2018 is coming to a close. As such, it's only appropriate to look back and see how things went on various fronts. I don't think I've actually done a post like this before, but there's no reason I can't start.
As far as content goes, this year was quite abysmal. You go through the docket where I listed what I had planned and very little of it got done. I was able to keep up with "Dragon Ball Super" until it's end, and I did get my review of "IT part 1" up. I also got started on some of the slated TV shows, but they remain unfinished. I did allude to the idea of doing a post like this in that article, which I'm doing, so I got that done too.
There was literally no progress on the book review front. For crying out loud, "Hearts in Atlantis" remains unfinished. I got no reading done this year. It sucks. That's definitely something I plan on remedying in the coming year, but I'll get to that in tomorrow's post.
Overall, I was averaging about a post a week. For some that might work, but it's not the kind of output that I'm used to. Working two jobs, however, doesn't leave a lot of time, or energy, for this. It's even worse when a good chunk of my content is discussing TV shows. A lot of them piled up, and as a result, shows that should have been done a long time ago are still ongoing for me. It got to the point where I considered just dropping them due to lack of relevance. I mean, I've still got two episodes of "The X-Files" to write up for crying out loud.
One of the good things about Netflix cancelling a vast majority of its Marvel shows is that it will make it easier for me to catch up. I figure I might as well just finish these things up so that we can close the book on them and move on. People probably don't care at this point, but it will at least get them out of the way.
On the financial front, however, 2018 freaking ruled. The thing that hindered content creation did wonders for this "sector". While I'm not remotely close to falling under the "high income" category, my income does exceed my expenses. This allowed me to get my 401K up and running (and I'm maxing it out no less,) set up an IRA, and I even started building a stock portfolio.
I'm definitely planning on carrying that momentum into the next year. With a few other things kicking into gear, I have no doubt that 2019 is going to be freaking amazing. That, however, will be a matter to discuss in tomorrow's "docket/goals" post, where we make a 180 degree turn and move our focus away from the past and begin looking to the future.
Monday, December 31, 2018
Sunday, December 9, 2018
5 Characters Who Should Appear on Supergirl Volume 3: The Final Countdown?
We've done this twice before, so you should know the drill by now. We took a year off, but now it's time to get back to talking about characters who should, in my opinion, appear on CW's "Supergirl". So, without further ado, let's get to it.
1. Kale and Caulifla
The Saiyan/Kryptonian rivalry goes back decades. As such, it's only natural to want to see it brought to the forefront here. Who better to use as rivals to Kara than Dragon Ball's two first female super saiyans?
Now, you might think that things don't line up right. I mean, even the multiverses are incompatible. Well, the fix is simple, have these be the saiyans of Kara's universe. You don't need to introduce kais or gods of destruction, just establish that they are among the many alien species that exist out there in the cosmos.
This allows the writers to take the things that worked, but still take some liberties in terms of appearance (especially in terms of Kale's transformations) and character development. You get the best of both worlds in that regard.
You could go the traditional "space pirate" route, but I think taking a cue from universe 6's more noble breed would be the better way to go. The two wouldn't mean Earth or Kara harm. They could come to Earth looking for a good fight and nothing more. Knowing what Kryptonians can do under a yellow sun, the two arrive to see if that power lives up to the hype. Of course, the intensity would cause Kale to go into berserker form and that would be where the tension and danger come in, as the two try to reign in the uncontrollable saiyan.
Granted,Dragon Ball doesn't have the best track record when it comes to live action material, but one could argue that that is just another reason to do it.
2. Mary Marvel
This is another spot that is largely fueled by a rivalry. Even though both are upstanding paragons of goodness, Superman and Captain Marvel have butted heads many a time. You could do something similar here, or subvert that by having the two become close friends almost instantly. Mary Marvel is sunny as all get out, so it would be hard not to like her.
As to the rest of the Marvel family, you don't even need to worry about them. Just have Mary be the one that Shazam chose as his champion. No deaths or throwing characters in front of a bus, just streamlining. If I recall correctly, the power gets divided when multiple heroes are active at the same time (then again it's been a while so that may have been retconned,) so having just one makes more sense anyway.
3. Doomsday
Sometimes you just need a strong monster thing to punch heroes in the face really hard. Few do that better than Doomsday. In fact, he punches so hard, he killed Superman in their first fight. It is because of this that he makes the list.
Don't get me wrong, Tyler Hoechlin is freaking amazing as Superman. However, I figure DC wants to keep Superman in the forefront in the movies and there seems to be an inability to reach a long term shared arrangement between said movies and the TV shows.
As such, rather than just have him disappear, leaving fans wondering why the characters don't just call Superman when things get heavy, why not have him go out in a blaze of glory?
It would also allow for both an increase in tension (as Kara is robbed of one of her sources of backup) and character development, as she is now pushed further ahead in the list of Earth's primary defenders.
It would also make good fodder for the annual crossover, as Doomsday is the sort of foe who could tangle with a whole squadron of superheroes with little trouble.
4. Steel
With the fall of one hero, comes the rise of another. This is a character I know little about, but that's actually a good thing, as it introduces people to him and gives those curious an idea of how the character works.
I know that he was inspired to take on the role of superhero after Superman's death in the comics, as a way to carry on his legacy. That seems as good an introduction as you need.
The question would, of course, be "would Shaq reprise the role?" Honestly, I have no idea.
With these lists there have been two "traditions" that have emerged. The first is that the last slot is always the hardest to fill, as I usually draw a blank. The second is that each list includes one fairly absurd selection (Comet in the first, and G'Nort in the second.) This list is no different. Not only did I have a hard time coming up with a fifth, but it ended up being a bit more on the silly side, as we'll see when we get to the fifth and final nomination on the list,
5. Scooby Doo and the Mystery Inc. gang
Now, at first glance, you might think that this is forced, that I'm trying too hard. However, if you think about it, the logic behind this pick is quite sound.
For one thing, "Supernatural", another CW show, did a crossover episode last year that went over very well with even the most skeptical of fans.
On top of that, Scooby Doo has a history of teaming up with DC heroes. Back in the day, he and the Mystery Inc. gang teamed up with the dynamic duo to take on the Joker and Penguin, twice. The more recent "Batman: The Brave and the Bold" cartoon even paid homage to it in one episode. I still need to see that one, but I know it's a thing.
There's even a comic being published now that centers on the concept of Scooby and the gang teaming up with various DC superheroes. So this has precedent on multiple fronts.
The crossover could take a cue from "Supernatural" and largely go the animated route, or they could try to CG it up. Either way, a trip to another Earth would likely be essential, so as to keep the whole affair self contained. In either case, seeing Kara interact with the iconic talking great dane seems like a guaranteed home run for television.
That wraps it up. Will there be a fourth list? I highly doubt it, but never say never. I do wonder how much more I can milk this concept, but if some new ideas for potential guests pop into my head, I'll certainly keep the option open.
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1. Kale and Caulifla
The Saiyan/Kryptonian rivalry goes back decades. As such, it's only natural to want to see it brought to the forefront here. Who better to use as rivals to Kara than Dragon Ball's two first female super saiyans?
Now, you might think that things don't line up right. I mean, even the multiverses are incompatible. Well, the fix is simple, have these be the saiyans of Kara's universe. You don't need to introduce kais or gods of destruction, just establish that they are among the many alien species that exist out there in the cosmos.
This allows the writers to take the things that worked, but still take some liberties in terms of appearance (especially in terms of Kale's transformations) and character development. You get the best of both worlds in that regard.
You could go the traditional "space pirate" route, but I think taking a cue from universe 6's more noble breed would be the better way to go. The two wouldn't mean Earth or Kara harm. They could come to Earth looking for a good fight and nothing more. Knowing what Kryptonians can do under a yellow sun, the two arrive to see if that power lives up to the hype. Of course, the intensity would cause Kale to go into berserker form and that would be where the tension and danger come in, as the two try to reign in the uncontrollable saiyan.
Granted,Dragon Ball doesn't have the best track record when it comes to live action material, but one could argue that that is just another reason to do it.
2. Mary Marvel
This is another spot that is largely fueled by a rivalry. Even though both are upstanding paragons of goodness, Superman and Captain Marvel have butted heads many a time. You could do something similar here, or subvert that by having the two become close friends almost instantly. Mary Marvel is sunny as all get out, so it would be hard not to like her.
As to the rest of the Marvel family, you don't even need to worry about them. Just have Mary be the one that Shazam chose as his champion. No deaths or throwing characters in front of a bus, just streamlining. If I recall correctly, the power gets divided when multiple heroes are active at the same time (then again it's been a while so that may have been retconned,) so having just one makes more sense anyway.
3. Doomsday
Sometimes you just need a strong monster thing to punch heroes in the face really hard. Few do that better than Doomsday. In fact, he punches so hard, he killed Superman in their first fight. It is because of this that he makes the list.
Don't get me wrong, Tyler Hoechlin is freaking amazing as Superman. However, I figure DC wants to keep Superman in the forefront in the movies and there seems to be an inability to reach a long term shared arrangement between said movies and the TV shows.
As such, rather than just have him disappear, leaving fans wondering why the characters don't just call Superman when things get heavy, why not have him go out in a blaze of glory?
It would also allow for both an increase in tension (as Kara is robbed of one of her sources of backup) and character development, as she is now pushed further ahead in the list of Earth's primary defenders.
It would also make good fodder for the annual crossover, as Doomsday is the sort of foe who could tangle with a whole squadron of superheroes with little trouble.
4. Steel
With the fall of one hero, comes the rise of another. This is a character I know little about, but that's actually a good thing, as it introduces people to him and gives those curious an idea of how the character works.
I know that he was inspired to take on the role of superhero after Superman's death in the comics, as a way to carry on his legacy. That seems as good an introduction as you need.
The question would, of course, be "would Shaq reprise the role?" Honestly, I have no idea.
With these lists there have been two "traditions" that have emerged. The first is that the last slot is always the hardest to fill, as I usually draw a blank. The second is that each list includes one fairly absurd selection (Comet in the first, and G'Nort in the second.) This list is no different. Not only did I have a hard time coming up with a fifth, but it ended up being a bit more on the silly side, as we'll see when we get to the fifth and final nomination on the list,
5. Scooby Doo and the Mystery Inc. gang
Now, at first glance, you might think that this is forced, that I'm trying too hard. However, if you think about it, the logic behind this pick is quite sound.
For one thing, "Supernatural", another CW show, did a crossover episode last year that went over very well with even the most skeptical of fans.
On top of that, Scooby Doo has a history of teaming up with DC heroes. Back in the day, he and the Mystery Inc. gang teamed up with the dynamic duo to take on the Joker and Penguin, twice. The more recent "Batman: The Brave and the Bold" cartoon even paid homage to it in one episode. I still need to see that one, but I know it's a thing.
There's even a comic being published now that centers on the concept of Scooby and the gang teaming up with various DC superheroes. So this has precedent on multiple fronts.
The crossover could take a cue from "Supernatural" and largely go the animated route, or they could try to CG it up. Either way, a trip to another Earth would likely be essential, so as to keep the whole affair self contained. In either case, seeing Kara interact with the iconic talking great dane seems like a guaranteed home run for television.
That wraps it up. Will there be a fourth list? I highly doubt it, but never say never. I do wonder how much more I can milk this concept, but if some new ideas for potential guests pop into my head, I'll certainly keep the option open.
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Friday, November 16, 2018
'Legends of Tomorrow' Season 3, Episode 6: 'Helen Hunt'
The temporal anomalies place Helen of Troy in 1930's Hollywood. It seems the woman's beauty lives up to its reputation, as it isn't long before film studios are vying to make her a star. Not surprisingly, things escalate quickly.
