Category Archives: TV Review

Review: True Blood 7.1 “Jesus Gonna Be Here”

Posted on by Lisa Marie Bowman

Sookie

I have to start out this review of the 7th season premiere of True Blood with an explanation and an apology.

I always like to think that I can write a good review regardless of what else might be going on in my life.  If I took a break from writing every time that I felt less than great, I certainly would not have ever reviewed Black Swan or The Perfect Teacher.  Sometimes, you just have to take your medicine and get things done.  That said, I should let you know that summer has just begun down here in Texas.  Pollen is everywhere and I have spent today battling my allergies.  I am definitely under the weather as I write this review and I apologize if that has effected my ability to properly consider tonight’s episode.

However, for the season premiere of a show that’s known for its complex storylines and huge cast, it doesn’t really seem like there’s much to analyze about what happened tonight.

Don’t get me wrong.  True Blood has always been an uneven show.  For every great episode of True Blood, there’s also a mediocre one.  For every brilliantly drawn and acted character (like Kristin Bauer van Straten’s Pam), there’s been characters who have never quite reached their potential but yet remain in the cast.  For every storyline that worked, there will be memories of Bill getting possessed by Lillith.

In the past, mediocre episodes or creative misfires did not worry me.  I accepted them as being just a part of what happens with all long-running television shows.  I accepted the occasional bad because I knew that the good would be great and I always knew that there was a chance that any creative miscalculations would be corrected in a future season.

However, we’ve now reached a point where there are no more future seasons.  This is it!  Season seven has ten episodes and then True Blood — as a television series — is over.  Rumor has it that there will be a Broadway musical and I’m certainly looking forward to it eventually showing up on the community theater circuit because I really do think that I’d be a natural for it.  But, until then, these final 10 episodes are all that we have left and True Blood — being True Blood — has a lot of storylines that it needs to somehow resolve so that viewers like me don’t feel like we’ve spent the last 7 seasons being set up for an anticlimax.

After all, we don’t want True Blood to end up like Dexter.

That’s why I can’t simply laugh off a mediocre or uneventful episode now.  As I sat through tonight’s premiere, a part of me was thinking that things were moving slowly because the show is setting up the foundation for a proper and satisfying finale.  However, another part of me wanted to scream, “HELLO — WE’VE ONLY GOT 10 EPISODES LEFT!  THESE HAVE TO COUNT!”

And I will admit — though this may have been the headache talking — I did end up hissing at the screen, “Where.  The.  Hell.  Is.  Erik!?”  As we all remember from last season’s finale, Erik was last seen naked on a mountain, bursting into flame as the sun shined down on him.  The important thing, however, is that we never saw Erik explode into red goo.  I chose to believe that Erik is still alive and, apparently, Pam agrees with me because tonight’s episode found Pam in Morocco searching for Erik.  There really weren’t enough scenes featuring Pam but I was happy for what we got of her.  Pam’s snarkiness always brings True Blood to life.  Hopefully, Erik will show up next week.

As for everyone else:

Tonight’s premiere began where season 6 ended.  A group of infected vampires attacked a human-vampire mixer at Bellfluer’s.  During the attack (which was well-filmed but still a bit too chaotic for its own good), vampire Tara is apparently killed and Holly and Arlene are kidnapped by the infected vampires.  Sam, who is now the mayor, orders that all the humans go home with an uninfected vampire, the idea being that the human will feed his vampire in return for protection.  Nobody is really happy with the arrangement and, as quickly becomes apparent, everyone blames Sookie.  What people don’t consider is that Sookie can hear their accusatory thoughts.  At the end of the episode, she goes to church and tells everyone off.  So, it looks like Sookie is once again frustrated with living in Bon Temps and thinking about saying goodbye to all of the drama and going off on her own.  Then again, that’s pretty much what always happens to Sookie.

(Sookie, incidentally, is now in a relationship with Alcide and good for her!  I still have a feeling that she’ll end the show with Sam but when you’ve been through everything that Sookie has, you’ve earned the right to spend a few nights with Alcide.)

Meanwhile, Sheriff Andy and Bill spent the episode looking for the kidnapped humans and I have to say that Andy has actually turned into a badass, even getting to save Bill from a group of human vigilantes.  However, Andy assures Bill that, even if there are temporarily allies, Andy still hates Bill and every other vampire.

Jessica, meanwhile, is stuck outside of Andy’s house, protecting Adelyn.  Despite the fact that Andy ordered his daughter not to invite Jessica inside, Adelyn does allow Jessica to enter to escape both the rising sun and to thank her for protecting her from a random vampire who wanted to drink Adelyn’s blood.  Once inside the house, Jessica nearly attacks Adelyn but manages to stop herself.

And finally, Jason has sex with his vampire girlfriend.  It’s not an episode of True Blood unless Jason is having sex with his vampire girlfriend.

I always enjoy watching True Blood and I’m looking forward to the rest of the season but I have to admit that I was a bit disappointed with tonight’s premiere, which seemed to move slowly and, oddly for True Blood, didn’t really seem to be too concerned with moving any of the show’s dozen or so storylines forward.  Hopefully, future episodes will pick up the pace because, after all, we’ve only got nine more left and they have to count!

And, hopefully, Erik will return.

Soon.

“Good Luck, Everyone”

Posted on by Lisa Marie Bowman

I can still remember the day that my high school history teacher decided to teach us about World War I by showing my class the final episode of the classic BBC sitcom Blackadder Goes Forth.  At first, I was just happy to get a chance to watch television in class but, by the end of the episode, I was simply devastated.

There’s something very appropriate about the fact that one of the best depictions of the futility and destructiveness of war came at the end of a comedy.

And during this Memorial Day weekend, as we pay respect to the men and women who have died in the course of fighting the countless number of wars that have been waged over the course of this country’s history, it seems to me that this final scene is far more eloquent about the costs of war than I could ever hope to be.

TV Review: Bates Motel 2.6 “Plunge”

Posted on by Lisa Marie Bowman

Bates Motel The Plunge

Now, I know what you’re saying.

“Gee, Lisa — late much?”

Well, yes, this review of the latest episode of Bates Motel is rather late and for that I apologize.  I have spent this week dealing with the world’s worst cold.  Seriously, it has been pure misery!  However, as I sit here rewatching “Plunge” and working on my review, I think that I may finally be on the road to recovery.

In short, I think I’m finally well enough to take the plunge and review this week’s episode!

This episode was all about people taking “the plunge,” both figuratively and literally.

For instance, Emma — after being goaded by both her new pot-dealing boyfriend and Norman’s latest unlikely girlfriend, Cody — removed her oxygen tank and took a plunge into freezing water and nearly died as a result.  Fortunately, Norman Bates was on hand to pull her out of the water and save her life.  On any other show, this would lead to the rebirth of Norman and Emma’s romance but, since this is Bates Motel, Norman ends up going so overboard in his anger towards Cody and Emma’s boyfriend (who I know has a name but I can never remember it) that he quickly goes from being a hero to being the guy who freaks everyone out.

(On a personal note, I have to admit that this whole sequence freaked me out because I don’t swim and, as a result, I very much found myself identifying with poor Emma.)

Norma, meanwhile, takes a plunge into municipal politics.  With the encouragement of her new friend Christine (who I don’t trust) and Christine’s brother George, Norma lobbies to be appointed to the city council.  The Mayor — whose name is Rob — agrees while making it clear that he’s mostly appointing Norma because of who she knows (i.e. Nick Ford).

To a certain extent, you have to wonder just how naïve Norma is.  At the start of this episode, Norma confronted Nick and told him that she didn’t want to work with him anymore.  Nick, more or less, told her that she didn’t have much choice in the matter.  Now, she’s been appointed to the city council and you have to wonder if she realizes just how much of a pawn she has actually become.

Speaking of being a pawn, Dylan has taken the plunge of moving in with Jodi Ford Wilson (Kathleen Robertson), Nick’s daughter and the head of one of the two drug cartels that are currently at war.  Is White Pine Bay really big enough for two drug cartels?  The drug war, to be honest, feels like it belongs in a totally different show.  But, I like Max Thieriot so I can’t complain too much.

