'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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'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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'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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'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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'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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'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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'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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