For her part, Helen doesn't want people getting violent in her name, the chaos just happens to surround her. The way the episode plays it, it almost comes off like some sort of metahuman ability. Alas, there's nothing to suggest that and we're supposed to believe that it's just men being men.
Yeah, this episode has a weird misandric streak going. It's heavy-handed and eye roll inducing at points, but thankfully, the good in the episode outweighs the bad here.
It's trying to do "girl power", but it's done badly here. This episode shows why people would roll their eyes at the message when common sense would dictate that there's no reason to. We've known since Arrow's second season that Sara Lance is an awesome character, I don't need to be told this after half a decade of being shown.
The inclusion of Hedy Lamarr does help make up for this. I was unaware of her and figured she was fictitious. Nope, real actress who made real contributions to scientific development. Shining a spotlight on her not only provides a much better way to display female capability, but allows for some education to seep into the over the top superhero romp.
I was concerned about the "freaky friday" subplot between Jax and Stein, but that honestly ended up working out really well. Both actors did a good job of capturing the opposite character's mannerisms and it gave us plenty of great humor highlights throughout. I think Darhk busting out laughing when he finds out what happened stands as my favorite moment, though.
Speaking of, Damien's return is another plot element that could have become a detriment. Thankfully, McDonough continues to shine as the villain. The fact that he's clearly having a blast playing the role also adds to the viewer's enjoyment.
He seems to have some sort of end goal, though we don't know what it is. He offers to let the Legends live if they just return to the present and let the anachronisms run wild. All he says is that "it's good for business". I guess it's something that will be uncovered later.
One thing we do learn, however, is that the woman who revived him is his daughter. It gives her a bit more motivation for reviving him and allying herself with him. Seeing as she is looking to be a recurring villain, it's for the better.
Other familial relations are brought to light as Amaya learns of her connection to Kuasa. While the two do get more screen time together than they did before, not much is done. At the very least, Amaya displays some contempt for how Kuasa is using her totem. Whether the enmity becomes more personal later on remains to be seen. Either way, this sub-plot is allowing the "Vixen" animated series to have an effect on the larger Arrowverse, which is nice to see.
As to that wham shot revealing where the Legends end up dropping off Helen when she reveals that she was quite unhappy in her own time (spoiler alert: it's Themyscira,) I hope the show does something with it. It's a fitting enough resolution to Helen's arc in the episode;but a part of me is somewhat vexed, as it's highly unlikely that Wonder Woman will appear in the Arrowverse. Then again, it is just supposed to be a nod to comic fans, so I'm probably overthinking it.
Then again, there are other Amazons. Maybe have Artemis or Donna Troy or Cassie appear in Diana's stead. Heck, have Donna be Helen's new identity, the last name could be her way of acknowledging and paying tribute to her roots, but still marking a new chapter in her life's story with a new first name.
It would be a shame to establish that and not have it go anywhere. It does leave the possibility open for future plot potential, so I suppose there's that.
This episode was not without its problems, but all things considered, it could have been a lot worse. It had some good banter, character arcs were advanced, and the climax was very reminiscent of something out of "Dragon Ball Z". In the grand scheme of things, that's not too shabby.
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For her part, Helen doesn't want people getting violent in her name, the chaos just happens to surround her. The way the episode plays it, it almost comes off like some sort of metahuman ability. Alas, there's nothing to suggest that and we're supposed to believe that it's just men being men.
Yeah, this episode has a weird misandric streak going. It's heavy-handed and eye roll inducing at points, but thankfully, the good in the episode outweighs the bad here.
It's trying to do "girl power", but it's done badly here. This episode shows why people would roll their eyes at the message when common sense would dictate that there's no reason to. We've known since Arrow's second season that Sara Lance is an awesome character, I don't need to be told this after half a decade of being shown.
The inclusion of Hedy Lamarr does help make up for this. I was unaware of her and figured she was fictitious. Nope, real actress who made real contributions to scientific development. Shining a spotlight on her not only provides a much better way to display female capability, but allows for some education to seep into the over the top superhero romp.
I was concerned about the "freaky friday" subplot between Jax and Stein, but that honestly ended up working out really well. Both actors did a good job of capturing the opposite character's mannerisms and it gave us plenty of great humor highlights throughout. I think Darhk busting out laughing when he finds out what happened stands as my favorite moment, though.
Speaking of, Damien's return is another plot element that could have become a detriment. Thankfully, McDonough continues to shine as the villain. The fact that he's clearly having a blast playing the role also adds to the viewer's enjoyment.
He seems to have some sort of end goal, though we don't know what it is. He offers to let the Legends live if they just return to the present and let the anachronisms run wild. All he says is that "it's good for business". I guess it's something that will be uncovered later.
One thing we do learn, however, is that the woman who revived him is his daughter. It gives her a bit more motivation for reviving him and allying herself with him. Seeing as she is looking to be a recurring villain, it's for the better.
Other familial relations are brought to light as Amaya learns of her connection to Kuasa. While the two do get more screen time together than they did before, not much is done. At the very least, Amaya displays some contempt for how Kuasa is using her totem. Whether the enmity becomes more personal later on remains to be seen. Either way, this sub-plot is allowing the "Vixen" animated series to have an effect on the larger Arrowverse, which is nice to see.
As to that wham shot revealing where the Legends end up dropping off Helen when she reveals that she was quite unhappy in her own time (spoiler alert: it's Themyscira,) I hope the show does something with it. It's a fitting enough resolution to Helen's arc in the episode;but a part of me is somewhat vexed, as it's highly unlikely that Wonder Woman will appear in the Arrowverse. Then again, it is just supposed to be a nod to comic fans, so I'm probably overthinking it.
Then again, there are other Amazons. Maybe have Artemis or Donna Troy or Cassie appear in Diana's stead. Heck, have Donna be Helen's new identity, the last name could be her way of acknowledging and paying tribute to her roots, but still marking a new chapter in her life's story with a new first name.
It would be a shame to establish that and not have it go anywhere. It does leave the possibility open for future plot potential, so I suppose there's that.
This episode was not without its problems, but all things considered, it could have been a lot worse. It had some good banter, character arcs were advanced, and the climax was very reminiscent of something out of "Dragon Ball Z". In the grand scheme of things, that's not too shabby.
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Monday, October 29, 2018
'Jessica Jones' Season 2, Episode 5: 'AKA The Octopus'
In a surprise twist, Hydra is revealed to be the mastermind behind everything!
Actually, that's not true. That's not true at all. Would've been a hell of a twist, though, if for no other reason than it would help fuse the currently fragmented MCU.
Never the less, this entry in the series stands as a pretty strong one. It keeps things moving at a brisk pace, gives the wide cast things to do, and provides more than a few highlights for the season. Heck, even Hogarth is tolerable. Considering how she's been depicted this season, that in itself deserves massive kudos.
It was surprising how long it took to clear Jess' name in regards to the murder of Pryce's flunkie. Even Jess notes that it was a sloppy frame up (or possibly an unintentional one?) I guess that's just bureaucracy at work, though they do justify it a little by saying that some of the cops have a grudge against Jessica for past actions.
Or maybe they have a grudge against "vigilante superheroes" in general. The idea has been brought up before in prior Netflix shows and one of the cops does make a crack about how "those people" like to team up. Jessica does seem to gain an ally in one of the cops. It makes for some further character development and gives the apparent plot cul-de-sac some longer lasting impact.
On other fronts, we learn about Griffin's true intentions. I have to say....I called it. It turns out all his mysterious conversations were about planning an elaborate engagement proposal event.
I did find it weird that her response was "thank you", and not necessarily a yes. You'd think that the fact that she put the ring on her finger would be enough, but Griffin is smart enough to pick up on the fact and does discreetly follow up by making a more private inquiry later.
Trish's response is a bit odd. It doesn't really mesh with what we'd seen of their relationship up to this point. Maybe it's supposed to be a sign that the drug is having an effect on her psyche (it is clearly shown to have effects on her physically even after it's "worn off") or maybe it's a fear of commitment, I don't know. It's still strange.
Whether this is the end for Griffin remains to be seen. Maybe this jilting is the beginning of a face-heel turn? It wouldn't surprise me, but hopefully, the show avoids going down that road. It has bigger fish to fry.
One such fish is the main villain, whom Jessica continues to tail by pursuing a new lead: the man in prison for another one of "Leslie"s murders.
He's not all too helpful, nor is he particularly menacing. It subverts the old "Silence of the Lambs" dynamic a bit and gives Jessica a chance to show her compassionate side. More than once, she knows when to back off when her interrogation seems to be doing more harm than good.
It's a decent enough scene, but I couldn't get over how they kept referring to "octopuses". I thought that was one of those faux-words, like irregardless, but maybe not. I still found it cringe inducing every time a character said it, as I thought that "octopi" was the correct term. Doing some light googling, apparently, it isn't. I still say that "octopuses" sounds weird, though.
We also get some brief development about the antagonist. Apparently, she's learning to play the piano. It sounds trivial and mundane, but it does put the villain du jour in a different light. She also has an overly cheerful neighbor who brings her baby over to hear said music.
You can tell that the woman is trying to be pleasant, but when the neighbor's baby starts crying, it's only a matter of time before the anger issues bubble up to the surface. Thankfully, the family books it before they can become the target of her rage.
This scene does present something of a contrast to Jessica, though. Sure, it's meant to highlight their emotional issues, but Jess largely deals with it by being in a perpetually sour and snarky mood. This woman, on the other hand, seems to take her cues from the Hulk. She's initially more pleasant, but is more prone to going into "Smash!" mode. That poor piano never really stood a chance.
The episode's big ending is a bit of a let down, however. While Jessica does discover a figure from her past and does run into the woman again, the confrontation is cut short when the two book it. Why she's running when she's stronger than Jessica is beyond me, but she does break the aquarium glass.
The cliffhanger is supposed to imply some tsunami type flood coming Jessica's way, but I don't think the tanks were that big. I just see it cutting to Jess' POV and seeing the water spilling out onto the floor creating a puddle across the room. I mean, the animals would likely die and that would be tragic in its own way, but it doesn't really have the same umph that the producers might have wanted it to.
Still, this was a solid entry and a good point to get back in. After the haitus, this managed to move things along in such a way that it didn't take too much mental effort to get caught up. It also raises enough questions that I'll want to sit down and watch the next episode a lot sooner. I might not be able to binge, but I can at least get into a steady viewing pattern as we move closer to the show's halfway point.
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Actually, that's not true. That's not true at all. Would've been a hell of a twist, though, if for no other reason than it would help fuse the currently fragmented MCU.
Never the less, this entry in the series stands as a pretty strong one. It keeps things moving at a brisk pace, gives the wide cast things to do, and provides more than a few highlights for the season. Heck, even Hogarth is tolerable. Considering how she's been depicted this season, that in itself deserves massive kudos.
It was surprising how long it took to clear Jess' name in regards to the murder of Pryce's flunkie. Even Jess notes that it was a sloppy frame up (or possibly an unintentional one?) I guess that's just bureaucracy at work, though they do justify it a little by saying that some of the cops have a grudge against Jessica for past actions.
Or maybe they have a grudge against "vigilante superheroes" in general. The idea has been brought up before in prior Netflix shows and one of the cops does make a crack about how "those people" like to team up. Jessica does seem to gain an ally in one of the cops. It makes for some further character development and gives the apparent plot cul-de-sac some longer lasting impact.
On other fronts, we learn about Griffin's true intentions. I have to say....I called it. It turns out all his mysterious conversations were about planning an elaborate engagement proposal event.