Sheriff Romero, who is still living at the Bates Motel, took the plunge of informing Norma that, from his motel room, he has a view of her whenever she undresses in her bedroom.  The awkward flirting between Norma and Romero has been one of the highlights of the second season.

Finally, Norman took the plunge of trying to get his driver’s license.  However, Cody told Emma that Norman suffers from blackouts and Emma responded by calling Norma and telling her (at the exact moment that Norma is watching Norman taking his test).  Norma responds by running over to the car and telling Norman’s driving instructor.  The end result: Norman can’t give his driver’s license and now has another reason to both resent and be dependent upon Norma.

Random Observations:

  • Vera Farmiga kicks ass.  I know that’s become a running theme as far as my Bates Motel reviews are concerned but seriously, she really does.  This week’s Vera Farmiga highlight was the scene where she literally ran down a hill to jump onto Cody’s car.
  • Speaking of kicking ass, just how scary is Michael O’Neill in the role of Nick Ford?  That man can make a simple hello sound like a threat.
  • “Who’s Rob?”  That’s okay, Norma.  I’m not always sure who my mayor is either.
  • I found myself wondering which three senators George helped to get elected.
  • “There are reasons he should not drink.  Medical reasons.  And that’s all I’m going to say.”
  • Norman’s flashbacks while hiding in the closet were disturbingly effective.
  • Wouldn’t it be neat if it turned out the Mayor was related to Nick Ford as well and his name was Rob Ford?
  • If I was Norman’s mom, I probably wouldn’t like Cody either.  Seriously, mother’s worse nightmare that one is.  That said, I relate to the character.  I went through my Cody phase when I was younger.  I think everyone has.
  • George gets extra cool points for liking The Man Who Shot Liberty Valance.
  • Bates Motel has been renewed for a third season!  So, we’ve got at least one more year of White Pine Bay melodrama to look forward to.

 

 

TV Review: Bates Motel 2.5 “The Escape Artist”

Posted on by Lisa Marie Bowman

 

Bates Motel The Escape Artist

After I posted my extremely laudatory review of last week’s episode of Bates Motel, I received a very interesting comment on Facebook from the veteran horror director and screenwriter Alan Ormsby.  (Among Ormsby’s screenplays: the excellent Deathdream and  Deranged, a film inspired by Ed Gein who, as any Psycho fan knows, also inspired Robert Bloch to first create Norman Bates.) In his comment, Ormsby pointed out something that I had failed to take into consideration.  Whereas Bates Motel presents Norman as suffering from a split personality as a teenager, Psycho established that Norman didn’t “become” Norma until, after years of abuse, he snapped and murdered his mother.  Norman became his mother because he didn’t want to face the reality of his crime.

That’s quite a contrast to the story that is currently being told on Bates Motel.  Whereas Mrs. Bates was the villain of Psycho, she’s become the protagonist of Bates Motel. Whereas the film’s Mrs. Bates was a demonic force who, even after her death, continued to possess her son, the show’s Norma Bates is often times portrayed as just trying to protect both her son from an increasingly amoral world and the world from her obviously disturbed son.

Now, I know that a lot of people are going to argue that Bates Motel is just a TV show and that it’s best not to give it too much thought and they’ll probably start tossing around words like “canon” and “fanfic.”  They’ll say, “Just relax and don’t worry about it.”

But what fun is that?

So, how to explain the difference between the way Norman and his mother are portrayed on TV and in the film?  I’ve come up with a few possible explanations.

1) The doctor at the end of Psycho could have misdiagnosed what happened with Norman and his mother.  As played by Simon Oakland, the doctor was awfully glib and seemed to come from the overdramatic Dr. Phil school of psychology.  After the shocking discoveries at the Bates Motel, everyone needed an explanation and the doctor was happy to provide one as long as he got paid upfront.

2) Bates Motel could be taking place in a parallel universe, one that plays out right next to the Psycho universe, with certain elements occasionally crossing over.  Maybe, when Freddie Highmore’s Norman finally gets around to looking through the peephole behind the painting, he’ll find Anthony Perkins staring back at him.

3) Maybe the Norman Bates of Bates Motel is not actually the Norman Bates of Psycho.  Maybe the TV show will end with Norman and his wife Emma staring down at their newborn son, Norman, Jr.

4) Or maybe Norma is destined to be murdered by her son and that son is destined to take on her identity, run the Bates Motel, and eventually murder both Marion Crane and Milton Arbogast.  However, maybe that son is not going to be Norman but instead, it’s going to be Dylan.  After all, Dylan has been through a lot of emotional and mental turmoil since he tracked down his mother.  Who is to say that he didn’t finally snap and, after killing both his mother and his younger brother, ended up taking on both of their identities?

Obviously, the most plausible solution is the first one but I’m partial to the idea that Bates Motel is taking place in a parallel universe.  That would certainly explain a lot.

As for this week’s episode, it was a rather low-key affair, especially when compared to everything that went on last week.  But you know what?  That’s okay.  Bates Motel has reached the point where not every episode has to have fireworks.  In its second season, Bates Motel seems to be a lot more confident about what type of story its trying to tell and therefore, it can get by with a few episodes that are mostly about appreciating the performances and the show’s off-center vibe.

That’s not to say that things didn’t happen.  Actually, a lot of things happened but none of them were quite as memorable as Norman waving a knife at his uncle while taking on Norma’s personality.

Perhaps the episode’s most dramatic moment was Dylan getting run down in the middle of the street while firing a gun at a car full of rival drug dealers.  (I don’t find the whole drug war to be all that interesting but I do find it amusing that, in the small town of White Pine Bay, nobody ever seems to notice people shooting at each other in broad daylight).  At first, this panicked me because, as played by Max Thieriot, Dylan is one of my favorite characters on the show.  But, it turns out that not only was he not seriously injured but, after being taken to the hospital, he also got to meet his boss and — gasp! — she’s a woman!

We also found out tonight that, on the other side of the drug war, is the Ford Family.  And guess who is in charge of the Ford Family?  None other than Nick Ford, the friendly but slightly sinister guy who has promised to help Norma stop the bypass.  This week’s episode ended with the implication that Nick killed the councilman who was so rude to Norma at the city council meeting.

Speaking of Norma — well, where to begin with what’s going on with Norma?  Not only has she managed to ally herself with a drug lord but she’s also having to watch Norman as he runs around with Cody, a girl who not only has tattoos but who smokes and listens to loud music as well.  On the plus side, Sheriff Romero will apparently be spending several months at the Bates Motel now that the town’s drug dealers have burned down his house.  The scenes between Vera Farmiga and Nestor Carbonell were definite highlights of this week’s episode.  I love the chemistry between the outspoken Norma and the withdrawn Romero.  I’m predicting right now that they’ll be a couple before the final episode of the season and it probably won’t end well.

Vera Farmiga also had another great scene during this episode, in which she responded to Olivia Cooke’s Emma asking her about sex.  Speaking of Emma, she lost her virginity to the cute pot dealer.  Norman has already hinted that he doesn’t consider the cute pot dealer to be a good person so we can probably guess what’s going to eventually happen here.  That said, I’m just glad that Emma finally got to do something that she wanted to do, as opposed to just standing in the background and staring forlornly at Norman.

And finally, Norman is growing even closer to Cody, eventually having sex with her.  (And, again, this is more evidence of my parallel universe theory since the Norman Bates of Hitchcock’s film was a virgin.)   Eventually, he even confessed to her that he often has blackouts.  He also discovered that she comes from an abusive home.

And again, this is probably not going to end well…

Random Observations:

  • Nick Ford’s boat is named “Amnesia.”  What is it with evil people and boats?
  • Did Norman kill Uncle Caleb?  Hopefully, this won’t be another randomly abandoned Bates Motel subplot.

