T.V. Review: Marvel’s Agents of S.H.I.E.L.D. – Season 1, Episode 4 (“Eye-Spy”)


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I’ve been a fan of Joss Whedon shows since he first burst onto the scene with Buffy, The Vampire Slayer over on what used to be the WB Network. I’ve followed his work from one show to the next and if there’s one thing all his shows seems to have in common it’s that they take time to find their stride. In the past, shows were given time to get their bearings. See what  works and what doesn’t in a narrative sense. These first few episodes also give the writers a chance to flesh out characters for the long run. Yet, in this day and age of instant gratification Whedon and company may not have the luxury to take their time to get their footing, so to speak.

Marvel’s Agents of S.H.I.E.L.D. has been good to so-so the first three episodes. While all the episodes have been fun there’s also a feeling that ABC and Disney were really going on the cheap side of production with these episodes. It’s almost as if the powers-that-be producing the show were hedging their bets as to whether the show will be a sure-fire hit or a dud soon to be cancelled. This is Whedon we’re talking about whose last two series haven’t really panned out despite a rabid fanbase.

I think with tonight’s episode, “Eye-Spy”, the series may finally be finding its rhythm. It’s still not a perfect show. The fun factor is still present as is the witty banter that comes with a Whedon show, but where the first three episode looked somewhat cheap this fourth entry had a much more polished look to it. Maybe Disney and ABC finally loosened the purse strings. Even the look of the episode had a subtle change to it. Gone was the overlit scenes that added to the cheapness of the production. We actually were given scenes with shadows and darkness. There wasn’t an overlit sequence to be seen.

Let’s return to the episode at hand.

Tonight’s episode sees Agent Coulson taking the team to Stockholm, Sweden to investigate an apparent diamond heist. The heist itself was a nice cold opening. With over a dozen men dressed in matching black suits and all wearing those creepy red “Stranger” masks. First reaction to this was that they must be part of some sort of secret organization that was probably actively going against S.H.I.E.L.D. Yet, the writers do a 180 and we find out they’re just an elaborate, albeit unsuccessful, attempt to keep a briefcase carrying 30million dollars in diamonds from being stolen. We’re soon introduced to the target of Coulson and his team. One Akela Amador, a rogue S.H.I.E.L.D. agent and one-time Coulson protege, who may appear to be more than meets the eye.

This whole episode has been about getting a bit more character development for Agent Coulson and his latest protege, Rising Tide hacktivist Skye. The chemistry between the Coulson and Skye looks to be more well-developed than the love interest angle the writers have been trying to create between Skye and field agent Ward. While the latter looks like it’s still a hit-or-miss proposition the former looks to be developing quite nicely. If there’s one thing Whedon and his writers have been very adept at creating in their past shows it’s setting up the mentor/protege relationship. The best example would be Buffy and her Giles who also didn’t start off on the right footing in the early episodes of Buffy’s first season, but as time passed that relationship grew and there’s signs of something similar happening between Coulson and Skye.

The writing for tonight’s episode was crisper than the previous episode. We got less forced humorous moments. The dialogue actually flowed much more smoothly and allowed for the funny bits to come across naturally. Once again it’s Clark Gregg as Agent Coulson that provides the rock upon which the rest of the cast steady themselves. There’s an almost old-fashion earnestness to Gregg’s portrayal of Coulson which have endeared the character to legions of fans.

So, it’s only natural that the episode provide some more hints and bits of dialogue that Coulson may not be who he appears to be as well. Theories continue to abound that Coulson may be a Life-Model Decoy or being set-up to be future Avenger recruit Vision. There’s also some talk that he was revived by sorcery which means it’s a step to introducing magic and Dr. Strange to the MCU (Marvel Cinematic Universe). In the end, the mystery of how Coulson survived the mortal wound he received from Loki might just be the main mystery of the show’s first season.

“Eye-Spy” was was written by Whedon-veteran Jeffrey Bell and directed by Star Trek alumni Roxann Dawson (better known as B’Elanna Torres from Star Trek: Voyager). The two worked well together and I’ll be interested to seeing the two become more involved in moving the show through it’s first season. So far, they seem to have found the necessary balance of spy intrigue, superhero action and witty byplay that the first three seemed to lack.

time will tell if the show will be a huge success or just good enough to survive it’s first season. But seeing how much Marvel and Disney have invested in adding this show as an integral cog in their Marvel Cinematic Universe I see Whedon and his writers getting a bit more leeway than they’ve had in the past (looking at you Fox Network executives).