I did find it weird that her response was "thank you", and not necessarily a yes. You'd think that the fact that she put the ring on her finger would be enough, but Griffin is smart enough to pick up on the fact and does discreetly follow up by making a more private inquiry later.
Trish's response is a bit odd. It doesn't really mesh with what we'd seen of their relationship up to this point. Maybe it's supposed to be a sign that the drug is having an effect on her psyche (it is clearly shown to have effects on her physically even after it's "worn off") or maybe it's a fear of commitment, I don't know. It's still strange.
Whether this is the end for Griffin remains to be seen. Maybe this jilting is the beginning of a face-heel turn? It wouldn't surprise me, but hopefully, the show avoids going down that road. It has bigger fish to fry.
One such fish is the main villain, whom Jessica continues to tail by pursuing a new lead: the man in prison for another one of "Leslie"s murders.
He's not all too helpful, nor is he particularly menacing. It subverts the old "Silence of the Lambs" dynamic a bit and gives Jessica a chance to show her compassionate side. More than once, she knows when to back off when her interrogation seems to be doing more harm than good.
It's a decent enough scene, but I couldn't get over how they kept referring to "octopuses". I thought that was one of those faux-words, like irregardless, but maybe not. I still found it cringe inducing every time a character said it, as I thought that "octopi" was the correct term. Doing some light googling, apparently, it isn't. I still say that "octopuses" sounds weird, though.
We also get some brief development about the antagonist. Apparently, she's learning to play the piano. It sounds trivial and mundane, but it does put the villain du jour in a different light. She also has an overly cheerful neighbor who brings her baby over to hear said music.
You can tell that the woman is trying to be pleasant, but when the neighbor's baby starts crying, it's only a matter of time before the anger issues bubble up to the surface. Thankfully, the family books it before they can become the target of her rage.
This scene does present something of a contrast to Jessica, though. Sure, it's meant to highlight their emotional issues, but Jess largely deals with it by being in a perpetually sour and snarky mood. This woman, on the other hand, seems to take her cues from the Hulk. She's initially more pleasant, but is more prone to going into "Smash!" mode. That poor piano never really stood a chance.
The episode's big ending is a bit of a let down, however. While Jessica does discover a figure from her past and does run into the woman again, the confrontation is cut short when the two book it. Why she's running when she's stronger than Jessica is beyond me, but she does break the aquarium glass.
The cliffhanger is supposed to imply some tsunami type flood coming Jessica's way, but I don't think the tanks were that big. I just see it cutting to Jess' POV and seeing the water spilling out onto the floor creating a puddle across the room. I mean, the animals would likely die and that would be tragic in its own way, but it doesn't really have the same umph that the producers might have wanted it to.
Still, this was a solid entry and a good point to get back in. After the haitus, this managed to move things along in such a way that it didn't take too much mental effort to get caught up. It also raises enough questions that I'll want to sit down and watch the next episode a lot sooner. I might not be able to binge, but I can at least get into a steady viewing pattern as we move closer to the show's halfway point.
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Sunday, October 28, 2018
'Castle Rock' Episode 4: 'The Box'
With Halloween just around the corner, it seemed like a good time to return to Castle Rock. This is one of many shows that should have been done already, but I'm like super busy, so here we go.
I was worried that I would have a hard time getting caught up, but it was easy enough to jump back into the plot without too much struggle. I suppose that's one of the strengths of having a show that hinges on vague mysteries, a viewer can jump back in with a "broad strokes" mind set and still keep up.
I wasn't really feeling the episode for the first half. People are conversing on issues that have been brought up before, but the episode hit the 25 minute mark and I found myself wondering if anything had actually happened. It was very strange. It's not even like the episode was boring, it just didn't feel very eventful.
There was one highlight where Skarsgard's nameless character outspooks the attorney who tries to put the screws to him by talking about how he tortured people in Iraq. "The Kid" throws out a Bible verse, stands up, and has the lawyer backing away in fear within seconds. It was kind of glorious. Skarsgard may not be getting a lot of screen time at this point, but he's making every second of it count. A part of me wishes he had more, but I think using him sparingly now is for the better.
Once the episode hits its second half, things really escalate. We have a very tense scene with a creepy old barber, a stunning revelation as Pangborn reveals that Henry's dad pinned the blame of his death on Henry and that Pangborn took effort to keep the kid out of prison, and a jaw dropping finale. This is the stuff that'll keep you watching. It pulls you in and makes you want to find out what happens next. If the episode's slow start bugged you, I think what happens here more than makes up for it.
The episode does put great songs to use, both in the opening and closing scenes. It's always nice to see Tom Waits get some attention and the song does work. Roy Orbison's "Crying", however, will likely be the more memorable inclusion, due to its use in the aforementioned closing sequence. In lesser hands, the song's inclusion probably would have come off as corny or cliche, but it actually worked really well here and helped augment the horror of what we were seeing.
With everything that went down in the second half, the next episode has plenty of momentum going in. Here's hoping it can put it to good use and build on it in order to make for even more captivating episodes as we move in to the season's second half.
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I was worried that I would have a hard time getting caught up, but it was easy enough to jump back into the plot without too much struggle. I suppose that's one of the strengths of having a show that hinges on vague mysteries, a viewer can jump back in with a "broad strokes" mind set and still keep up.
I wasn't really feeling the episode for the first half. People are conversing on issues that have been brought up before, but the episode hit the 25 minute mark and I found myself wondering if anything had actually happened. It was very strange. It's not even like the episode was boring, it just didn't feel very eventful.
There was one highlight where Skarsgard's nameless character outspooks the attorney who tries to put the screws to him by talking about how he tortured people in Iraq. "The Kid" throws out a Bible verse, stands up, and has the lawyer backing away in fear within seconds. It was kind of glorious. Skarsgard may not be getting a lot of screen time at this point, but he's making every second of it count. A part of me wishes he had more, but I think using him sparingly now is for the better.
Once the episode hits its second half, things really escalate. We have a very tense scene with a creepy old barber, a stunning revelation as Pangborn reveals that Henry's dad pinned the blame of his death on Henry and that Pangborn took effort to keep the kid out of prison, and a jaw dropping finale. This is the stuff that'll keep you watching. It pulls you in and makes you want to find out what happens next. If the episode's slow start bugged you, I think what happens here more than makes up for it.
The episode does put great songs to use, both in the opening and closing scenes. It's always nice to see Tom Waits get some attention and the song does work. Roy Orbison's "Crying", however, will likely be the more memorable inclusion, due to its use in the aforementioned closing sequence. In lesser hands, the song's inclusion probably would have come off as corny or cliche, but it actually worked really well here and helped augment the horror of what we were seeing.
With everything that went down in the second half, the next episode has plenty of momentum going in. Here's hoping it can put it to good use and build on it in order to make for even more captivating episodes as we move in to the season's second half.
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Sunday, September 16, 2018
'Legends of Tomorrow' Season 3, Episode 5: 'Return of the Mack'
Going by this episode's plot hook, you might expect a standard, entertaining stand alone episode. Seeing the team travel to Victorian era London to battle a vampire is an easy sell for most viewers. I'm guessing this episode aired around Halloween because it takes on a spookier tone than other episodes. It helps it stand out while also keeping the show entertaining and fun.
While the vampire is revealed to be something of a Scooby-Doo-esque hoax (I'd say this is a spoiler, but the episode's pretty old at this point, so I don't think there should be a problem) we do get some supernatural goings-on as the plot involves an apparently legitimate psychic conduit and a resurrection ritual.
A vampire would have made for a good one-off adversary, but instead, the episode builds up to the season's big bad, the oft mentioned "Mallus". We don't see him, exactly. Like Savitar, he starts off as a creepy disembodied voice (courtesy of John Noble) that is speaking through another person. He even refers to himself as a god. Is this a future Legend who is trying to create the circumstances that lead to his/her own existence? I don't know, we'll have to wait and find out.
In the meantime, he gets a nice forboding introduction, as Rip is dead set on proving he/it exists. The Time Bureau believes he's a myth, but apparently the Time Masters were terrified of even the idea of Mallus' existence.
It was nice to have Rip back. It's not the warmest reunion, but it did seem like the characters were on the way towards mending fences. Sadly, the way this episode ends, there's no apparent chance of that happening. It's a pity. Darville was great, but he does offer up a grim warning about what the team is about to face before he is dragged off by the Time Bureau.
As far as sub-plots, there is some progression in regards to the "breaking up" of Firestorm. Again, the plot relies heavily on the team needlessly keeping secrets from one another. On the plus side, Jax's short term memory loss did provide some levity.
It's going to be sad to see Garber leave. He has such a strong presence and often acts as the emotional cornerstone for both the team and the show. I don't know how you're going to fill those shoes, but I pity whoever gets stuck with that gig.
For some reason, and for the third time now, the idea of being Firestorm in 2018 is never brought up. The hero can continue to exist and Stein can see his family, everyone wins, yes? I guess this team is dead set on being time traveling superheroes now.
I did like the Curtis cameo. It's nice to see small overlaps like this with shared universes. Given the premise, this one is usually pretty compartmentalized, but they found a way to work it in without it feeling shoehorned.
The plot does lag a little in the middle, less because of slow pacing, but because it seems like the story is getting a bit too convoluted for its own good. It evens out as the episode progresses, but it is still a weak spot.
The inclusion of the song which inspired the episode's title was also forced in both instances. While "the mack" could return to who was resurrected, it seemed like it was only included so that the name made sense.
The plot does lag a little in the middle, less because of slow pacing, but because it seems like the story is getting a bit too convoluted for its own good. It evens out as the episode progresses, but it is still a weak spot.
The inclusion of the song which inspired the episode's title was also forced in both instances. While "the mack" could return to who was resurrected, it seemed like it was only included so that the name made sense.
Really, though, that's a nitpick.
This was a strong debut for the season's big bad. The other Arrowverse shows seemed to have held off, and waited for the episode just before the big crossover to really get their arcs moving. This gives them a bit more room to build up hype for their own plot before we get to that upcoming event (which I'm looking forward to, of course). Hopefully, we see that momentum carry on as we move further into the season.
This was a strong debut for the season's big bad. The other Arrowverse shows seemed to have held off, and waited for the episode just before the big crossover to really get their arcs moving. This gives them a bit more room to build up hype for their own plot before we get to that upcoming event (which I'm looking forward to, of course). Hopefully, we see that momentum carry on as we move further into the season.
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Wednesday, September 12, 2018
'The X-Files' Season 11, Episode 8: 'Familiar'
After the last episode broke the mold and went the avant-garde route, this episode brings viewers back to the well, with an episode focusing on two FBI agents investigating the death of a young child in a small town.
Not surprisingly, Mulder thinks supernatural forces are at work, while Scully thinks that the monster in question is all too human. Unlike a lot of their cases, both seemed equally plausible. In fact, I was convinced that this would be an episode where the monster did turn out to just be a run of the mill human. Not knowing which way the plot was going to go was a pretty welcome addition. It made it more engaging for the viewer.
Ultimately, this episode gets to have its cake and eat it too. It does showcase the horrors of mob mentality and rushes to judgment, but we also get some creepiness of the more supernatural variety, as witchcraft and demonic entities are at play. The fact that the episode pulls off both as well as it does is one of its major strengths.
That being said, I'm torn on Mr. Chuckleteeth, the children's show character that acts as the primary form of the titular familiar. It's effective enough, but it does fall in to that "Annabelle" trap of being so creepy that you wonder why any parent would want their kid anywhere near it. For that matter, how are the kids themselves not weirded out? Even those Teletubbie expies were freakish.
The climax itself was exciting and tense, but it in hindsight it did seem a little anticlimactic. With all the talk of a door to Hell being opened, you'd expect something bigger than what we got. As complex as things seemed, it all wrapped up very quickly. The fact that the agents didn't really do anything also ends up being a negative as ultimately, they were just along for the ride.