Agents of S.H.I.E.L.D. – The Mega-Recap

Posted on by Semtex Skittle

agentslarge

I have failed you, dear readers. I have failed you in my solemn commitment to share the odyssey of Marvel’s Agents of S.H.I.E.L.D.. I have failed in my grim responsibility to recap them without snark or sarcasm each week. And I have failed you utterly with regards to knowing when the show is going to air, and on what Tuesdays. There is no one to blame but me for my having fallen behind. One mis-step begat another, and another, until now… finally, we arrive here. To borrow a term and use it in an amusing way, here, at the Magical Place.

But do not fear!

For this MEGA-RECAP will connect the dots of this complex and sophisticated story the innermost twists and turns of which need to be absorbed over repeated viewings and recorded for your reference in this space… Here, I will connect for you the lines between S1E12 “Seeds”… all the way up to 4/1/2014 (oh God)… M.A.O.S. Probably too many acronyms floating around here, but that’s just a thought. Together, let us voyage through the complex storylines, elaborate characterizations, and non-ridicu… well. At any rate. I’ll provide a brief recap of what you might have missed… or not.

For your convenience, I have organized this Mega-Recap in this fashion, so you can bounce around if you wish:
S01E13 will take you to the first episode of the recap, T.R.A.C.K.S.
S01E14 summons forth T.A.H.I.T.I.
S01E15 will show you Yes Men

Mega this recap might be, but I have steeled myself to show more discipline and condense each episode somewhat. Apologies in advance, dear readers, because I know that this may necessitate leaving out some of the grand complexity of each of these totally unique and not-at-all formulaic episodes. In the future, I shall endeavour to do better for you. Well.

That elaborate housekeeping having been taken care of… enjoy? Enjoy!

S01E13

T.R.A.C.K.S.

Yes, it’s Ian Quinn (David Conrad) again. One of the few things that I feel this series has actually done pretty well so far is in providing us with some comic book style ‘mastermind’ villains. We have the still-enigmatic Clairvoyant, and Ian Quinn, Corporate Asshole. Having guys blow their money on evil is a grand comic tradition, and one that is certainly welcome here. Quinn is so off-putting that I enjoy him as a villain, and I’m looking forward to Agent Wooden and Agent Handsome delivering a series of punches and kicks to his face and torso. But that’s for another time, alas…

This time, the dastardly Ian Quinn has purchased something from a company called CyberTek for the low, low price of $10 million. I assume all figures are in U.S. dollars, so maybe it’s not actually that much. It’s being transported on a train through the Italian countryside, under the watchful supervision of Ian Quinn’s number one security guy. Coulson successfully negotiated (read: waved S.H.I.E.L.D.’s carte blanche around) to get the Italian police off the investigation, and Level 7 onto it. In lieu of letting the proper authorities handle things, Coulson’s team is going to infiltrate the train undercover in three different groups. Group 1 consists of agents May and Ward. She’s playing a cold, sneering aristocrat type, who says little, but radiates contempt with her eyes while he carries the luggage. Oh, and they’re married. This is such a departure from their normal characters, that I… ah, nevermind.

Team two is Simmons and Coulson as a father daughter pair. This pairing is engaging. Simmons thinks very poorly on her feet, so in preparation for being undercover, she’s given her character a ten page backstory about an absentee father and a strained relationship. Stan Lee makes his totally inevitable cameo here, berating Coulson for his failures as a father. Team three is Fitz and Skye as young lovers. Skye is charming and beautiful, Fitz is awkward. Giving these two more screen time seems like a way to try and find some male character that Skye actually has some chemistry with. Fitz and Skye aren’t bad together… it’s certainly better than some of the cringe-worthy scenes between Skye and Ward earlier in the season.

Oh, and May tells Ward that she told Coulson about them having clinically precise sex. Ward is alarmed, but we already know Coulson is cool. Guy’s not gonna make waves. I mean, he didn’t even make waves over the forty thousand different ways that S.H.I.E.L.D. screwed him on the whole ‘involuntary resurrection’ thing and the whole ‘without his consent’ affair. That Nick Fury. What a goof!

Things go pretty much how you’d expect. In his conductor disguise, Ward quickly dispatches two assassins in a quick sequence even James Bond would have been proud of. Realizing they’re made, he sends Simmons to meet up with Fitz and Skye. Coulson and Ward get made and bail out of the train, and Quinn’s agents turn the train invisible… wait what? Commercials! By the way, I want to give some credit to the storyboarding on this one… aside from a bunch of quick cuts to set up our premise, we barely had any jarring scene changes at all. Good work, guys!

So dudes in black SUVs are already after Coulson and Ward. Seems like someone probably gave them up. I WONDER WHO IT COULD HAVE BEEN? On the ActionPlane Coulson contacts his boy with the Italian polizia, Russo (Carlo Rota). Russo’s guys got jumped too, it seems, and they’re dead. Coulson explains that the train became invisible, and Russo seems weirdly unimpressed. Well, I’m sure that happens all the time in Italy. Coulson and Ward try and figure out what to do next, but between them they can’t even figure out how to work the computer. They talk about the whole Ward/May wooden lovemaking situation. Coulson berates Ward, then makes fun of him. It is enjoyable. Then suddenly Russo shows up at the landing ramp to the ActionPlane. Before he can do much more than say hello, he gets the old ‘lethal axe in the spine’ from a beaten, bloody Agent May. With a subtle hint of anger (reaaaaaaaaaaaaal subtle), May says “Wheels up in five.” Boom.

It turns out that May also fell off the train. Got captured by Russo. He was going to torture and presumably kill her, but May is kind of a badass. She escaped, facilitated the escape of Ward and Coulson. Now we know why she killed Russo. Good times!

On the train, Skye and Fitz debate the nature of the object being transported. Skye wonders if it could be an ‘084’, an ‘object of unknown origin’. Fitz says no, definitely an item supplied by Cybertek. Some light exposition. Then the jamming hits. Everything’s offline. What? We’ve been made? Security guys burst into the train car. Fitz downs one with a blindfire (good shot, Fitz!) and then Skye does more than enough to disable a comic mook, but since she’s a girl, he’s unaffected and knocks her down. Then, because Fitz is a geek and can’t fight, he goes sprawling as well. It’s at this time that Simmons arrives, and Skye comes back to her feet armed and dangerous. Unfortunately, because Skye and Simmons are both girls, Skye doesn’t shoot, and Simmons then grapples vainly with the mook until his grenade goes off… uhh.. “disabling”… them both. Seriously, is there any doubt that a male agent would have handled these two mooks? It doesn’t even have to be James Bond. But poor Skye gets manhandled even after ambushing the dude, clubbing him, and basically working his shit. He’s just a mook! Luckily the grenade was more of the ‘stun’ variety – using the same technobabble (biobabble? it’s a toxin, they claim) that makes the S.H.I.E.L.D. magic sleep gun (or night-night gun, as the parlance goes) work. Oh, then Fitz shoots the mook. Good on you, Fitz.

The train stops. Outside, a bunch of suits make the exchange. Skye demands that they follow the mysterious Cybertek item, so they do. Arriving at a magnificently-appointed Tuscan villa. Apparently these are just ubiquitous when dealing with Ian Quinn. You have to admire the man’s style. Fitz goes to disable enemy vehicles, while Skye goes into infiltration mode. Again! This is so exciting! Skye sneaks her way into the basement. Something tells me it’s just about time for the big reveal. OH SHIT IT’S MIKE PETERSON (J. August Richards)! He’s in, like, a healing tube or something. Then Ian Quinn shows up. He’s feeling smug. Quinn pops the tube. Not only is Peterson alive, but he’s kind of well. His face is badly mutilated. And the expensive technology from CyberTek proves to be a cybernetic leg to replace the one he lost in the explosion during the events of S1E10 “The Bridge”. Savvier folks than I point this out as the rise of “Deathlok”, a comic character. Good on Deathlok!

