said he was so intent on killing all werewolves in the first episode? No good can come from nefarious planning.
The newest monster from the bestiary to hit Beacon Hills is a pretty disturbing, troublesome critter. No one really knows what it is there for, except for the local veterinarian. As it turns out, Dr. Alan (or Allen) Deaton (Seth Gilliam) is more than just a vet. He’s the key to pretty much every mystery. The first season established that he knows all about werewolves, and now it turns out that he also has some sort of past history with the Argents as well. While he’s not exactly clueless about the lizard monster that’s stalking Beacon Hills, he doesn’t know what it is.
Grandpa doesn’t trust Allison, which is fair because she is putting into place a heist to steal his 800-year-old cookbook. Who keeps their recipes in a leather-bound, tied journal instead of an actual cookbook anyway? That thing looked like something out of Game of Thrones not Martha Stewart Living. No wonder Allison and Scott thought it was a bestiary. (Which is a book of mystical creatures, unlike what Allison and Scott were thinking.) But at least Scott got to enjoy the delicious two-day labor of love Grandpa cooked before getting stabbed in the rock-hard wolf abs. Grandpa is crazy, but he’s not a monster.