By and large, the script and acting are solid. Characters act in a believable fashion. Even when one of the cops goes off the rails and attempts a roaring rampage of revenge, you get why he's doing it. The scenes of family members (and the town as a whole) being distraught over the deaths adds a bit of poignancy to the episode as well.
This episode is not as strong as its predecessor, but it works well for what it is. With only a handful of episodes remaining, seeing some forward momentum on the ongoing story would have been nice, but I'm not going to complain about getting a solid stand alone monster of the week episode.
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Not surprisingly, Mulder thinks supernatural forces are at work, while Scully thinks that the monster in question is all too human. Unlike a lot of their cases, both seemed equally plausible. In fact, I was convinced that this would be an episode where the monster did turn out to just be a run of the mill human. Not knowing which way the plot was going to go was a pretty welcome addition. It made it more engaging for the viewer.
Ultimately, this episode gets to have its cake and eat it too. It does showcase the horrors of mob mentality and rushes to judgment, but we also get some creepiness of the more supernatural variety, as witchcraft and demonic entities are at play. The fact that the episode pulls off both as well as it does is one of its major strengths.
That being said, I'm torn on Mr. Chuckleteeth, the children's show character that acts as the primary form of the titular familiar. It's effective enough, but it does fall in to that "Annabelle" trap of being so creepy that you wonder why any parent would want their kid anywhere near it. For that matter, how are the kids themselves not weirded out? Even those Teletubbie expies were freakish.
The climax itself was exciting and tense, but it in hindsight it did seem a little anticlimactic. With all the talk of a door to Hell being opened, you'd expect something bigger than what we got. As complex as things seemed, it all wrapped up very quickly. The fact that the agents didn't really do anything also ends up being a negative as ultimately, they were just along for the ride.
By and large, the script and acting are solid. Characters act in a believable fashion. Even when one of the cops goes off the rails and attempts a roaring rampage of revenge, you get why he's doing it. The scenes of family members (and the town as a whole) being distraught over the deaths adds a bit of poignancy to the episode as well.
This episode is not as strong as its predecessor, but it works well for what it is. With only a handful of episodes remaining, seeing some forward momentum on the ongoing story would have been nice, but I'm not going to complain about getting a solid stand alone monster of the week episode.
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Sunday, September 9, 2018
'Legends of Tomorrow' Season 3, Episode 4: 'Phone Home'
Ray's sudden childhood death sends the team to 1988 to investigate. It turns out that young Ray has befriended a baby time displaced Dominator; this naturally gets him into a little bit of trouble.
As the title would suggest, this episode is mostly a giant homage to E.T. It doesn't come off as derivative, however. It captures the heart behind the film and carries it into its own plot. We get a good glimpse at what Ray's childhood was like and it results in some significant character development.
It all feels natural and the episode does a good job of working in what we already know of Ray into what we see here. His love of Arthurian lore is even given a nod, as invoking that rhetoric is a way that Zari manages to gain his trust.
Speaking of, even Zari manages to show some layers that she wasn't able to in her debut episode. If it seemed odd that I never even brought her up, it's because she was just kind of there. Here, she has an arc as she goes from skeptical loner to making a genuine attempt to forge the sort of bond that Ray talked about in the show's opening scene.
The others each get moments as well. Mick is apparently a fan of musicals. It adds some depth, but having Mick's lines delivered in Purcell's growly voice did add another layer to the scene's humor.
Even the dominators get some depth. Well, at least one does. With a baby dominator missing, it's not surprising that the mother comes looking for it. When she is reunited with her child, she is visibly happy and doesn't push the conflict any further, choosing to leave instead.
I'm torn on the Martin sub-plot. Even if the series recap didn't remind you that he was about to have a grand-daughter, it's pretty obvious that Stein wouldn't have any sort of nefarious intent. It made that whole plot line seem a little hollow. It pays off, however, as Jax and Mick's reaction to learning the truth does end up being rather heartwarming. Jax is stunned that Stein thought that they would have a problem with Stein wanting to be there for the birth of his grandchild and even Mick is determined to get him there after he sabotages the jump ship to keep Stein from what he thought as ratting them out to the Time Bureau. The latter even brings cigars to mark the occasion.
Not surprisingly, this episode also provides a healthy dose of humor. It seems like Nate is being relegated to comic relief as he spends this episode lusting after Ray's mom. It is used to fuel the romantic tension with Amaya, but hopefully he's able to contribute more in future episodes.
This episode delivers everything you come to watch this show for. It seems like the show really has found its groove as every episode this season has managed to bring the goods. Hopefully the momentum can continue. I have to really book it on these as the fourth season starts in a month. Granted, I'm behind on pretty much everything, but this has more of a ticking clock to it. I don't want to fall into the same trap I did before and have to wait for the new season to hit Netflix before I can watch it.
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As the title would suggest, this episode is mostly a giant homage to E.T. It doesn't come off as derivative, however. It captures the heart behind the film and carries it into its own plot. We get a good glimpse at what Ray's childhood was like and it results in some significant character development.
It all feels natural and the episode does a good job of working in what we already know of Ray into what we see here. His love of Arthurian lore is even given a nod, as invoking that rhetoric is a way that Zari manages to gain his trust.
Speaking of, even Zari manages to show some layers that she wasn't able to in her debut episode. If it seemed odd that I never even brought her up, it's because she was just kind of there. Here, she has an arc as she goes from skeptical loner to making a genuine attempt to forge the sort of bond that Ray talked about in the show's opening scene.
The others each get moments as well. Mick is apparently a fan of musicals. It adds some depth, but having Mick's lines delivered in Purcell's growly voice did add another layer to the scene's humor.
Even the dominators get some depth. Well, at least one does. With a baby dominator missing, it's not surprising that the mother comes looking for it. When she is reunited with her child, she is visibly happy and doesn't push the conflict any further, choosing to leave instead.
I'm torn on the Martin sub-plot. Even if the series recap didn't remind you that he was about to have a grand-daughter, it's pretty obvious that Stein wouldn't have any sort of nefarious intent. It made that whole plot line seem a little hollow. It pays off, however, as Jax and Mick's reaction to learning the truth does end up being rather heartwarming. Jax is stunned that Stein thought that they would have a problem with Stein wanting to be there for the birth of his grandchild and even Mick is determined to get him there after he sabotages the jump ship to keep Stein from what he thought as ratting them out to the Time Bureau. The latter even brings cigars to mark the occasion.
Not surprisingly, this episode also provides a healthy dose of humor. It seems like Nate is being relegated to comic relief as he spends this episode lusting after Ray's mom. It is used to fuel the romantic tension with Amaya, but hopefully he's able to contribute more in future episodes.
This episode delivers everything you come to watch this show for. It seems like the show really has found its groove as every episode this season has managed to bring the goods. Hopefully the momentum can continue. I have to really book it on these as the fourth season starts in a month. Granted, I'm behind on pretty much everything, but this has more of a ticking clock to it. I don't want to fall into the same trap I did before and have to wait for the new season to hit Netflix before I can watch it.
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Monday, August 27, 2018
'Jessica Jones' Season 2, Episode 4: 'AKA God Help the Hobo'
One of the frequent criticisms leveled against the Netflix MCU shows is in regards to pacing. That flaw rears its ugly head here as the show hits its fourth episode.
You'd think that this wouldn't be the case. The season is well underway and Jessica has just confronted what appears to be her "big bad" for the season. They even have a picture of her. There should be momentum, but before that we have to touch on several of the various sub-plot threads that have been introduced.
The result is very strange. Things do happen in this episode. The status quo is shaken up on a few fronts, but as you're watching it doesn't feel like anything is happening for the longest time.
One of the bigger shake-ups involves Jessica's landlord turning from antagonist to love interest. It's a pretty drastic turn (something even he himself lampshades when Jessica starts to get a little frisky,) but that bonding scene they shared was rather well done. After she saved his kid (who was admittedly being an imbecile) not warming up to her would have been bizarre. His initial reaction was kind of irritating, but at least he owns up to it later.
Speaking of antagonists, Pryce makes a return. He calls out Hogarth on her lackluster efforts regarding the civil suit (rightly so) only to be told that his grudge is about a fragile male ego or something? I'm pretty sure if he were assaulted by a man, his reaction would be the same. That whole speech Hogarth gave was stupid and she should feel stupid for suggesting it.
In fact, Hogarth is one of this season's major flaws. I feel bad for Carrie-Ann Moss. She's turning in a very strong performance, but the character just sucks now as a result of the way she's being written. Given her condition, I feel like I should sympathize, but the script goes out of its way to make sure I don't. It's very bizarre.
Pryce also pays a visit to offer Malcolm a job. He makes a solid pitch, offering Malcolm a chance to help people and to be better appreciated, but the offer is (of course) rebuffed. Enlisting Malcolm would have stung, no doubt, but Pryce is a tricky one and it appears his visit had another purpose, as we'll see later.
This episode also gives us a bit of follow up on Griffin's supposed nefarious intent. While he and Trish are able to sort out the snafu regarding her alleged new beau, he does take a post-coital call where he says that "she doesn't know and he doesn't want her to find out" after she's out of ear shot. Yeah, I smell red herring (that's two in a row!) He's planning to propose or take her on some grand vacation or something innocuous. I can feel it.
Not so innocuous is the killer, who makes a brief appearance at the end of the episode to dispatch of a goon that Pryce enlisted to rob Jessica's office. It's, not surprisingly, quite gruesome and it makes for a more energized finale. The fact that Jessica is now implicated only makes things worse.
The episode as a whole really hammers in the parallel between Jessica and the killer. It's a bit blunt force, but after so many "dark mirror" villains in the MCU, it's nice to see that the connection is being looked at in a more in depth fashion. Normally, it's only given lip service, but the similarities really rattle Jessica as she finds out more about her new adversary. You can especially see it at the end, when Jessica is telling the police, "that's not me" as she's being detained. Obviously, she's saying she didn't do it; but to the viewer, it's equally obvious that she's reminding herself that she's not that person in a more figurative sense.
This episode was a slow burn. Some may appreciate that, while others will think that it's just slow. I do have to say I fall into the latter. It does end on a high enough note to keep the viewer engaged, but I wouldn't mind seeing some of these plot threads come to an end.
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You'd think that this wouldn't be the case. The season is well underway and Jessica has just confronted what appears to be her "big bad" for the season. They even have a picture of her. There should be momentum, but before that we have to touch on several of the various sub-plot threads that have been introduced.
The result is very strange. Things do happen in this episode. The status quo is shaken up on a few fronts, but as you're watching it doesn't feel like anything is happening for the longest time.
One of the bigger shake-ups involves Jessica's landlord turning from antagonist to love interest. It's a pretty drastic turn (something even he himself lampshades when Jessica starts to get a little frisky,) but that bonding scene they shared was rather well done. After she saved his kid (who was admittedly being an imbecile) not warming up to her would have been bizarre. His initial reaction was kind of irritating, but at least he owns up to it later.
Speaking of antagonists, Pryce makes a return. He calls out Hogarth on her lackluster efforts regarding the civil suit (rightly so) only to be told that his grudge is about a fragile male ego or something? I'm pretty sure if he were assaulted by a man, his reaction would be the same. That whole speech Hogarth gave was stupid and she should feel stupid for suggesting it.
In fact, Hogarth is one of this season's major flaws. I feel bad for Carrie-Ann Moss. She's turning in a very strong performance, but the character just sucks now as a result of the way she's being written. Given her condition, I feel like I should sympathize, but the script goes out of its way to make sure I don't. It's very bizarre.