Peterson is thoroughly under enemy control. Quinn exults in his power, saying that Peterson can’t hurt him, and that he won’t stop Quinn from shooting him. Skye tries to negotiate with Mike’s better nature. Quinn tries to convince Mike to attack Skye, but he refuses. Instead, Quinn simply shoots her. Then, he shoots her again. Then, he bounces. Boom. My heart is ready to explode. Skye!? Nooooo! She was so charming! Taken before her time! Aaaargggh!

Anyway, in the finale… Peterson kills off all the Cybertek suits. No surprise there, Quinn doesn’t want to pay for the hardware. ActionTeam arrives though, before Skye expires. Peterson has orders not to engage S.H.I.E.L.D., Ward does one of my favourite cinema tricks where a guy with two guns can shoot as many normal mooks as he wants until he runs out of ammo before they can react, and the ActionTeam actually captures Ian Quinn! Coulson demands Skye’s whereabouts. When Quinn is glib, Coulson pistol whips that motherfucker! Yeah, Coulson! They find her, of course, but she’s in bad, bad shape. They put her in the healing tube at Simmons’ urgent instructions, and kind of… hope for the best. May sounds… strained. Upset. As she demands if it’s working. Coulson is a little more emphatic. It’s… a stunningly emotional moment for this show. Back on the ActionPlane, Simmons’ diagnosis is grim… but not definitive. The reaction shots are just as grim. Level 7 Vendetta, yo. May and Ward share a moment that could actually be called… emotional? Coulson remains in vigil beside the magic healing tube. Simmons sobs in Fitz’s arms. Ouch.

In the coda, Peterson falls back on his need to reconnect with his son. The Clairvoyant isn’t going for it. Someone pointed out (it may even have been the ABC synopsis?) that his prosthesis has ‘Project Deathlok’ inscribed on it. Well then!

Guys, this episode is WELL above average. I hope you didn’t abandon the show before seeing this one. It’s a good action piece, with plenty of stuff going on, some great Skye moments, and a lot more… emotion… than I’m used to seeing from this show. If every episode was as well conceived as this one, I probably wouldn’t have nearly so easy a time making fun of it. So I guess that would make the show poorer for me, but better for mankind. I will make this trade, showrunners. Jed Whedon, it is not too late!

S01E14

T.A.H.I.T.I.
(Seriously guys, what’s with the acronyms? Is it supposed to be funny?)

Cold Open: Once again, Ron Glass regrets the whole ‘without consent’ and ‘cruel reanimation’ parts of Coulson’s past. If you forgot since the previous recap… which was… ten lines above… Skye is in critical condition. At best. Let’s roll!

We’re in the S.H.I.E.L.D. hospital. Presumably, there is no better care that Skye could receive than this. Coulson is attempting to call Nick Fury. I assume because Sam Jackson wasn’t available, he’s on hold. Fitz blames himself, but Simmons laughs: “Like you could stop her from doing something she wanted to”. Good point, Simmons. Ward is her “SO” (what does that even mean? I know he’s not the CO. I guess he’s not the XO. Supervising officer? The hierarchy of S.H.I.E.L.D. isn’t that clear). He’s mad too. May blames Ian Quinn. Logical!

At the hospital, the doctors are telling Coulson that it’s time to decide whether to keep Skye on life support, and that her family should be contacted. Coulson breathes… is distressed… “We’re her family”… it’s kind of a tough scene. SCENE CHANGE! (It’s back!)

May kicks the shit out of Ian Quinn. “Wait, you can’t…” “Why, because you’re defenseless? Like she was?” Anger suits the character of Agent May. She seems comfortable in its embrace. Then she seems… emotional, after Coulson stops her. Coulson reminds May that the doctors at S.H.I.E.L.D. literally re-animated his corpse. Surely they can save Skye. Meanwhile, May needs to pilot the ActionPlane. Also, ActionTeam isn’t giving up custody of Quinn. Also, Coulson finally explains the truth of his return to life to the rest of the ActionTeam. It was at the S.H.I.E.L.D. facility in Bethesda, Maryland, where it was done. So, they’re bringing Skye to the same facility. Coulson delivers the full medical report on what was done to him to Fitz-Simmons, explaining that since Shepard Book managed to repair his heart after it was literally torn in half, if they can understand how that process worked… surely they can heal Skye’s injuries as well.

Ward and May, neither of them, would have flown halfway around the world in a desperate and probably ridiculous attempt to save Skye’s life. May points out that she and Ward need people like Coulson. Come to think, that’s probably why Phil’s in charge of this outfit, seniority aside. Oh, and they violated some S.H.I.E.L.D. bylaws or something, so they’re being ordered to stand by and prepare to be boarded. I’ve been waiting for one of these episodes, when the inevitable “bad decision makers” or bureaucracy inherent in S.H.I.E.L.D. complicates things. Coulson elucidates the situation nicely: “Really? All the war and chaos in the world, and S.H.I.E.L.D. sends a plane after us?” Guys, I saw The Avengers. Nick Fury doesn’t think like this, except when he does.

The ActionPlane is boarded by Agent John Garrett (a welcome appearance by Bill Paxton). He seems like a jerk. With him is Agent Antoine Triplett (B.J. Britt) who seems like a cool customer. Garrett threatens Coulson because reasons. Oh, for once they’re going to explain this now! Garrett has been pursuing Quinn for some time. He makes a funny, describing the hilariously unsuccessful train job and subsequent Tuscan villa adventure as “your little Italian job”… and also explains that it set his investigation back. How it set him back is really unclear, since Quinn was taken into custody. This part is not addressed, but I’ll live. Anyway, Garrett is surprised to learn that Quinn actually had the guts to shoot someone himself, and explains that he, too, has lost agents in the pursuit, but seems to soften somewhat when Coulson explains about Skye. Trip and Ward know each other. They talk about nonsense downstairs, then things escalate into a totally pointless fistfight (this show is supposed to have action, damnit!) but Coulson breaks it up. He and Garrett came to an agreement. Garrett will interrogate Quinn on board the ActionPlane… and saving Skye is top priority. If only because she might know something essential.

Fitz-Simmons are trying to save her right this very second, of course.

Meanwhile, in the interrogation room / refuge for tormented young women / Mike Peterson chamber / hexagon walled room… Garrett shows up. Quinn is flippant. Garrett literally grabs Quinn’s tongue (yes! Seriously! It’s kind of awesome!) He explains that Quinn has no rights, no lawyer, and the only reason they don’t just throw him out the back of the plane is that Skye is still alive downstairs. Quinn appears to get the message. They talk a little about the Clairvoyant. Garrett calls it mumbo-jumbo, but Quinn cites a number of incidents in which the far-seeing eyes of the Clairvoyant led to disaster for S.H.I.E.L.D. The only thing the Clairvoyant can’t see is how they saved Coulson after his death or near-death or whatever at Loki’s hands. The gist of the plan is, either ActionTeam figures the whole thing out, in which case it’s in the open for the Clairvoyant to see… or they let Skye die. And Coulson obviously isn’t going to let Skye die. That would be ridiculous. She’s charming!

So it turns out that even the facility that Coulson was treated at doesn’t exist, and certainly wasn’t at Bethesda. Simmons admits that even she and Fitz only understand “70%” of what’s in Coulson’s medical records. May’s concerned that they may give the Clairvoyant exactly what he wants, even if they do save Skye. Coulson doesn’t give a shit. Yeah, Coulson, keep it real. Fitz-Simmons start trying to track Ron Glass’ whereabouts from the date that Coulson was stabbed. With some uh… “clever sleuthing”… Fitz-Simmons locates the site at which Coulson’s “treatment” “occurred” and they “head” “that direction”. May stays on the ActionPlane, but Garrett bolsters the away team as Coulson leads a group to investigate “The Guest House”. They don’t know the countersign, so they force entry. I’m sure this will go well.

What? A gun battle? You’re kidding. Coulson throws a flashbang, and it’s pretty much over. Garrett is growing on me. I hope Bill Paxton isn’t too busy to make a couple more appearances on the show.

