Detective Inspector Edmund Reid and Detective Sergeant Bennet Drake investigate the latest criminal activity.
It is now 1917 and Thomas and Michael are being haunted by memories of their dead friends, and with hindsight they are aghast at their initial optimism back at the start of the war. Thomas feels despair, convinced that the war is never going to end.
Gabriella Wark returns to school to find some students determined to make her life difficult. Hector finds an ally in Sue, while Allie feels unnerved as Vaughan and the boys get ready to visit Olga on her birthday.
Sarah continues to cause trouble above stairs, however this time she may have gone too far. Elsewhere Thomas is suffering an illness, Baxter suspects there is more to it than he is letting on. Violet reveals the truth to Isobel the truth about her past with Prince Kuragin. Mary comes to a decision regarding Lord Gillingham.
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Dugdale reluctantly agrees to harbour Jessica and after he visits Jen and Alice in a secret prison it’s clear he will do whatever The Network asks in order to keep his family safe. Jessica is looking for Ian, as is Milner who believes that he will lead her to Carvel.
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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.
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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