Horror Review: The Walking Dead S4E01 “30 Days Without An Accident”


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“I’m just tired of losing people is all.” — Daryl Dixon

It’s that time of the year when The Walking Dead returns to the airwaves with a new season. Whether one believes the show is the best thing on TV or a mess of a show it’s hard to deny the fact that it’s become must-see TV whenever it comes back. The series has become pop-culture event that other shows of better quality and acclaim wish they could muster (the final 8 episodes of Breaking Bad was the closest to accomplish it).

The returns for it’s fourth season with a new showrunner in series veteran writer Scott M. Gimple. It’s this constant changing of showrunners that seem to make critics scratch their heads. For a show that could never keep a guiding hand for more than a season the series never seems to lose any of it’s popularity and it’s ratings numbers.

“30 Days Without An Accident” sees the show come back after what looks like an extended period of time since last season’s finale. The prison compound looks to have been fixed and improved with new defenses. There seems to be more people now than what was brought over from Woodbury at the end of last season. It would seem Rick is out as leader and a new leadership council have decided to bring in survivors they come across since last season. Carl and Judith are not the only kids in the show anymore.

The episode actually starts off quite serene in comparison to past season premieres. There’s a lack of desperation and kill-or-be-killed tone to this season premiere, but there’s still a sense of something still not right just beneath the surface of relative normality we’re given. Even the normally taciturn badass Daryl Dixon gets to relax a little with all the new people greeting him like an old friend. Yet, we all know what this show has always been about. For all the notion of rebuilding civilization that we see in tonight’s episode the streak of 30 days without an accident was bound to end and it does so in bloody fashion.

Some will probably complain that tonight’s episode was too slow in the beginning. It’s unlike the action-packed season 3 premiere with Rick and his smaller, but highly-trained group clearing out the prison yard with military precision. Again this goes to show that this season that desperation of trying to find the next safe place to rest has now been completed. They do have a safe place to call a safe haven. There’s now a growing farm with vegetables and livestock. They now a common area outside where people cook and eat their meals. We even see Rick and Carol looking to see that the younger members of this burgeoning community get to have some sort of education and time to be kids.

The writers of the show have been very good with creating these little serene and peaceful set-ups only to pull the rug from under everyone and it’s no different with tonight’s season premiere. The group going out into the “world” to scavenge for supplies seems like it’s become routine for this community from the early set-up, but it also looks to have created a sense of complacency in the group as a whole. We see the consequence of this complacency and belief in that things were getting into some sort of normal.

We see a routine and efficient run to scavenge a Big Spot supermarket turn into a nightmare with zombies literally raining down on the group. It’s a great action and horror sequence that managed to be both full of tension and terror. While it also had a “redshirt” feel to who would live and who would die it still didn’t diminish the fact that if The Walking Dead the series was good in any one thing it was setting up and executing action scenes.

The scene with Rick and the Lady in the Woods was another good sequence that focused more on showing just how screwed up this new world Rick and the community is still trying to come to grips with. For all their attempts to establish this normalcy within the prison’s fences the world outside is still a “kill or be killed” place. Even though it was only a brief turn as the Lady in the Woods, Kerry Condon does a great performance conveying how desperation in the early going of this zombie apocalypse has broken so many people. Where Rick and most of those he has rescued and kept safe haven’t succumbed to despair this woman in the woods gave up. She’s an example of where Rick could’ve ended up right from the beginning of the show if he never found his family. This entire series has been in part a story of how Rick has been trying to keep himself from giving up.

Then the final sequence right leading up to the episode’s end shows us that things that were taken for granted pre-zombie apocalypse might just be coming back with a vengeance as we see one of the new people introduced in the first half of the episode succumb to what looks like a virus. It’s good to see that the writers of the show are beginning to spread their boundaries when it comes to bringing in ideas to the show. While some might not think it’s an important detail I’m sure those who dedicate their life in studying crisis management and events will look at tonight’s episode and nod their head’s in agreement. Zombies might be the main threat facing this community, but the show has now introduced the threat of diseases that usually gets cured with a trip to the doctors or the pharmacy. In a world where everyone has reverted back to an almost medieval style of living such things have become luxuries or non-existent.