With the guards down, there’s a countdown timer running to destroy the facility or something. Coulson assigns Garrett to figure out how to get them back out of the secure facility, while the ActionTeam goes in search of drug GH-325. Apparently this was the substance administered to Coulson. Meanwhile, on the ActionPlane, Triplette is being pretty cool. I wouldn’t mind him coming back either. Things are worsening on the ‘Skye’ front though, as she starts to seize. Hope we find that GH-325 Maguffin!

Shockingly, a search of the facility bears fruit. Fitz locates some GH-325 and absconds. Coulson would be right with him… except that he’s spotted a door marked T.A.H.I.T.I. Can that acronym possibly stand for anything? I’m not kidding here. This is getting a little absurd.

ActionTeam escapes the facility. Kind of. Coulson and Garrett are still inside, but whatever. Actually, Garrett goes back for Coulson, who is almost in a trance. He seems alarmed by the idea that Skye might be given GH-325. He’s even more alarmed when he and Garrett board the ActionPlane. Simmons already gave Skye the GH-325. It’s too late. But then … she stabilizes. Thank God. This show really can’t survive without her, unless we get a lot more Bill Paxton. Everyone’s happy except Coulson, who seems even more alarmed. This would be a great time for the show to explain things to us.

Garrett and Triplette take possession of Quinn. It’s kind of epic. Garrett and Coulson talk things out. As Garrett absconds, I pray for more Bill Paxton in our future. Please, Jed Whedon, deliver unto us more entertaining guest characters. Now that Ian Quinn is presumably gone (until his miraculous escape, or whatever), we need more entertaining guest characters.

Behind the T.A.H.I.T.I. door… Coulson is a little traumatized to discover half of a blue man hooked up to machines. Or something. The meaning of this isn’t real clear. Coulson’s explanation of his panic to May is that he didn’t want Skye to suffer, but that she didn’t, so he’s cool now. Dude isn’t gonna make waves.

Coda: Meet Lorelei (Elena Satine). For those who don’t know, “Lorelei” is the name of both an Asgardian in Marvel comics… and, probably more importantly, a Germanic myth similar to the Greek ‘Siren’ myth. Oh, and the Asgardian in Marvel? Based on that same German myth. I’ll let you guess what that probably means.

S01E15

“Yes Men”

Previously On: Blah blah blah. I just recapped two episodes. Surely you didn’t miss anything important?

Cold Open: Lorelei (Elena Satine) and her boy toy (Robert Belushi) show up at a truck stop. She sirens up a biker leader named Rooster (Dylan Bruno). Then she murders the crap out of the newlywed she siren’d up at the end of T.A.H.I.T.I. Asgard!

Act I: Skye is alive! And … ambulatory! Thank God. I missed her. Simmons is determined to keep poor Skye in bed. There’s a little banter, but what it boils down to is that Skye is alive, and she’s the most gratefulest. It’s not a real word, but I bet you know what it means! There’s some awkward conversation between Skye and Ward. I’m not sure what the point of all this is. I mean, Ward is her “SO” and all… but this conversation is kind of dumb. It has some exposition in it, though. Skye wants to do some more training. She wants to become a badass. I am glad. They also remind us about the whole Mike Peterson subplot. So that’s still going on.

Coulson is trying to locate Nick Fury. He has an incredibly low-profile conversation between incredibly low-profile S.H.I.E.L.D. ActionMobiles. Shockingly, Nick Fury is missing? Has disppeared? Doesn’t want people to know where he is? I’m sure this will be going on. Also, Fitz-Simmons have detected Asgardian Magic. An Asgardian is about. “Asgardians are allies!” “Loki wasn’t”. Thanks, guys. Shortly thereafter, a half dozen totally inconspicuous S.H.I.E.L.D. ActionMobiles driving down the road stop when there’s a burst of incredible energy, and in a flash of awesomeness… the Lady Sif (Jaimie Alexander, reprising her film character) appears! In a crater! In the highway! She doesn’t waste much time announcing that Earth is in great danger.

Commercials!

May’s worried about Coulson, but the thing is, Sif’s worried about Earth. Speaking of Sif, she’s shocked to see Agent Coulson still alive. She’d heard him slain at Loki’s hands. More importantly, Sif is hunting Lorelei. You know, that whole Siren bit. Lorelei is strong like any Asgardian, but also plus Siren. She escaped during the events of Thor: The Dark World when the dark elves screwed everything up, and a bunch of prisoners escaped. But Sif has brought a choker, which will solve the issue. Good times.

Rooster’s wife shows up at the biker bar. She causes a commotion, except everyone else is under Lorelei’s spell. So much for Rooster’s wife. Fitz has designed some higher caliber weapons for the ActionTeam. Shall I start the betting pool now on how effective small arms will continue to prove against metahumans, let alone Asgardians? The whole Lorelei thing isn’t great. It’s not great when the ActionTeam arrives at Rooster’s bar either, despite their inconspicuous arrival in a half dozen black SUVS. The local police open fire on them. Oops. Probably should have thought that one through, Phil son of Coul. Sif makes some fast cover for the S.H.I.E.L.D. boys by moving an RV with her meaty leg, then enters the bar to battle Lorelei. Lorelei comments that she does not fear Sif, and has beaten her before. This is hard to believe when she orders her bikers to attack, because the bikers are mooks. They cannot possibly hurt Sif. It’s kind of like when the villains in the “Superman” TV series fired all their bullets at Superman, then decided to throw their guns, like this would somehow be more effective. Just ridiculous.

Obviously, while Sif dispatches the mooks, Lorelei is out the back. She ensares Ward in her evil spell, and bounces. Why did Phil bring Ward with him, over May, again? Oh, right, because this show has to run forty two and a half minutes. Nevermind. Forget I even asked.

So the Lorelei collar is busted. Coulson assigns Fitz-Simmons to fix that shit. After Skye rants for a bit, he also assigns my personal favourite L7-type to aid in hunting Agent Ward down… electronically. Apparently Ward really is like a James Bond or Jason Bourne type… with lockers full of weapons, money, credentials… all over the world. Frankly, Ward never struck me as important enough for that before. I guess my bad? I shouldn’t have underestimated him.

At the New York New York, Ward scores with Lorelei! It is not clinical. It is not wooden. One wonders if he will ever be able to go back. … Of course, this is all in exchange for him providing Lorelei with an army, presumably to conquer Earth. Oops. Afterward, Lorelei reflects on her captivity. And on how she kind of thought Earth sucked. Ward talks about slaying Sif, but Lorelei points out that it’s a stupid idea. The other ActionTeam members, on the other hand…

Fitz claims that Ward and Lorelei don’t appear on any camera anywhere in Las Vegas. This is factually incorrect, because we saw them wandering around a casino floor. I don’t care how careful Ward allegedly is… he and Lorelei wandered around on a casino floor. Somebody saw them. Of course, Fitz then immediately locks Sif inside the ActionPlane’s holding cell. Apparently he’s somehow become hypnotized by Lorelei’s spells as well. Oops. Sif starts banging on her cell wall. Simmons decides to go investigate the source of all the banging, but discovers that she and Skye are locked in as well. Soon after, Coulson encounters Fitz, immediately deduces what has happened, and talks his way past him. Meanwhile, Lorelei is on the plane, and she dismissively crushes Agent May with one blow. Ouch. Meanwhile: The ActionBrig is opened, launching Sif… INTO OPEN SKY! It happened to Thor, you see. It’s comedy jokes, achieved through repetition!

After the commercial break, there’s a weird sexy showdown. May, Ward, Lorelei… Lorelei tells us that the unbelievably awkward and chemistry-less scenes between Skye and Agent Ward aren’t over. Great. Hoorah. Woot.