Pryce also pays a visit to offer Malcolm a job. He makes a solid pitch, offering Malcolm a chance to help people and to be better appreciated, but the offer is (of course) rebuffed. Enlisting Malcolm would have stung, no doubt, but Pryce is a tricky one and it appears his visit had another purpose, as we'll see later.
This episode also gives us a bit of follow up on Griffin's supposed nefarious intent. While he and Trish are able to sort out the snafu regarding her alleged new beau, he does take a post-coital call where he says that "she doesn't know and he doesn't want her to find out" after she's out of ear shot. Yeah, I smell red herring (that's two in a row!) He's planning to propose or take her on some grand vacation or something innocuous. I can feel it.
Not so innocuous is the killer, who makes a brief appearance at the end of the episode to dispatch of a goon that Pryce enlisted to rob Jessica's office. It's, not surprisingly, quite gruesome and it makes for a more energized finale. The fact that Jessica is now implicated only makes things worse.
The episode as a whole really hammers in the parallel between Jessica and the killer. It's a bit blunt force, but after so many "dark mirror" villains in the MCU, it's nice to see that the connection is being looked at in a more in depth fashion. Normally, it's only given lip service, but the similarities really rattle Jessica as she finds out more about her new adversary. You can especially see it at the end, when Jessica is telling the police, "that's not me" as she's being detained. Obviously, she's saying she didn't do it; but to the viewer, it's equally obvious that she's reminding herself that she's not that person in a more figurative sense.
This episode was a slow burn. Some may appreciate that, while others will think that it's just slow. I do have to say I fall into the latter. It does end on a high enough note to keep the viewer engaged, but I wouldn't mind seeing some of these plot threads come to an end.
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Sunday, August 26, 2018
'Castle Rock' Episode 3: 'Local Color'
This episode centers on Molly Strand, the psychic/empath who was Henry Deaver's childhood neighbor.
This episode doesn't quite capture the magic of its predecessor, but it does offer up some solid character development. There isn't much in the way of plot progression, but it does seem like things are starting to move forward.
We appear to get an answer to the question of who killed Henry's dad. On the one hand, wrapping that up to move on to other plot points would make sense. On the other, the way they did it was too easy. This seems like something that should be a major wham moment and the reveal didn't do that.
The opening scene of child-Molly pulling out the father's respirator is a chilling one. I got flashbacks to that scene in "Breaking Bad" when Walt let Jane die, but it's undermined by the quickness of the reveal. More than that, I don't buy it. The way Molly's ability works, I could easily see this being a fake out. She sees and feels what others do, so I wouldn't be surprised if this was just her seeing herself in the killer's shoes. If nothing else, she seems to think she did it, so there's some emotional drama there, but I still feel like something else is going on.
The episode does benefit from a strong performance by Melanie Lynskey. It allows us to connect to and empathize with the character, even with her quirks, supernatural ability, and emotional issues. Had the episode been devoid of that, this would have felt like a waste of time.
Oddly enough, there are times when the show's horror element seems to get in the way. That "trial" scene when Molly is trying to score some drugs comes out of nowhere and has no real bearing on the plot. It's somewhat unnerving, but it also feels like "weirdness for weirdness' sake". I know the town is supposed to be off, but it felt out of place. If nothing else, they should have built up to it better because it's jarring. The fact that nothing much is really said of it after only makes it worse.
Once again, Skarsgard leaves a hell of an impression. It's amazing how he's able to do so much with so little. He only has a handful of lines, but his scene with Henry near the end of the episode manages to be one of the episode's highlights and acts as a potential omen of things to come.
All in all, this was another impressive showing. It wasn't quite as captivating as its predecessor, but what it did, it did well. From what I've read, the show only gets better. Considering how good the show has been thus far, I can't wait to see what happens as we move further into the season.
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This episode doesn't quite capture the magic of its predecessor, but it does offer up some solid character development. There isn't much in the way of plot progression, but it does seem like things are starting to move forward.
We appear to get an answer to the question of who killed Henry's dad. On the one hand, wrapping that up to move on to other plot points would make sense. On the other, the way they did it was too easy. This seems like something that should be a major wham moment and the reveal didn't do that.
The opening scene of child-Molly pulling out the father's respirator is a chilling one. I got flashbacks to that scene in "Breaking Bad" when Walt let Jane die, but it's undermined by the quickness of the reveal. More than that, I don't buy it. The way Molly's ability works, I could easily see this being a fake out. She sees and feels what others do, so I wouldn't be surprised if this was just her seeing herself in the killer's shoes. If nothing else, she seems to think she did it, so there's some emotional drama there, but I still feel like something else is going on.
The episode does benefit from a strong performance by Melanie Lynskey. It allows us to connect to and empathize with the character, even with her quirks, supernatural ability, and emotional issues. Had the episode been devoid of that, this would have felt like a waste of time.
Oddly enough, there are times when the show's horror element seems to get in the way. That "trial" scene when Molly is trying to score some drugs comes out of nowhere and has no real bearing on the plot. It's somewhat unnerving, but it also feels like "weirdness for weirdness' sake". I know the town is supposed to be off, but it felt out of place. If nothing else, they should have built up to it better because it's jarring. The fact that nothing much is really said of it after only makes it worse.
Once again, Skarsgard leaves a hell of an impression. It's amazing how he's able to do so much with so little. He only has a handful of lines, but his scene with Henry near the end of the episode manages to be one of the episode's highlights and acts as a potential omen of things to come.
All in all, this was another impressive showing. It wasn't quite as captivating as its predecessor, but what it did, it did well. From what I've read, the show only gets better. Considering how good the show has been thus far, I can't wait to see what happens as we move further into the season.
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Tuesday, August 14, 2018
'The X-Files' Season 11, Episode 7: 'Rm9sbG94ZXJz'
A date at a high tech sushi restaurant turns into a nightmare as the two agents incur the wrath of the robotic staff.
The show (and sci-fi in general) have tackled the "rogue artificial intelligence" plot line before, but this manages to make the concept feel fresh. This isn't like Brainiac or Skynet. The tech isn't omnicidal, just really peeved and persistent.
This artificial intelligence is also more frightening because it's more realistic. Tech is having a bigger impact on the world and this episode showcases that quite well. Some of it is exaggerated for both comedic and horrific effect, but a lot of it rings true. Seeing the agents struggle with various apps and devices mirrors a lot of what happens in our own lives.
A part of me would have liked to see the whole episode take place within the confines of the restaurant, but having the reign of terror expand beyond those walls did pay off in many respects.
"Minimalist" is still very much an apt descriptor for this episode. There's very little dialogue and the plot is contained to a handful of locations. It works really well and makes it more memorable. That opening scene with Mulder and Scully in the empty restaurant sitting next to each other, saying nothing and just looking at their phones managed to speak volumes.
I'm not sure what robots need with a tip, but I suppose it reinforces that old adage about not ticking off the people who serve you your food. To some extent, though, the disproportionate retribution aspect only adds to the aforementioned comedy/horror aspect.
That balance really adds to the episode's enjoyment factor. You'll find yourself simultaneously laughing at how absurd the whole thing gets, but still find yourself creeped out by it. It's a tough thing to do, and this episode succeeds in spades.
This is an episode that could have easily dragged, but I didn't find pacing to be a problem at all. I was pretty much hooked from the intro and I never found myself checking the clock.
If this episode does have a weak spot, it's the fact that it feels very disconnected from what we've seen before. It's a perfectly self contained stand alone (and acts as a prime example of why the fandom prefers those to the mythos based episodes,) but at the same time, it seems like it takes place in a completely different world that Mulder and Scully happen to be in. Maybe they intersected with an alternate timeline? I don't know.
All in all, though, this episode was a blast. It's topical and timely, creepy, funny, and engaging throughout. This will likely go down as one of the season's best and could even act as a contender for one of the show's best.
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The show (and sci-fi in general) have tackled the "rogue artificial intelligence" plot line before, but this manages to make the concept feel fresh. This isn't like Brainiac or Skynet. The tech isn't omnicidal, just really peeved and persistent.
This artificial intelligence is also more frightening because it's more realistic. Tech is having a bigger impact on the world and this episode showcases that quite well. Some of it is exaggerated for both comedic and horrific effect, but a lot of it rings true. Seeing the agents struggle with various apps and devices mirrors a lot of what happens in our own lives.
A part of me would have liked to see the whole episode take place within the confines of the restaurant, but having the reign of terror expand beyond those walls did pay off in many respects.
"Minimalist" is still very much an apt descriptor for this episode. There's very little dialogue and the plot is contained to a handful of locations. It works really well and makes it more memorable. That opening scene with Mulder and Scully in the empty restaurant sitting next to each other, saying nothing and just looking at their phones managed to speak volumes.
I'm not sure what robots need with a tip, but I suppose it reinforces that old adage about not ticking off the people who serve you your food. To some extent, though, the disproportionate retribution aspect only adds to the aforementioned comedy/horror aspect.
That balance really adds to the episode's enjoyment factor. You'll find yourself simultaneously laughing at how absurd the whole thing gets, but still find yourself creeped out by it. It's a tough thing to do, and this episode succeeds in spades.
This is an episode that could have easily dragged, but I didn't find pacing to be a problem at all. I was pretty much hooked from the intro and I never found myself checking the clock.
If this episode does have a weak spot, it's the fact that it feels very disconnected from what we've seen before. It's a perfectly self contained stand alone (and acts as a prime example of why the fandom prefers those to the mythos based episodes,) but at the same time, it seems like it takes place in a completely different world that Mulder and Scully happen to be in. Maybe they intersected with an alternate timeline? I don't know.
All in all, though, this episode was a blast. It's topical and timely, creepy, funny, and engaging throughout. This will likely go down as one of the season's best and could even act as a contender for one of the show's best.
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Sunday, August 12, 2018
'Legends of Tomorrow' Season 3, Episode 3: 'Zari'
Following on the stinger from the previous episode, this entry pits the team against Mari's nemesis, the newly resurrected Kuasa.
Sadly, there are few ties to the animated series beyond her presence. One of the other totems is a plot point and Kuasa does drop the fact that she and Amaya are related near the end, but that's about it. I would have liked to see more done, especially when Vixen Mk II confronts Vixen Mk I's enemy. The subtle expression on Kuasa's face as Vixen steps forward and that line are sufficient, though. Instead, she just serves as something of a hired gun, acting as a time travelling assassin who is currently targeting the title character in the year 2042.
Alas, the future seen here isn't much brighter than 2046. Metas have been deemed illegal by Argus and have instituted a police state. This isn't really the problem for the team that you think it would be. I was kind of baffled when Ray, Sara, Mick, and Nate were accosted by a squad. I mean, only one of them is meta. The others are a ninja, a man equipped with fancy tech, and a thug with a flamethrower.
Ultimately, they act as window dressing, as the episode's primary conflicts focus on both Kuasa and the Time Bureau.
The latter is a bit of a wallbanger as the conflict was completely unnecessary. Previous episodes have shown how Sara is a better fit for the role of team leader, but this one decided to go in the opposite direction. Stein or Rip would have handled things much better. Everything does work out for the most part, but some bad decisions were made for really dumb reasons.
At least Nate had the excuse of "tripping balls". His attempt to help Amaya with her totem troubles through a potent hallucinogen oddly acts as the episode highlight. Not only does it help Amaya get her groove back, but there's some nice foreshadowing as it's revealed that the totem amps up its power when a big threat is approaching. As such, Amaya has to trust it and go with the flow, lest the power overwhelm her.
On top of that, Nate's antics are just funny. You'd think the fact that he doesn't really contribute much would be a detriment, but he got some of the episode's best lines.