So, for a season premiere “30 Days Without An Accident”  was a good start for the new regime of Scott M. Gimple. He was able to bring in a new thematic element to the show’s overall narrative with the hope of rebuilding civlization, creating the sense of normalcy in a world turned upside down and new characters to support the returning veterans. He has also made it clear that for all the serenity we saw in the first half of tonight’s premiere the overriding theme of the show will continue to be that danger and death will always be out there waiting to get in and with tonight’s episode we see that it already has found a way in.

Notes

  • Tonight’s season 4 premiere, 30 Days Without An Accident”, was directed by series co-producer and make-up FX guru Greg Nicotero. It also marks the first time new showrunner Scott M. Gimple starts off a new season.
  • The way the new people in the group are greeting and reacting to Daryl Dixon one would think his legion of fans have joined this season’s cast of The Walking Dead.
  • Smart to clear out the horde of zombies at the fence line through the fence line. One thing most zombie fiction always seem to leave out or just get wrong is the constant need to keep the perimeter clear and secured.
  • Looks like it’s not just the Glenn-Maggie ship plying the zombie apocalypse seas this season.
  • Daryl Dixon is now one of the group’s leader…fangirls react enthusiastically to this new development.
  • The show has two HBO veterans joining the cast in Larry Gilliard, Jr. from The Wire and Kerry Condon from Rome.
  • I like how tonight’s episode gave us a brief, but tragic glimpse into those from other countries who got stuck in the area because everything fell to pieces in the beginning.
  • Too many new characters and the way this episode is moving it looks like some of them have to be redshirts.
  • AMC must’ve really opened up their tightwad purses to give Scott M. Gimple the chance to shoot that very awesome and bloody Big Spot sequence. It’s not often we get Visual FX on this show and the few times they’ve gone digital it looked somewhat fake, but not this time around with the destroyed Chinook falling through the weakened roof of the Big Spot.
  • Poor Violet and Patrick. At least, now we have an idea of just what new threat outside of the zombies and the missing Governor will befall this new community.
  • Swine Flu.
  • Talking Dead Guests: Nathan Fillion and showrunner Scott M. Gimple.

Review: True Blood 6.6 “Don’t You Feel Me”


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Before I review tonight’s episode of True Blood, I have to apologize for not reviewing last week’s episode.  For the past six months, I have been basically working, writing, and dancing nonstop and last week, it finally caught up with me and I nearly collapsed from exhaustion.  I’m still in the process of recovering but hopefully, I’ll be more active this week than last week.

Going into tonight’s episode, I knew that there had been a lot of speculation online about the possibility of one or more major characters dying.  A lot of people though that it might be Lafayette, especially since he was in the process of trying to drown Sookie when last week’s episode ended.  Some people thought Alcide would kill Sam and still others insisted on breaking my heart by speculating that Eric might experience the true death.

Instead, it turned out to be Terry.  That’s right.  After spending all of last season dealing with that stupid Iraqi fire demon and then spending most of this season feeling guilty for having murdered his friend Patrick, Terry appeared to have finally found some peace tonight.  Arlene and Holly recruited a vampire to erase Terry’s memory (which is really what they should have done in the first place) and Terry was cheerfully taking out the trash when his friends kept their promise to him and shot him in the neck.  Arlene rushed outside and held Terry as he died, no longer aware of why he had asked to be killed in the first place.

To a certain extent, Terry’s death was not that surprising.  If there was any major character that True Blood could afford to lose, it was Terry.  And, hopefully, his death will mean we won’t ever have to hear about that Iraqi fire demon ever again.  However, even if it wasn’t totally unexpected, it was still a perfect example of how True Blood, at its best, can so gracefully walk across the thin line between heartfelt melodrama and over-the-top satire.  We all knew that Terry was doomed as soon as he told Arlene that he had never been happier but the scene worked because both Todd Lowe and Carrie Preston gave such heartfelt performances in the roles of Terry and Arlene.  Even if there was little left for the show to do with Terry as a character, I will still miss Todd Lowe’s likable presence.