Meanwhile, Coulson reconvenes with Simmons and Skye. Simmons tries to brain him with a fire extinguisher, but you know, doesn’t. Since he’s still a clear-thinking individual. For some reason he seems to think that Sif is probably not dead and stuff. And sure enough, when the plane opens again, Sif gets back in to confront a Lorelei now armed with Sif’s own blade. Well… for now. Actually, I think it’s time for the big action piece. Sif and Lorelei begin swordfighting! Fitz was going to interfere and stuff, until he spotted Simmons. Who knows what’s going on there? But also, Ward and May are going to fight. From what I’ve seen so far, the outcome of that brawl is laughable and not in doubt, but I’m sure Ward will put up a fight of some kind.

Whoops! Looks like Coulson sucker punched Fitz right away. Good times. Oh, but Ward is putting up a fight. I hate to get my dander up again, but this is kind of absurd. Heralding back to my review of “T.R.A.C.K.S.”, despite the fact that the show has characterized May as being both faster and more skillful than Ward, she’s also a girl, so when she kicks Ward in the head, he’s fine, and he starts throwing her around. Dramatic tension, I get, but I’m not wild about how we’re getting it this week. Sorry, showrunners, you are doing a shitty job. I know this because even after May tackles Ward through a glass wall, he somehow is the one that comes up with the gun. Isn’t the whole point that she’s faster, with better reflexes? You know, to counteract his better upper body strength. Good thing the gun is empty.

And good thing Sif saves the day by collaring Lorelei.

Anyway, things wrap up tidily. Ward (bleeeeeeeeeeegh) desires another woman than May. Boy, I wonder who. Please, keep forcing that, showrunners! I really enjoy the terrible scenes between Skye and Ward! We need more of them! They are delightful! Kinda feels like May and Ward are dunzo. Coulson visits Skye to talk about how the GH-325 is of alien origin. Skye kinda doesn’t give a shit, since she’s still alive and all… but I really feel like we need to see Nick Fury on this show sometime soon. These convenient excuses for why he’s not around have already worn thin. It’s a bummer. My personal concern? This stuff is heavy plot stuff… we’re in… what, mid season 1? How is this show possibly going to survive multiple season on network TV? I feel like this series always needed to be a 13 episode cable affair. But that’s just me.

Coda: Agent May was listening in. She’s reporting to another master. I am Jack’s complete lack of surprise.

This episode kind of annoyed me. It had some really good stuff going, though, so I won’t be too hard on it. The film tie-in was a welcome one. I feel like this show is going to need occasional guest appearances to keep it going. The next one practically has to be Sam Jackson giving at least a cameo turn as Director Nick Fury… but we shall see.

TV Review: Bates Motel 2.4 “Check-Out”

Posted on by Lisa Marie Bowman

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As this week’s episode of Bates Motel came to an end, my immediate response was to say: “Now, that’s what I’ve been talking about!”

Much as Norman Bates could never quite decide if he was himself or if he was his mother, Bates Motel has always struggled with whether to fully embrace the over-the-top potential of the show’s concept or whether to try to be a more conventional and audience-friendly show.  Those of us who have been watching since the first episode have often been left to wonder whether Bates Motel would ever truly allow its version of Norman Bates to become as mentally conflicted as the version who showed up in Alfred Hitchcock’s film and Robert Bloch’s novel.  I have always been on the side of those who wanted the show to start boldly going over-the-top and to truly embrace its status as a prequel to Psycho.

The first three episodes of the second season provided hints that the show’s producers agreed with me.  Last night’s episode, however, proved it.

The episode’s final moments , which featured Norman (Freddie Highmore) slipping in-and-out of his mother’s personality while waving a knife at his Uncle Caleb (the same type of knife that was used to kill Janet Leigh in Psycho), were so powerful that they tended to overshadow everything else that happened during the previous hour.  Now, in the case of the drug war subplot, I really don’t mind forgetting.  The drug war is probably the least interesting part of the show and I always find myself hoping that each new episode will be the episode that wraps it up.  Both Dylan (Max Thieriot) and Sheriff Romero (Nestor Carbonell) are interesting characters and they’re both played by talented and appealing actors so why not put them in a subplot that is truly worthy of their talents?  Both of these characters are at their strongest when they’re having to deal with Norma and Norman so why waste time with a plot that — so far at least — has nothing to do with either of them?

However, I did enjoy the episode’s other two storylines.  It’s hard not respect just how determined Norma (Vera Farmiga) is to pretend that everything is normal when it’s clear to everyone else that nothing is normal.  As I’ve stated since this show began, Vera Farmiga kicks ass.  As a result, even though we all know that she’s making the wrong decisions and is raising a future serial killer, it’s impossible not to cheer for her.  From the creepy scene where she and Norman talked to each other while laying in bed to her harrowing argument with Dylan to her hilariously awkward date with George (Michael Vartan), this week’s episode was full of classic Farmiga moments.  Incidentally, I still don’t trust George.  He seems like a nice guy but then again, so did Deputy Shelby.

(Speaking of Deputy Shelby, whatever happened to that girl who chained up in his basement?  Is she still running around in the woods?)

Meanwhile, Emma (Olivia Cooke) may have finally found a boyfriend.  She started the episode waking up in a motel room with the cute guy that she met at Bradley’s beachside memorial.  No, he tells her, they did not have sex though Emma later tells the guy that she would like to do it with him but, at the same time, she wants her first time to be special — especially since it might be her only time.  Emma is my favorite character on the show and Olivia Cooke always does a good job playing her, so I’m always glad to see her get to do something but I have to admit that her new boyfriend isn’t exactly an exciting presence.  Typically, when it comes to television romance, we always hope that our favorite supporting character will end up with the show’s main character.  Certainly, Emma still likes Norman but do we really want to see her get together with him?

Especially after what happened last night.

Freddie Highmore really does not get enough credit for his performance as young Norman Bates.  A lot of that is because Norman is written to be something of a blank.  Highmore has to bring to life a potentially soulless character while also working in the shadow of Anthony Perkins’s iconic performance in Hitchcock’s film.  However, especially during this season, Freddie Highmore has really made the character of Norman Bates his own.  That was especially obvious during this week’s episode.  While soft-focus images of his mother being abused flashed through his mind, Norman waved a knife at Uncle Caleb while speaking in Norma’s voice and it worked brilliantly because of Freddie Highmore’s introspective performance.  Freddie Highmore take a potential jump sharking moment and turned it into the climax of the show’s best episode yet.

Did Norman kill his uncle?  That’s something that we’ll have to wait until next week to find out but one thing is for sure.

Bates Motel, much like the characters who run the show’s title establishment, is capable of anything.

Review: Bates Motel 2.3 “Caleb”

Posted on by Lisa Marie Bowman

Caleb

Well, that’s certainly icky.

Regardless of whatever else may have happened on this week’s episode of Bates Motel, it will always be remembered as the episode where things got even ickier than before.

I’m talking, of course, about the revelation that Dylan’s (Max Thieriot) father also happens to be his uncle, Caleb (Kenny Johnson).  I have to admit that I wasn’t necessarily surprised by this.  In fact, when one thinks about the world that Bates Motel takes place in, there was really no way that Caleb wasn’t going to turn out to be Dylan’s father.  It explains why Norma wants nothing to do with her oldest son and Max Thieriot, Vera Farmiga, and Kenny Johnson all deserve a lot of credit for their performances tonight.

That said, I’m hoping that Caleb — much like Deputy Shelby and so many of the other sleazy men who have stopped off at the Motel — will not be around that much longer because, seriously, he is just so icky!  Bates Motel has a good track record for violently executing sexual predators and I expect that same fate is waiting for Caleb.

If nothing else, Bates Motel seems to be making a good case against men in general.  Is there a single man in Norma Bates’s life who isn’t a deviant of some sort?  Earlier in the episode — before we discovered that Caleb was Dylan’s father — Norma met a guy named George (Michael Vartan).  George seems like a really nice guy but, seeing as this is Bates Motel, I’m still expecting him to have somebody chained up in his basement.