Other parts of the script are somewhat eye-roll or groan inducing, but those instances are few and far between.
The "Prison Break" line would have been good for a chuckle....if the show hadn't already done that before with Wentworth Miller. I get it, but still.
While this episode is probably the weakest of the season so far (though that's not saying much as we're not very far in) it does have its strong points. We have Nate's drug antics and a formidable adversary in Kuasa (seriously she gives Sara a run for her money and doesn't even invoke her powers in that fight.) The conflict with the Time Bureau escalates (for dumb reasons, but still) and we get an idea of what sort of threat is brewing. I think this episode was more about setting things up for the season and it did that competently.
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Sadly, there are few ties to the animated series beyond her presence. One of the other totems is a plot point and Kuasa does drop the fact that she and Amaya are related near the end, but that's about it. I would have liked to see more done, especially when Vixen Mk II confronts Vixen Mk I's enemy. The subtle expression on Kuasa's face as Vixen steps forward and that line are sufficient, though. Instead, she just serves as something of a hired gun, acting as a time travelling assassin who is currently targeting the title character in the year 2042.
Alas, the future seen here isn't much brighter than 2046. Metas have been deemed illegal by Argus and have instituted a police state. This isn't really the problem for the team that you think it would be. I was kind of baffled when Ray, Sara, Mick, and Nate were accosted by a squad. I mean, only one of them is meta. The others are a ninja, a man equipped with fancy tech, and a thug with a flamethrower.
Ultimately, they act as window dressing, as the episode's primary conflicts focus on both Kuasa and the Time Bureau.
The latter is a bit of a wallbanger as the conflict was completely unnecessary. Previous episodes have shown how Sara is a better fit for the role of team leader, but this one decided to go in the opposite direction. Stein or Rip would have handled things much better. Everything does work out for the most part, but some bad decisions were made for really dumb reasons.
At least Nate had the excuse of "tripping balls". His attempt to help Amaya with her totem troubles through a potent hallucinogen oddly acts as the episode highlight. Not only does it help Amaya get her groove back, but there's some nice foreshadowing as it's revealed that the totem amps up its power when a big threat is approaching. As such, Amaya has to trust it and go with the flow, lest the power overwhelm her.
On top of that, Nate's antics are just funny. You'd think the fact that he doesn't really contribute much would be a detriment, but he got some of the episode's best lines.
Other parts of the script are somewhat eye-roll or groan inducing, but those instances are few and far between.
The "Prison Break" line would have been good for a chuckle....if the show hadn't already done that before with Wentworth Miller. I get it, but still.
While this episode is probably the weakest of the season so far (though that's not saying much as we're not very far in) it does have its strong points. We have Nate's drug antics and a formidable adversary in Kuasa (seriously she gives Sara a run for her money and doesn't even invoke her powers in that fight.) The conflict with the Time Bureau escalates (for dumb reasons, but still) and we get an idea of what sort of threat is brewing. I think this episode was more about setting things up for the season and it did that competently.
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Wednesday, August 8, 2018
'Attack on Titan' Season 3, Episode 2: 'Pain'
Where I found the season premiere lacking, its successor succeeds in spades as the action and tension are ramped up to a considerable degree.
The opening chase sequence was truly jaw dropping. It was as fast paced and as epic in scope as many of the larger face-offs with the titans. Kenny himself is able to overcome his stupid name and present himself as a worthy adversary. His intellect and his connection to Levi are put to good use as he is not only able to match the team, but provide some great taunting monologues as well.
While it is made clear that he is working with the military police to help the nefarious government syndicate achieve their goals, his talk of a "grand plan" suggests he has his own agenda. Whether that comes to pass or not remains to be seen.
These sequences are augmented by some stellar animation. This show always had a solid track record on that front, but this takes it to a whole other level. It really is a gorgeous site to behold on so many fronts.
I was unsure about whether human adversaries would work, but this episode actually puts that to good use by turning it into a moral dilemma. Our cast of characters have no problem slaughtering titans, but they're clearly not comfortable with the idea of taking human lives. Even when Levi does dispose of human mooks in the same fashion that he would a titan, the sequences take on a disturbing tone that adds to the whole thing.
Jean does try to keep things on the level, giving an enemy combatant a chance to surrender, but it ends up biting him. Were it not for Armin killing their captive, he himself would have been killed.
The fact that this sends Armin into an emotional tailspin isn't surprising. I do wonder why he felt the need to ask Jean why he had to be the one to pull the trigger first. I get the guilt thing, but if you're going to ask that kind of question, do so when you're talking to somebody else...when Jean isn't sitting right there. It just seems like a dick move.
It does give Levi a nice moment, as he reminds Armin that his dirty deed saved Jean's life. He even goes so far as to legitimately thank the guilt ridden scout. It was what you might call a "crowning moment of heartwarming"
While the heroes are delving into morally ambiguous behavior, a captive adversary monologues about how what they do keeps the kingdom safe. Villains who believe that they're in the right isn't exactly a new writing trick, but juxtaposing it with the heroes' descending into the realms of murder and torture does seem to shake things up quite a bit.
Once again, the titans sit this episode out. This time, though, you hardly miss em. There's so much going on and the moral quandaries are so compelling that you never find yourself bored or checking to see how much time is left. It does what the premiere should have done and gets the viewer interested and engaged in what's happening, even as the show's plot seems to take a random side turn. I'm looking forward to seeing where things go from here.
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The opening chase sequence was truly jaw dropping. It was as fast paced and as epic in scope as many of the larger face-offs with the titans. Kenny himself is able to overcome his stupid name and present himself as a worthy adversary. His intellect and his connection to Levi are put to good use as he is not only able to match the team, but provide some great taunting monologues as well.
While it is made clear that he is working with the military police to help the nefarious government syndicate achieve their goals, his talk of a "grand plan" suggests he has his own agenda. Whether that comes to pass or not remains to be seen.
These sequences are augmented by some stellar animation. This show always had a solid track record on that front, but this takes it to a whole other level. It really is a gorgeous site to behold on so many fronts.
I was unsure about whether human adversaries would work, but this episode actually puts that to good use by turning it into a moral dilemma. Our cast of characters have no problem slaughtering titans, but they're clearly not comfortable with the idea of taking human lives. Even when Levi does dispose of human mooks in the same fashion that he would a titan, the sequences take on a disturbing tone that adds to the whole thing.
Jean does try to keep things on the level, giving an enemy combatant a chance to surrender, but it ends up biting him. Were it not for Armin killing their captive, he himself would have been killed.
The fact that this sends Armin into an emotional tailspin isn't surprising. I do wonder why he felt the need to ask Jean why he had to be the one to pull the trigger first. I get the guilt thing, but if you're going to ask that kind of question, do so when you're talking to somebody else...when Jean isn't sitting right there. It just seems like a dick move.
It does give Levi a nice moment, as he reminds Armin that his dirty deed saved Jean's life. He even goes so far as to legitimately thank the guilt ridden scout. It was what you might call a "crowning moment of heartwarming"
While the heroes are delving into morally ambiguous behavior, a captive adversary monologues about how what they do keeps the kingdom safe. Villains who believe that they're in the right isn't exactly a new writing trick, but juxtaposing it with the heroes' descending into the realms of murder and torture does seem to shake things up quite a bit.
Once again, the titans sit this episode out. This time, though, you hardly miss em. There's so much going on and the moral quandaries are so compelling that you never find yourself bored or checking to see how much time is left. It does what the premiere should have done and gets the viewer interested and engaged in what's happening, even as the show's plot seems to take a random side turn. I'm looking forward to seeing where things go from here.
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Sunday, August 5, 2018
'Castle Rock' Episode 2: 'Habeas Corpus'
The second episode of the season takes the momentum from its predecessor and builds on it, creating a captivating outing that leaves the viewer intrigued and wanting to know more.
The focus here is on world building. There's a strong sense of atmosphere that really sells the theory that something in the town is inherently wrong. Said atmosphere is bolstered by a few references to Stephen King's works. The nods don't overwhelm the story, they just add to the show's flavor and make for an added source of enjoyment from fans of the author.
I don't know if it was intentional or not, but I did get a "Storm of the Century" vibe from this one. With the talk of "the Kid" being malevolent and supernatural in nature and his sitting quietly in a jail cell while evil begins to spread around him, it's hard not to make the Linoge comparison. It still works well here. Skarsgard is able to say quite a lot with a simple look and he manages to make the character unsettling and creepy.
While his sub-plot is somewhat predictable in the sense that you knew what was going to happen when the warden locked him up with that musclebound skinhead, the way the scene played out still achieved the desired goal of setting the kid up as something else.
I also couldn't help but notice that his reaction to said skinhead appeared to be legitimate fear. When he says "you don't want to touch me" it doesn't come off as a threat at all. It's quite possible that he's still evil, but maybe there's more to it than that, we don't know at this point.
The supporting cast continues to shine. While Terry O'Quinn is relegated to voice over narration, he does a great job of it. Even though he doesn't appear on screen, it still feels like he was put to better use here than he was in the pilot.
Once again, Frances McDormand is limited to one scene, but her character is used much more effectively. Her scene here is certainly more memorable and gives you a better sense of who she is.
Scott Glenn is great as always. He gets more screen time here, which is welcome. Was the letter calling him a defender at the end of the episode an intentional nod to his role as Stick? In context, the term still fits what with him being a cop who's trying to keep the town in check, but at the same time, that specific wording does suggest an actor allusion.
Jackie Torrance falls into a similar trap. The name itself is an obvious reference, but whether that's as far as the connection goes remains to be seen. She's not psychic (though this show does have one of those) but there could still be a tie that is established later. As it is, she's a fun character. She's knowledgeable about the town's goings-on, but she's much friendlier and perkier than most of the characters. It adds a bit of levity to things.
I'm really liking how this show is playing out so far. The fact that this episode built on what worked and worked out the kinks puts it in an upward trajectory. It just makes me that much more excited to see where things go from here.
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The focus here is on world building. There's a strong sense of atmosphere that really sells the theory that something in the town is inherently wrong. Said atmosphere is bolstered by a few references to Stephen King's works. The nods don't overwhelm the story, they just add to the show's flavor and make for an added source of enjoyment from fans of the author.
I don't know if it was intentional or not, but I did get a "Storm of the Century" vibe from this one. With the talk of "the Kid" being malevolent and supernatural in nature and his sitting quietly in a jail cell while evil begins to spread around him, it's hard not to make the Linoge comparison. It still works well here. Skarsgard is able to say quite a lot with a simple look and he manages to make the character unsettling and creepy.
While his sub-plot is somewhat predictable in the sense that you knew what was going to happen when the warden locked him up with that musclebound skinhead, the way the scene played out still achieved the desired goal of setting the kid up as something else.
I also couldn't help but notice that his reaction to said skinhead appeared to be legitimate fear. When he says "you don't want to touch me" it doesn't come off as a threat at all. It's quite possible that he's still evil, but maybe there's more to it than that, we don't know at this point.
The supporting cast continues to shine. While Terry O'Quinn is relegated to voice over narration, he does a great job of it. Even though he doesn't appear on screen, it still feels like he was put to better use here than he was in the pilot.
Once again, Frances McDormand is limited to one scene, but her character is used much more effectively. Her scene here is certainly more memorable and gives you a better sense of who she is.
Scott Glenn is great as always. He gets more screen time here, which is welcome. Was the letter calling him a defender at the end of the episode an intentional nod to his role as Stick? In context, the term still fits what with him being a cop who's trying to keep the town in check, but at the same time, that specific wording does suggest an actor allusion.