However, Terry was not the only character to meet an abrupt end tonight.  After putting himself into a coma and having a typically cryptic meeting with Lilith, Bill drank a vial of Warlow’s blood.  Now even more powerful than before, Bill confronted Governor Burrell and demanded to know why he had been having visions of all of the vampires being burned to death in a white room.  When Burrell didn’t answer quickly enough, Bill responded by ripping the Governor’s head off of his body.  And while Burrell certainly deserved the punishment, I doubt that’s going to do much to help human/vampire relations.

Governor Burrell was played by Arliss Howard and, in just six episodes, Howard had transformed Burrell from simply being a standard evil politician to being one of the best villains in the history of True Blood.  While I knew that Burrell was too evil to eventually not suffer some sort of violent death, I was surprised that it occurred at the mid-point of this season as opposed to the end of it.  I have a feeling that Sarah Newlin will take his place as the main human villain and I’m sure that Anna Camp is more than up to the job but I’m still going to miss Arliss Howard’s brand of evil.

Meanwhile, Sookie continues to consistently make the worst choices in men.  After Warlow saved Sookie from being drowned by the possessed Lafayette, Sookie took Warlow to a fairy dimension where, after she tied him up to keep him from losing control, she proceeded to let him feed on her and then did the same to him.  As they made love, their respective lights glowed together and it would have been a beautiful image if not for the fact that we know that the only Sookie gave herself over to Warlow was because Bill’s found religion, Eric’s prison, and Alcide’s off searching for Sam.

As for Eric, after he and Pam refuses to fight to death gladiator-style, Gov. Burrell forced him to watch as Nora was injected with some sort of vampire virus known as Hep V.  Then, like a typical short-sighted villain, Burrell left before Nora actually died.  While Burrell was busy having his head ripped off, Eric was summoning Willa and getting her to free both him and Nora.  Disguised as a guard, Eric discovered that the all of the new Tru Blood is being spiked with Hep V.

Jessica is also in the prison.  Sarah Newlin attempted to force her to have sex with a new vampires named James.  I don’t know if we’ll ever see James again but I hope that we do because, seriously, he’s really hot and, as opposed to every other male character on this show, he actually seems to respect women.

Meanwhile, Jason has infiltrated the LAVPD.  I just loved Ryan Kwanten’s performance tonight as he attempted to out-fascist the fascists.

Finally, Sam and Nicole … wow.  Just typing the words “Sam and Nicole” makes me want to close my eyes and go to sleep.  Seriously, I love Sam and all but he doesn’t need to be running around with a new girlfriend when Luna hasn’t even been dead for more than a week.  Anyway, Sam ended up giving Emma back to Martha and Alcide allowed Sam and Nicole to leave town but told them that if they ever returned, they would be killed by the pack.

Tonight’s episode pretty much epitomized everything that I love about True Blood.  It was over-the-top and melodramatic but, if you weren’t touched by Arlene singing as Terry died, then you just don’t have a heart.  That was True Blood at its best.

Finally, the Emmy nominations were announced last Thursday and, not surprisingly, both the Walking Dead and True Blood were pretty much ignored.  (Instead, space was made to honor the predictable political blathering of House of Cards because I guess the Emmy voters love to feel smart without actually being challenged.)  The lack of respect for televised horror ultimately say nothing about the quality of shows like True Blood and everything about the lack of guts on the part of the Academy of Television Arts and Sciences.

What’s important is that we, the viewers, know what the best shows on television truly are.

Random Thoughts and Observations:

  • Tonight’s unofficial scene count: 42
  • Before I watched True Blood, I had to sit through a  commercial for the Newsroom.  I was just like, “Oh yay!  A chance to relive Occupy Wall Street!”  BLEH!
  • Can Lafayette ever go for two episodes without getting possessed?
  • I want to do bad thing with you, Eric.
  • I love that Jason responds to his name by saying, “The one and only.”
  • That was a sweet scene between Andy and his last remaining faerie daughter.  I would have named her Bernadette, after the patron saint of asthma sufferers.  (I’ve been praying to Bernadette a lot this past week…)
  • Arliss Howard made a wonderfully hissable villain.
  • “I just think we have the type of friendship where we  can give each other keys!”
  • “I love you, brother.”  “I love you, sister.” *Sob*