Along with the arrival of Uncle Caleb and Norma meeting George, this week’s other major subplot was Emma (Olivia Cooke) attempting to throw a beachside memorial service for Bradley.  As I’ve stated in the past, Emma is my favorite character so I was happy to finally see her getting to do something.  The memorial service was neatly contrasted with the garden party that Norma attended.  And just as Norma met George, Norman got to know Cody (Paloma Kwiatkowski), who, now that Bradley is gone, is apparently going to be the latest obstacle keeping Emma and Norman from getting together.

Then again, that might be for the best.

Norman and Emma are an adorable couple but, ultimately, he is Norman Bates, isn’t he?

Random Thoughts and Observations

  • This week’s “Vera Farmiga is a great actress who deserves an Emmy moment”: The Grand Canyon joke.
  • The great White Pine Bay drug war is apparently still raging.  Fortunately, I love Max Thieriot or else the whole drug war would be kind of boring.
  • That said, Dylan was kinda lingering a bit while Norma was getting dressed.  Again — icky!
  • The name of the town newspaper is the White Pine Bay Current.  For some reason, that amused me.
  • I felt so bad for Norma when she saw she hadn’t been cast in the town musical.
  • Tonight’s episode was directed by Lodge Kerrigan, who has a great name.
  • One thing that was not mentioned in this week’s episode: The murder of Ms. Watson.  I really hope that the show isn’t going to abandon that mystery just because Sheriff Romero arrested the wrong guy last week.  I have to admit that I’m still holding out hope that Norman did not kill Ms. Watson.
  • It’s interesting to note that Bates Motel and The Following both air on Monday nights.  They’re both unapologetically sordid shows about psychotic murderers and sexual deviants.  However, I love Bates Motel and I absolutely hate what I’ve seen of The Following.  The difference is that The Following is a sincerely misogynistic show whereas Bates Motel seems to actually like its cast of misfits.
  • “You’re in the chorus?  Do you want to be in the chorus?”  Trust me, nobody wants to be in the chorus!
  • That said, I would rather be in the chorus than be on the tech crew.  Poor Norman.

Review: The Walking Dead S4E14 “The Grove”

Posted on by Arleigh

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“Just look at the flowers, Lizzie. Just look at the flowers.” — Carol Peletier

The Walking Dead tv series has always diverged from the comic book source to keep fans of the books guessing. Some fans of the comic books have complained about this since it would mean discarding certain subplots and characters that they love but were really non-essential to the overall story being told for the tv series version. Yet, the writers of the show, through the comic book’s creator Robert Kirkman, have mined the comic book source for material that remains important to the show’s narrative.

The latest episode, “The Grove”, takes a disturbing but very important subplot from the comics and manages to adapt it for the tv series in a way that made it one of the series’ best.

A cold opening that manages to be both quaint, idyllic and disturbing which sets the tone for the rest of the episode sees the return of the group led by Carol. It’s a group that could almost be seen as a makeshift family unit. There’s Carol the loving, yet stern mother who wants to make sure her daughters learn how to survive in this dangerous, new world while Tyreese remains te compassionate and protective father. Lizzie, Mika and Rick’s baby daughter Judith make up the children who must now adapt to this new world or perish.

First off, Judith remains the blank slate in the show. She’s the first baby born after the world went to hell and thus will have to grow up in it’s new environs and new set of morals and principles. The old civilization is gone and while people try to hold onto what made that civilization tick only those willing to adapt to this new world seem to survive. Now, Lizzie and Mika were already forming their own personalities and sets of morals when the zombie apocalypse hit. We see the two Samuels girl go in differing paths in how they cope with this new world.

While seeing these two girls’ inability to adapt to the world post-zombie apocalypse was a nice theme to explore the episode really focused on the group’s maternal unit. This latest episode was a culmination of the new Carol Peletier that season 4 unleashed on an unsuspecting audience.

This was a character that we saw as being the meek victim of spousal abuse even before the zombies arrived. Her emotional trauma would continue with the loss of her young daughter Sophia in season 2 and almost dying during break in prison security in season 3. Yet, by the time season 4 rolled around we see her become a hardened survivor who has turned the corner and decided she will not remain a victim anymore and make sure those people see as being helpless (the young children in the group) learn how to defend themselves from zombies and humans alike.

The titular grove the group stumbles upon early in the episode has an almost mystical quality to it. An idyllic locale in the middle of literal hell on earth. There’s untainted well water to be had, a pecan grove for food and even a solitary deer that seems to come by at the most opportune time for meat. Hell, the cabin even has a working gas stove (probably a propane tank fed one) and a secure enough fence of barbed wire to fend off the random zombies that may wander by. It’s almost paradise in comparison to the different place Carol, Tyreese and the girls have had to call shelter.

It is no wonder that both Tyreese and Carol entertain the idea of maybe staying at the grove and making a life for themselves with the girls instead of continuing onto the unknown potential haven that is Terminus. But one thing this show has been consistent about when it comes to it’s characters seeming to find peace and tranquility is that it will pull the rug from under them to reveal that things are not ideal and that it’s just a veneer over the ugliness and brutality this new world has turned into.

The rug gets pulled out gradually from beneath Carol’s feet as both Mika and Lizzie continue to fail in heeding her teachings about survival. Mike remains adamant about not ever wanting to hurt anyone alive (she makes some headway in killing off some zombies during the episode) which Carol sees as dangerously naive of the young girl. Lizzie on the other hand begins to reveal an even more dangerous quality which would turn tragic by episode’s end.

By this time many will have written and discussed the events involving Lizzie and Mika that would add another emotional stone on Carol’s back. It’s a sequence that’s as disturbing as anything this show has put on the air in the last four years. It’s not often that children get killed in tv shows (well except for Law and Order: SVU) and yet The Walking Dead manages to do it twice in one night and both times it’s not gratuitous or meant to be entertaining. both Mika and Lizzie’s death become a sort of crucible Carol must go through to find a sort of equilibrium between the nurturing mother she was before season 4 and the cold, pragmatic survivor she has become this season. She still remains conscious to the fact that hard decisions need to be made for the greater good and she makes it ones again when Lizzie murders her younger sister Mika. It’s a murder not done in spite or malice. Lizzie truly believes that Mika will return and remember not to attack her friends and family.

In the end, the grove ceases to be the ideal haven Carol and Tyreese saw it as in the beginning and realize it’s just another place to leave behind with bad memories. It’s become another haunted place for the next people to find and wonder what happened to the previous inhabitants and what caused them to leave behind three small graves in the flower and pecan grove.

Notes

  • Tonight’s episode was written by showrunner Scott M. Gimple and directed by Michael Satrazemis.
  • The cold opening sequence was a nice touch using The Ink Spot’s “Maybe” song that was also used in the Bethesda post-apocalyptic game, Fallout 3.
  • Mika definitely came off as being the more intelligent of the two sisters. Though as many would probably point out, just as Carol did, her inability to hurt other people who will want to hurt her will get her killed sooner or later.
  • Lizzie’s personality matches very closely that of the comic book Carol who began to see the zombies as more her friends than a danger. I’m sure Kirkman had a hand in helping Gimple round out the character of the elder Samuels girl.
  • I noticed that the pistol that Mika carried with her was a Smith & Wesson M&P 9 (full-size one even) just for the fact that I also own one so it was very recognizable.
  • The different subplots involving the scattered groups of prison survivors seem to be following an uneven timeline within this midseason narrative. The fire and smoke seen by Carol, Tyreese and the girls would mean that they’re at least a day behind Daryl and Beth.
  • Gimple must’ve been a fan of Steinbeck because tonight’s episode had a very Of Mice and Men feel to it right up to the sequence with Carol and Lizzie in the end.
  • Talking Dead Guests: Melissa McBride of The Walking Dead, Yvette Nicole Brown from Community and WWE’s CM Punk.