Jackie Torrance falls into a similar trap. The name itself is an obvious reference, but whether that's as far as the connection goes remains to be seen. She's not psychic (though this show does have one of those) but there could still be a tie that is established later. As it is, she's a fun character. She's knowledgeable about the town's goings-on, but she's much friendlier and perkier than most of the characters. It adds a bit of levity to things.
I'm really liking how this show is playing out so far. The fact that this episode built on what worked and worked out the kinks puts it in an upward trajectory. It just makes me that much more excited to see where things go from here.
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Thursday, August 2, 2018
'Jessica Jones' Season 2, Episode 3: 'AKA Sole Survivor'
I don't know if you've noticed,but I'm more than a little behind on quite a bit. Hopefully, we can begin to remedy that by diving back into the second season of 'Jessica Jones'.
After the hiatus, this episode was actually quite easy to jump into. It picks up more or less where its predecessor left off, with Jess and Trish having to dispose of Will's body lest Jess become implicated.
While you'd think this would act as a motivator to put Jess' investigation into focus, the story is somewhat sidelined by other plot points, such as Jess being evicted. On the one hand, it's frustrating, as it seems like it's killing the show's momentum. On the other hand, the characters are all likable and sympathetic enough that you enjoy their various interactions.
Even Jess is able to walk that fine line of "snarky and aloof, but still relatable to the audience". I thought for sure that her attempt at hypnotherapy would have been an unmitigated disaster. OK, the doc ends up bailing, but she gave it much more of a chance than I thought she would.
Sadly, not every character gets that same benefit. I should have felt sorry for Hogarth. I mean, she's really sick and now her partners are trying to force her out of the company. Unfortunately, her one scene with Foggy pretty much robs her of any sympathy. You almost want to see her partners win this particular case. Even Jess isn't having any of it when Jeri comes to her and Jess wasn't even there for that scene. To her credit, Hogarth does earn some points in the following scene when she opens up to Jess about her condition. She still owes Foggy an apology, but at least she dodged the hate sink.
Griffin is an interesting case. Up until now, he seemed like the kind of character who was so good that they had to be up to something. It's a common plot twist. It seems like this episode lays that to bed, with Jess saying that she looked into him and he essentially checks out. It isn't 20 minutes before he's doing something shady after coming across Trish's video file of the Whizzer.
Now, maybe this is a fake out and Griffin really is on the level. If it isn't the case, the show might have done better to let that simmer for a while. Let the audience drop their guard and think that he's an ally before dropping that twist. Right now, it's too soon to tell. A part of me is hoping that it goes the other way and that Griffin really is just a guy who's trying to be helpful. We'll have to see.
Even IGH gets something vaguely resembling development. It would have been easy to cast them as the nefarious shadow organization, but from what "Hansen"s dialogue suggests, they were trying to save people's lives. You'd think that they were attempting to create an army of metas or something, but it appears that was just an unintended side effect. IGH's methods are obviously still suspect, but it does create some ambiguity, making for a potentially more interesting adversary.
"Hansen"s speech could very well have just been typical villain motivation speech, but she does seem legitimately appalled when Jess suggests that she would have been better off dying with her family all those years ago. How soon she forgets that she put an end to Kilgrave's reign of terror and helped bring down the Hand. Those are kind of big deals.
I was surprised at how much humor the episode managed to get in. It isn't at the expense of the more serious and dramatic elements, and it feels like it still fits. It's mostly dry quips, but they still pull some legit laughs from the viewer.
Tha handful of Marvel nods were also a nice touch. Jess being asked by her super-intendent's son if she knows Captain America was amusing (though also a bit sad as it seems like the movies and shows will remain forever segregated). I'm not sure if Jess describing Trish's investigation as "cloak and dagger" was supposed to be a nod to the show of the same name. That could honestly just be a coincidence. I still need to check that series out now that I think about it.
Overall, this was a solid outing. The slight pacing problems are offset by the fact that the cast plays really well off each other. The script also gives the cast plenty of great material to work with. As such, you the viewer are kept engaged in even the more mundane elements of the story. It also ends with a big enough wham note to hook you for the next episode. It should be interesting to see where things go from here.
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After the hiatus, this episode was actually quite easy to jump into. It picks up more or less where its predecessor left off, with Jess and Trish having to dispose of Will's body lest Jess become implicated.
While you'd think this would act as a motivator to put Jess' investigation into focus, the story is somewhat sidelined by other plot points, such as Jess being evicted. On the one hand, it's frustrating, as it seems like it's killing the show's momentum. On the other hand, the characters are all likable and sympathetic enough that you enjoy their various interactions.
Even Jess is able to walk that fine line of "snarky and aloof, but still relatable to the audience". I thought for sure that her attempt at hypnotherapy would have been an unmitigated disaster. OK, the doc ends up bailing, but she gave it much more of a chance than I thought she would.
Sadly, not every character gets that same benefit. I should have felt sorry for Hogarth. I mean, she's really sick and now her partners are trying to force her out of the company. Unfortunately, her one scene with Foggy pretty much robs her of any sympathy. You almost want to see her partners win this particular case. Even Jess isn't having any of it when Jeri comes to her and Jess wasn't even there for that scene. To her credit, Hogarth does earn some points in the following scene when she opens up to Jess about her condition. She still owes Foggy an apology, but at least she dodged the hate sink.
Griffin is an interesting case. Up until now, he seemed like the kind of character who was so good that they had to be up to something. It's a common plot twist. It seems like this episode lays that to bed, with Jess saying that she looked into him and he essentially checks out. It isn't 20 minutes before he's doing something shady after coming across Trish's video file of the Whizzer.
Now, maybe this is a fake out and Griffin really is on the level. If it isn't the case, the show might have done better to let that simmer for a while. Let the audience drop their guard and think that he's an ally before dropping that twist. Right now, it's too soon to tell. A part of me is hoping that it goes the other way and that Griffin really is just a guy who's trying to be helpful. We'll have to see.
Even IGH gets something vaguely resembling development. It would have been easy to cast them as the nefarious shadow organization, but from what "Hansen"s dialogue suggests, they were trying to save people's lives. You'd think that they were attempting to create an army of metas or something, but it appears that was just an unintended side effect. IGH's methods are obviously still suspect, but it does create some ambiguity, making for a potentially more interesting adversary.
"Hansen"s speech could very well have just been typical villain motivation speech, but she does seem legitimately appalled when Jess suggests that she would have been better off dying with her family all those years ago. How soon she forgets that she put an end to Kilgrave's reign of terror and helped bring down the Hand. Those are kind of big deals.
I was surprised at how much humor the episode managed to get in. It isn't at the expense of the more serious and dramatic elements, and it feels like it still fits. It's mostly dry quips, but they still pull some legit laughs from the viewer.
Tha handful of Marvel nods were also a nice touch. Jess being asked by her super-intendent's son if she knows Captain America was amusing (though also a bit sad as it seems like the movies and shows will remain forever segregated). I'm not sure if Jess describing Trish's investigation as "cloak and dagger" was supposed to be a nod to the show of the same name. That could honestly just be a coincidence. I still need to check that series out now that I think about it.
Overall, this was a solid outing. The slight pacing problems are offset by the fact that the cast plays really well off each other. The script also gives the cast plenty of great material to work with. As such, you the viewer are kept engaged in even the more mundane elements of the story. It also ends with a big enough wham note to hook you for the next episode. It should be interesting to see where things go from here.
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Sunday, July 29, 2018
'Castle Rock' Episode 1: 'Severance'
In addition to the new season of "Attack on Titan", the first few episodes of Hulu's original series, "Castle Rock" also landed on Hulu a couple of days ago. Apparently, I didn't have enough shows in my rotation.
I hadn't really been following the development of this series. I knew it was a thing and that the idea was to incorporate several of Stephen King's books, taking advantage of the "shared universe" aspect of his library, but as far as the characters or plot, I was pretty much going in blind.
Having just seen the pilot, I have to say I'm intrigued. The episode did a good job of pulling you in with a strong sense of atmosphere, an effective soundtrack, a strong cast, and some compelling plot points.
The plot centers on Henry Deever, an attorney who gets called back to his hometown after receiving a call from a Shawshank guard regarding a mysterious person found in the sewer tunnels of the prison.
Deever himself has a bit of a history in the town, having vanished without a trace for almost two weeks during a cold winter and then returning unharmed with no memory of what happened. It makes him a great audience identifier, being an outsider who is just coming into town, but also helps fuel some mystery and intrigue about the show's upcoming plot.
"The Kid" (the aforementioned found person) is also a barrel of intrigue. Skarsgard doesn't say much, but he still manages to make his unnamed character rather memorable. He's much creepier here than he was in "It". I'm guessing he's the villain of the piece, what he did to the guards lends credence to that, but it's too soon to say one way or the other.
Speaking of, if he could have done that, why bother waiting around this whole time? We'll see.
I was surprised by the amount of humor that the episode employed. It doesn't go too far with it. There are only a couple of one liners here and there and a lot of it is of the dry variety, but it was definitely a plus.
Really, the only negative criticism I have is putting together a very strong supporting cast and not really doing enough with them. Scott Glenn as Alan Pangborn is given the most to work with. He's fun to watch. I did get some "Stick" vibes from this take on the character, but that could just be me.
Sadly, Terry O'Quinn and Frances Conroy are pretty much wasted, with only a minute or two of screen time each. I'm hoping both get more screen time in some fashion as we move deeper into the show. It would be a shame for two such strong presences to go unused.
Still, this was a strong start. The next two episodes have already dropped so it shouldn't be that long before I dive into another episode. At first I found that strange, I was expecting one episode a week. The more I think about it, though, the more sense it makes. It gives you a good binge to get started and subsequently get pulled in. This episode alone did a solid enough job on that front, in all honesty, but I'm still looking forward to what's to come.
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I hadn't really been following the development of this series. I knew it was a thing and that the idea was to incorporate several of Stephen King's books, taking advantage of the "shared universe" aspect of his library, but as far as the characters or plot, I was pretty much going in blind.
Having just seen the pilot, I have to say I'm intrigued. The episode did a good job of pulling you in with a strong sense of atmosphere, an effective soundtrack, a strong cast, and some compelling plot points.
The plot centers on Henry Deever, an attorney who gets called back to his hometown after receiving a call from a Shawshank guard regarding a mysterious person found in the sewer tunnels of the prison.
Deever himself has a bit of a history in the town, having vanished without a trace for almost two weeks during a cold winter and then returning unharmed with no memory of what happened. It makes him a great audience identifier, being an outsider who is just coming into town, but also helps fuel some mystery and intrigue about the show's upcoming plot.
"The Kid" (the aforementioned found person) is also a barrel of intrigue. Skarsgard doesn't say much, but he still manages to make his unnamed character rather memorable. He's much creepier here than he was in "It". I'm guessing he's the villain of the piece, what he did to the guards lends credence to that, but it's too soon to say one way or the other.
Speaking of, if he could have done that, why bother waiting around this whole time? We'll see.
I was surprised by the amount of humor that the episode employed. It doesn't go too far with it. There are only a couple of one liners here and there and a lot of it is of the dry variety, but it was definitely a plus.
Really, the only negative criticism I have is putting together a very strong supporting cast and not really doing enough with them. Scott Glenn as Alan Pangborn is given the most to work with. He's fun to watch. I did get some "Stick" vibes from this take on the character, but that could just be me.
Sadly, Terry O'Quinn and Frances Conroy are pretty much wasted, with only a minute or two of screen time each. I'm hoping both get more screen time in some fashion as we move deeper into the show. It would be a shame for two such strong presences to go unused.
