I approach the first episode, thinking I would watch it for 15 minutes and then turn it off and most likely not watch any further . . . WRONG. I love it. Many many laugh-out-loud moments. Felt Neil Simon's influence throughout. Will be watching it from now on.
OK - it is over. Sad. But how about a spin-off !!!! Jane and Lisbon, while (re)building their dream house by the pond/lake . . . feel a lost for the fight for good. So they start a "helping" agency. Or, detective agency. To help unique situations for individuals or families. And, they use the FBI and police from time to time. Viewers like this couple and the FBI folks. This would be a new twist in the story and give a new life to their relationship and skills.
I have watched every chapter/episode of Revenge --- just how far can they milk this story and plotting????? People come, people die, people pop back in -- new people are written into the script. This is big time "milking." In 1951, when I was just 10 years old, TV started "Search For Tomorrow" as a soap opera during the day time. It ran 35 years. I only watched the first two years in the summer time . . . But the creators and staff writers of Revenge are trying to stretch this story out for 35 years . . . When do the terrorists show up? But I will keep watching . . .
Love the show, but the Episode 9 (part 1 of 2 parts) -- I liked the premise of the protest against the large multi corporations -- but not the ending that "Red" was protecting the "capitalists" way . . . That really means to have the Koch brothers of the world, win -- and the hard working middle class loose. "Red" was protecting his private planes and unlimited resources that HE has connections for . . . the school teacher, bank teller, the salesperson, etc. are just a pawn in that game. Sorry, but do not agree with the pattern here.
Watched the first one --- in the end, I felt -- this is nothing more than "Desperate Housewives" go to work. Same kind of thing -- women, with interesting jobs, end up in desperate situations . . . to carry over from one week to another. Also, as I try and remember -- (almost) all of the scenes have people from 25 - 35 years old. Even the walk on or through or sitting to the side --- that is not reality. Producers wake up.
Let me add, I like some of the small, little things that add a great deal to the breath of this series. Example: early on --- Philip takes his daughter shopping at the mall. She is on one side of the aisle and holds up what she want, he nods yes. Then he holds up some boots, she reject them. Next, he has the boots on, and the background music gets louder (country sound) and he does a little jig. The camera shows the boots as he is dancing, people around that part of the store are watching. Really nice take. Then at the register, Philip sees this guy with a very young girl, and feels he wants any "young girl" as he made gestures to his daughter. Later, Philip, with his wig on, goes to this guys house (he had seen the guy's credit card / name) and beats him up in the backyard and tells him to stay way from . . . That is good writing. I like those kinds of inserts, in broadens the scrip and character development.
This might sound silly -- but maybe the writers and the producer -- knew where Homeland (Showtime) led us in Season Two, and especially the action in the last episode there --- --- that they felt NCIS needed to kick it up a bit. Not just another case of a dead Navy person, and spend 45 minutes solving that case where the landlord did it. But -- taking us on a ride to the past with Eli, then Jackie -- then the estrangement of Eli and his daughter -- dinner and terrorism. This was/is a risk, because of characters that leave the story line, but the writers now need to move this story line in creative ways . . .
Have watched every episode of this series. Like the characters, like the story line . . . BUT I continually question the fast-talk of the production. Like, in the old days, playing a 33 rpm at 45. But they must film this at regular speed, and then work the editing crew overtime speeding up the images to the fast-speech. Personally, I understand media and the thrust to let the brain take in more data faster -- but it is really not enjoyable. Also, I am very tired of them photographing the back of heads when people are talking, and the other camera angels. It does not work. If they did this style of production for Homeland -- I would be a mental case.
Interesting first chapter. Saw the connections with Revenge. I enjoyed the Costco steak comment -- in fact, we had states from Costco just last week. Glad they did not write in Sam's Club . . .
Question to all -- I really like the story line and characters -- but the production of talking, is like half the show is pushed to double speed, in talking. I am constantly having to rewind sections because the talking is so fast. Why is that? To get more show or story in? Other ???
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