Season 4

 

Review: Bates Motel 2.2 “Shadow of a Doubt”

Posted on by Lisa Marie Bowman

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I have to commend Bates Motel for directly referencing Alfred Hitchcock with the title of its latest episode.  Shadow of a Doubt is not only one of Hitchcock’s finest films but it’s also one that shares quite a few themes in common with Bates Motel.  Like Bates Motel, Shadow of a Doubt deals with  the way an outwardly placid surface can hide all sorts of scary and dark secrets.  At this point, it’s a lot easier to imagine Freddie Highmore’s blankly charming Norman growing up to be Joseph Cotten’s friendly murderer Uncle Charlie in Shadow of a Doubt than the twitchy character made famous by Anthony Perkins in Psycho.

Still, it’s hard not to feel that an even better title for last Monday’s episode would have been Norma Bates Sings.

That was pretty much the highlight of last night’s episode and that’s not at all a complaint.  The people behind the show obviously realize just how lucky they are to have Vera Farmiga playing the role of Norma Bates.  The show works best when she’s allowed to take center stage and that’s what literally happens in Shadow of a Doubt.

Norma was singing because she and Norman were both trying out for the town musical.

I loved this subplot on so many levels.

First off, it made perfect sense that Norma, who obviously believes that Norman killed Ms. Watson, would try to find an activity that she and Norman could do together.  This, of course, both allows Norman to be occupied with something other than death and gives Norma an excuse to keep an eye on her possibly dangerous son.

Secondly, and perhaps even more importantly, it seemed exactly like the type of thing that somebody like Norma Bates would get excited about.  Being something of a community theater refugee myself, I couldn’t help but smile when I saw Norman and Norma at the auditions because it felt exactly right.  Everything from Norman’s sullen attitude to Norma’s surprisingly heart-felt (yet endearingly awkward) audition rang true.  During those scenes, Bates Motel went from being that strange little show about a boy who might be murderer to being a very believable and almost touching story about a loving but overdramatic mother and her socially awkward son.

As for the rest of Monday’s episode, I have to say that I was slightly relieved to see Bradley safely get on that bus and head off for a new life.  It’s not so much that I thought Bradley wouldn’t make it as much as I was worried that I’d have to sit through several episodes of Bradley hiding in the basement and Dylan being forced to help search for Gil’s murderer.  Don’t get me wrong.  I think that Nicola Peltz’s performance as Bradley was underrated by a lot of critics and I also think that, as played by Max Thieriot, Dylan is one of the most intriguing characters on the show.  It’s just that I felt that Bradley’s subplot was good for, at most, two episodes.  Bates Motel wrapped it up in two episodes and good for them.

The other big development is that Sheriff Romero arrested a drifter and charged him with Ms. Watson’s murder.  We knew the guy didn’t do it.  The drifter certainly knows he didn’t do it.  And, for that matter, it’s pretty obvious that Romero knows that he’s got the wrong guy too.  However, that is what makes Romero such an interesting character.  He’s less concerned with solving crimes and enforcing order than he is with maintaining balance.  It’s obvious that the entire town of White Pines Bay has found a balance between good and evil, legal and illegal and that balance works for them.  Ms. Watson’s murder threw that balance off and Romero’s actions are more about resetting everything back to normal than anything else.

Otherwise, the townspeople might end up burning somebody alive in the town center again.  (And is anyone ever going to mention that happening ever again or has everyone on the show just blocked it from their mind?)

So, all in all, Shadow of a Doubt was a pretty good episode of Bates Motel and hopefully, it’ll be a sign of things to come for season 2.  My only complaint?  So far, Emma, my favorite character, hasn’t gotten to do anything.

Hopefully, that’ll change in the upcoming episodes.

Personally, I can’t wait to find out!

Review: The Walking Dead S4E13 “Alone”

Posted on by Arleigh

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“Why hurt yourself when you can hurt other people.” — Joe

The Walking Dead has taken on a new narrative path since it’s return after this season’s mid-season break. One of the biggest complaints that some fans and critics have had about the show has been the lack of character development for many of the roles in the show. We’re not talking about people who show up for a scene or an episode or two. It’s for those who have become regulars through the show’s many season.

Well, it looks like from the show’s writers will be trying to rectify that flaw this second half of season 4.

Since the show’s return from it’s mid-season break it’s taken on an almost zealous attempt to show the audience more of who these people truly are. Each new episode in this second half has been more about exploring each surviving character’s backstory either through some sort of flashback (like we saw tonight with the cold opening showing Bob’s lonely existence before being found by Daryl and Glenn pre-prison attack) or some of the quieter moments of exposition between characters (last week’s episode between Daryl and Beth was a prime example of this). We’ve gotten to learn more about our favorite zombie apocalypse survivors. They’ve shown themselves to be more than what the previous seasons have made us to think of them.

Tonight’s episode continued to explore the growing relationship (whether romantic or platonic) between resident badass Daryl Dixon and bright-eyed optimist Beth Greene. We see him trying to teach the younger Greene girl how to become a better with the crossbow and be a better tracker. Throughout their section of tonight’s episoode we see Daryl become more protective of young Beth Greene. The false front he’s put up in the past to avoid getting closer to people has started to come down. In past season fans and writers have looked at Daryl Dixon as someone who probably would be better off being alone instead of trying to deal with a dysfunctional “family” unit of survivors. He’s the only one who seems to be ready-made for this zombie apocalypse.

Yet, as we’ve seen in the second half of this season being alone is something that he doesn’t want to ever return to. He may remain gruff and surly, but his need to be around those who care about him and people who he wants to belong with has made him a more well-rounded badass. The way the Daryl and Beth half of the episode ended it’s going to be interesting if his need to belong with a group will cause him to forget the humanity he has found while being with Rick’s group.

The theme of being alone continues, and actually began, with the Bob, Sasha and Maggie half of tonight’s episode which was aptly titled, “Alone”. Bob’s time being alone in the wilderness was the cold opening for tonight’s episode and revealed much about the enigmatic Bob. This was all done with Bob not speaking a line of dialogue in the first few minutes. He seemed able enough to survive on his own, but the moment Glenn and Daryl arrive and offers him sanctuary back in the prison he accepts with no questions asked.

It’s a theme that runs throughout tonight’s episode. Being alone may make it easier to survive. No one to worry about. Only have to keep one person alive. But for these survivors it’s the comfort of having others looking out for you which makes it all worth the headaches and drama that comes with being involved with other people. These lone wolf survivors may be great at surviving on their own, but they also want to be doing more than just survive. They want to live and being with others. It makes them feel more human and gives them a higher purpose than just trying to survive day to day.

Some fans may not be liking this more introspective turn of The Walking Dead this second half of the season. There’s still some gruesome scees to be had, but there’s also many more quiet scenes of just characters interacting with each other minus the violence and brutality inherent in a show about the zombie apocalypse.

Notes

  • Tonight’s episode was written by Curtis Gwinn and directed by Ernest Dickerson.
  • Some great genuinely scary moments in tonight’s episode: the fog sequence with the zombies involving Bob, Maggie and Sasha was shot and directed well by veteran director Ernest Dickerson (who has directed some of the best episodes in the series). Another was Daryl finding himself stuck in a room filling up with zombies and the only way out was going through them.
  • Tonight’s episode was the strongest of this season’s second half. We just didn’t get to learn about some of the things which motivates Bob, but also what made Sasha and Maggie such good survivors. Larry Gilliard, Jr. hasn’t been given enough chances to stretch his acting skills this season, but tonight he was allowed to do just that and he passed with flying colors.
  • Beth is really thirsting for some of Daryl and was really apparent in tonight’s episode. This should make Daryl/Carol shippers not very happy at all.
  • For Dead Rising fans tonight’s episode should bring a smile to their faces as we see Maggie become an expert in zombie killing just using a street sign pole and it’s very sharp squared steel sign.
  • The episode opened and ended with the song “Blackbird Song” by Lee DeWyze.
  • Jeff Kober returns as the leader of the small band of raiders we saw in the episode “Claimed”. His return may mean he’s the big baddie for this second half as the different groups make their way to Terminus.
  • Talking Dead Guests: Sonequa Martin-Green and Lauren Cohan, Sasha and Maggie of The Walking Dead.

Season 4