Still, this was a strong start. The next two episodes have already dropped so it shouldn't be that long before I dive into another episode. At first I found that strange, I was expecting one episode a week. The more I think about it, though, the more sense it makes. It gives you a good binge to get started and subsequently get pulled in. This episode alone did a solid enough job on that front, in all honesty, but I'm still looking forward to what's to come.
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Thursday, July 26, 2018
'Attack on Titan' Season 3, Episode 1: 'Smoke Signal'
The third season of "Attack on Titan" premiered recently. I'm not going to lie, I don't really remember what was happening. It's one of the downsides of shows taking lengthy breaks in between seasons.
Right off the bat, the show changes things up with a new theme song. I'm not crazy about it to be honest. I mean, as a song, it's fine. It just doesn't scream "Attack on Titan". It doesn't even have that trademark chant that the first two theme songs had. It's pretty jarring.
Of course, if this episode is any indicator, it seems like the plot is shifting. There is the occasional reference to the titans, but they almost seem to become an afterthought, as the characters talk about food rations and a potential government conspiracy.
Said conspiracy centers around...Christa's secret heritage? Or the wall? Something about Eren? I don't know. It seems like they're interested in all of it, but I'm not particularly interested as of yet, so it's kind of hard to care. They do kill Hange's informant and make an attempt to kidnap Eren and Christa, so they're not messing around, but it feels like a strange turn for the show.
Things do pick up, as Mikasa and crew's rescue attempt goes off without a hitch. The fact that the perps had nabbed body doubles shows that this was just a ploy to draw out their enemies. It was good tactics on Levi's part and both Mikasa and Sasha get some nice highlight moments as a result of it. Poor Armin, though. That must have been awkward on several levels.
There is an interesting plot twist, as Levi realizes that this has been too easy and maybe the players were really the playees. He suspects somebody else is involved. This leads to the revelation that, apparently, Levi used to live with a serial killer. Said killer is Levi's prime suspect and it turns out that he's 100% right.
This was a bit of a clunky twist, but it isn't helped by the fact that the killer's nom de guerre is "Kenny the Ripper". Using "the ripper" alone was eye roll inducing enough, but Kenny isn't the most menacing name they could have picked. I'm not sure what name would have worked, to be honest, but that name doesn't exactly strike fear into the viewer's hearts.
It's a shame too, because otherwise, Kenny has a lot of potential as an adversary. He's clearly cunning and capable, but he also has a personal connection (and a vendetta from the sound of it) with one of the main cast. He might just be a hired gun or he might be an independent wild card, we don't know. The fact that he seems to have a squad backing him up would suggest the prior, but it could still go either way. Unlike the government stuff, this has a lot more intrigue behind it and it ends up being the more engaging plot element.
Overall, though, I found this episode to be disappointing. After such a long break, this episode needed more umph. There are still 23 more episodes, leaving plenty of room for plot progression, but alas, this wasn't the most auspicious start.
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Right off the bat, the show changes things up with a new theme song. I'm not crazy about it to be honest. I mean, as a song, it's fine. It just doesn't scream "Attack on Titan". It doesn't even have that trademark chant that the first two theme songs had. It's pretty jarring.
Of course, if this episode is any indicator, it seems like the plot is shifting. There is the occasional reference to the titans, but they almost seem to become an afterthought, as the characters talk about food rations and a potential government conspiracy.
Said conspiracy centers around...Christa's secret heritage? Or the wall? Something about Eren? I don't know. It seems like they're interested in all of it, but I'm not particularly interested as of yet, so it's kind of hard to care. They do kill Hange's informant and make an attempt to kidnap Eren and Christa, so they're not messing around, but it feels like a strange turn for the show.
Things do pick up, as Mikasa and crew's rescue attempt goes off without a hitch. The fact that the perps had nabbed body doubles shows that this was just a ploy to draw out their enemies. It was good tactics on Levi's part and both Mikasa and Sasha get some nice highlight moments as a result of it. Poor Armin, though. That must have been awkward on several levels.
There is an interesting plot twist, as Levi realizes that this has been too easy and maybe the players were really the playees. He suspects somebody else is involved. This leads to the revelation that, apparently, Levi used to live with a serial killer. Said killer is Levi's prime suspect and it turns out that he's 100% right.
This was a bit of a clunky twist, but it isn't helped by the fact that the killer's nom de guerre is "Kenny the Ripper". Using "the ripper" alone was eye roll inducing enough, but Kenny isn't the most menacing name they could have picked. I'm not sure what name would have worked, to be honest, but that name doesn't exactly strike fear into the viewer's hearts.
It's a shame too, because otherwise, Kenny has a lot of potential as an adversary. He's clearly cunning and capable, but he also has a personal connection (and a vendetta from the sound of it) with one of the main cast. He might just be a hired gun or he might be an independent wild card, we don't know. The fact that he seems to have a squad backing him up would suggest the prior, but it could still go either way. Unlike the government stuff, this has a lot more intrigue behind it and it ends up being the more engaging plot element.
Overall, though, I found this episode to be disappointing. After such a long break, this episode needed more umph. There are still 23 more episodes, leaving plenty of room for plot progression, but alas, this wasn't the most auspicious start.
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Wednesday, July 4, 2018
'It' (2017 Movie)
By and large, people are weary of remakes. It's hard to build up hype for something that's already been done. This is even more true when re-adapting something like, say, a book. We saw what happened when Hollywood tried to bring Carrie to the big screen for like the third time. Yet, when it was announced that another take on "It" was in the works, people were generally excited. The 90's TV mini-series has its charm, but fans of the book can't be faulted for being excited at the prospect of another go around, especially when it has a much bigger budget to work with.
The results are...mixed. This is definitely a much darker presentation than what came before. As a result, it feels closer in tone to the source material. We also have a Pennywise who comes off as much more monstrous. Curry's Pennywise was creepy, but had a bit of a silly flair. I remember watching "It" the first time and wondering why the kids were so scared. Here, you see why. He is legitimately terrorizing the kids something fierce.
That being said, I think I still lean more in favor of Curry's take. Maybe it's nostalgia goggles, but this take on Pennywise really didn't do it for me as much as one would hope. It just seemed like he was trying too hard to be creepy. He's so blatantly and obviously evil that it feels a bit one note. He has his moments, but I largely came away with a feeling of "eh". This isn't helped by the fact that the movie is heavily reliant on jump scares. It works sometimes, but it does start to feel repetitive as the movie progresses.
The movie makes up for it with the Losers themselves. The new kids take a little getting used to, but once they come together, you totally buy the bond that's formed and its extent. It gives the movie the heart it needs and ends up being one of the film's strongest factors. Oddly enough, there are times when it seems like the horror elements are getting in the way. This isn't the first film to do this. I recall similar things being said about "Batman Begins" with its superhero elements and the recent "Power Rangers" film. It's still a strange thing to see.
I remember back when the movie was in production, a lot was made about the time jump. The argument was that the 50's made more sense given Derry's idyllic illusion and that the 80's didn't really have that. It makes sense on some level. Watching the movie, though, the move to the 80's really didn't make that much of a difference. There are some references to things, you see movie titles on marquees and Richie compares Bev to Molly Ringwald at one point, but the narrative plays out pretty much the same. Ultimately, that wasn't a thing with which the fans needed to concern themselves. It really didn't change things that drastically.
I'm torn on the ending. The slingshot is removed, probably due to not being as prevalent in the 80's, and so too is the silver vulnerability. As a result, the kids win the day by just beating the monster down with chains and a bat. Considering one scene had Bev impale the monster through the head with a steel rod to no effect, the fact that this is ultimately what brings the creature down seems out of left field. I know, the implication is supposed to be that It is weakening as a result of the kids no longer being afraid, but it still feels a bit lackluster. OK, lackluster may not be the right word. The climax is more action heavy, so it's satisfying to watch on some level, it just doesn't make a whole lot of sense.
I am kind of curious to see how the sequel plays out. For one thing, the kids overcoming their fear now seems like it would undercut the horror of confronting It again. Most of the movie shows this ordeal as being traumatic in spades, but given the nature of their win, it does change things.
The story also remains somewhat grounded here. There are a couple of nods to turtles, which make for some nice Easter eggs for fans, but no hint of the sort of cosmic force that comes into play in the book. This entry is a pretty straight forward monster movie. From what I hear, the larger elements are going to be brought in for the second chapter. I have a feeling it's going to make for a jarring watch, especially when people decide to watch the two parts back to back or if/when they do the "director's cut" that combines the two into one cohesive narrative.
Overall, this was OK. I was underwhelmed by Pennywise, which is sad considering he's one of my favorite King villains, but the cast and script made up for it in other areas. It has its shortcomings, but if you're a fan of the book, this is worth checking out at least once.
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The results are...mixed. This is definitely a much darker presentation than what came before. As a result, it feels closer in tone to the source material. We also have a Pennywise who comes off as much more monstrous. Curry's Pennywise was creepy, but had a bit of a silly flair. I remember watching "It" the first time and wondering why the kids were so scared. Here, you see why. He is legitimately terrorizing the kids something fierce.
That being said, I think I still lean more in favor of Curry's take. Maybe it's nostalgia goggles, but this take on Pennywise really didn't do it for me as much as one would hope. It just seemed like he was trying too hard to be creepy. He's so blatantly and obviously evil that it feels a bit one note. He has his moments, but I largely came away with a feeling of "eh". This isn't helped by the fact that the movie is heavily reliant on jump scares. It works sometimes, but it does start to feel repetitive as the movie progresses.
The movie makes up for it with the Losers themselves. The new kids take a little getting used to, but once they come together, you totally buy the bond that's formed and its extent. It gives the movie the heart it needs and ends up being one of the film's strongest factors. Oddly enough, there are times when it seems like the horror elements are getting in the way. This isn't the first film to do this. I recall similar things being said about "Batman Begins" with its superhero elements and the recent "Power Rangers" film. It's still a strange thing to see.
I remember back when the movie was in production, a lot was made about the time jump. The argument was that the 50's made more sense given Derry's idyllic illusion and that the 80's didn't really have that. It makes sense on some level. Watching the movie, though, the move to the 80's really didn't make that much of a difference. There are some references to things, you see movie titles on marquees and Richie compares Bev to Molly Ringwald at one point, but the narrative plays out pretty much the same. Ultimately, that wasn't a thing with which the fans needed to concern themselves. It really didn't change things that drastically.
I'm torn on the ending. The slingshot is removed, probably due to not being as prevalent in the 80's, and so too is the silver vulnerability. As a result, the kids win the day by just beating the monster down with chains and a bat. Considering one scene had Bev impale the monster through the head with a steel rod to no effect, the fact that this is ultimately what brings the creature down seems out of left field. I know, the implication is supposed to be that It is weakening as a result of the kids no longer being afraid, but it still feels a bit lackluster. OK, lackluster may not be the right word. The climax is more action heavy, so it's satisfying to watch on some level, it just doesn't make a whole lot of sense.
I am kind of curious to see how the sequel plays out. For one thing, the kids overcoming their fear now seems like it would undercut the horror of confronting It again. Most of the movie shows this ordeal as being traumatic in spades, but given the nature of their win, it does change things.
The story also remains somewhat grounded here. There are a couple of nods to turtles, which make for some nice Easter eggs for fans, but no hint of the sort of cosmic force that comes into play in the book. This entry is a pretty straight forward monster movie. From what I hear, the larger elements are going to be brought in for the second chapter. I have a feeling it's going to make for a jarring watch, especially when people decide to watch the two parts back to back or if/when they do the "director's cut" that combines the two into one cohesive narrative.
Overall, this was OK. I was underwhelmed by Pennywise, which is sad considering he's one of my favorite King villains, but the cast and script made up for it in other areas. It has its shortcomings, but if you're a fan of the book, this is worth checking out at least once.
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