(Part 4) Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
The episode just seemed a bit patched-together and didn't make thematic sense. But maybe that's just me.
(Part 3) The third weirdness was mentioned in the review. Dyson says that maybe he and Bo can get together in 100 years. Maybe he was just trying to be comforting, but, given the context, that doesn't really fit. It's a lie at a time when there's no need to say anything.
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
(Part 2) If she has control over it, why is she saying that she rules the world and decides who lives and dies? Are we supposed to believe that even the fae who were present see this as a non-issue?
The second weirdness is the "key". It's clear that the big issue is Mommy Aife. (Aren't many of the pictures scattered around portraits of Aife? I mean, the ones that aren't Bo, of course.) How exactly does killing Dyson amount to Bo overcoming her rather substantial mommy issues? Dyson isn't a major obstacle to Bo moving forward as a fae or a person. It doesn't make sense. And what about the dark fae that Bo put in a coma at the beginning of the season and that Tamsin killed to protect her? Is that just going to drop? (Perhaps that act is why Tamsin had blood on her hand when seen as the next door neighbor.)
The third weirdness was mentioned in the review. Dyson says that maybe he and Bo can get together in 100 years. Maybe he was just trying to be comforting, but, given the context, that doesn't really fit. It's a lie at a time when there's no need to say anything.
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
This was one of those episodes that doesn't seem too bad on the surface but begins to fall apart when you look closely. That's not a horrible thing; most TV does fall apart when you look closely. It's written and produced in a hurry and under substantial constraints.
Still, there were a number of odd things about the episode that suggest that it was substantially rewritten during or after the conclusion of shooting.
The biggest weirdness was Bo going all deep-voicey and declaring "I will reign as he did. I am his daughter." Then said she would decide who lived or died, drained life from the whole crowd, and resurrected Dyson. If that's not scary and portentious, I don't know what is. Yet the next scene after commercial is Bo drinking with Kenzi as if this was no big deal. Oh, she has control over it now -- that major succubus power that corrupted her mother being "it". If she has control over it, why is she saying that she rules the world and decides who lives and dies? Are we supposed to believe that even the fae who were present see this as a non-issue?
The second weirdness is the "key". It's clear that the big issue is Mommy Aife. (Aren't many of the pictures scattered around portraits of Aife? I mean, the ones that aren't Bo, of course.) How exactly does killing Dyson amount to Bo overcoming her rather substantial mommy issues? Dyson isn't a major obstacle to Bo moving forward as a fae or a person. It doesn't make sense. And what about the dark fae that Bo put in a coma at the beginning of the season and that Tamsin killed to protect her? Is that just going to drop? (Perhaps that act is why Tamsin had blood on her hand when seen as the next door neighbor.)
The third weirdness was mentioned in the review. Dyson says that maybe he and Bo can get together in 100 years. Maybe he was just trying to be comforting, but, given the context, that doesn't really fit. It's a lie at a time when there's no need to say anything.
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
The producers made a mistake. They thought they had enough ideas and material to write an eventful 16-episode sequence that had our heroes arriving in the prison in episode 3.1 and fighting a conclusive battle with Woodbury in 3.16. It's looking now like they had enough ideas for about 8 episodes.
"Prey" doesn't move the story along very much, nor does it reveal much of anything that's new, and that's too bad. Lack of ideas. What it did do, however, was move. Laurie points a gun at the Gov, marches around town, marches through the forest, plays cat and mouse with the Gov, and makes it almost to the prison. It's mostly filler, but at least it's *tasty* filler.
Like everybody else, I was ready for the final confrontation several episodes ago. Guess I'll have to wait a couple more ...
When Rick told the group that the Gov wanted to kill them all and drive them out of the prison, I wasn't sure whether he was lying or telling the truth as he saw it. As he told Herschel afterwards, he was pretty sure that the Gov would come after them all whether they turned Michonne over or not.
The Gov wanted to present Rick with a real moral dilemma. Can you intentionally sacrifice one life in order to save a dozen? But we know this isn't going to happen. Michonne may be surly and not 100% reliable, but she's helped the group and never done anything to harm them. Asking the group to hand over Merle would have been a bit different, but the writers are probably saving the next Merle debate for later in the season when he doss something extra-stupid/evil.
7. The sex=violence=killing=sex equation in the show is creepy. It is not as creepy however, as people talking about how "hot" Joe and Emma are, or how sexy Roderick is. Jeez!
5. (Continued) I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
3. (Continued) When Joe introduced Roderick to murder and told him to savor the moment before the skin "gives," I was sure that the writers would have said "before the knife penetrates" if they thought they could get it past the censors. The sexual undertones of the moment were quite clear.
4. Ditto for Charlie's execution. I understand why people didn't like it. His mistakes were not great, and, furthermore, Joe doesn't seem like the slaughter-the-henchmen kind of cult leader. A suicide mission would have made a lot more sense. However, the writers obviously wanted to use Charlie to drive home the sex/violence connection and, gratuitously, again make a connection to homoeroticism. (Thanks, obviously-straight writers.)
5. Not satisfied with Charlie's execution, they further have Roderick attack Louise while Joe and Emma are preparing much more peaceably but almost as creepily to jump into the sack. I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
1. This show owes a lot more to fictional serial killer Hannibal Lecter than it does to any real life serial killer, but it was a sly move of the writers to quote Ted Bundy: "We serial killers are your sons, we are your husbands, we are everywhere. And there will be more of your children dead tomorrow."
2. I tuned into "The Following" thinking that it was a crime drama. It's not. It's a horror show. It's about the ubiquity and inesapeability of evil. Evil can strike anywhere. It can come in the form of the charismatic professor, the sweet gay couple next door, the demure and reliable nanny, or the friendly local sheriff.
3. It's also about the sensuality of evil. I can't recall an episode of television, not even of "True Blood," that probed (pun intended) the sensuality/sexuality of murder and bloodshed as deeply as this one. When Joe introduced Roderick to murder and told him to savor the moment before the skin "gives," I was sure that the writers would have said "before the knife penetrates" if they thought they could get it past the censors. The sexual undertones of the moment were quite clear.
4. Ditto for Charlie's execution. I understand why people didn't like it. His mistakes were not great, and, furthermore, Joe doesn't seem like the slaughter-the-henchmen kind of cult leader. A suicide mission would have made a lot more sense. However, the writers obviously wanted to use Charlie to drive home the sex/violence connection and, gratuitously, again make a connection to homoeroticism. (Thanks, obviously-straight writers.)
5. Not satisfied with Charlie's execution, they further have Roderick attack Louise while Joe and Emma are preparing much more peaceably but almost as creepily to jump into the sack. I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
Has Shawn ever been so consistently wrong throughout an episode? He couldn't read Juliet, he jumped to conclusions several times without evidence, and he went way over the top both in the police station and one-on-one with Juliet about her assignment. It's tough to accept that anybody would believe this doofus had any special abilities, psychic or otherwise.
It was good to see Parminder Nagra again -- last seen in "Alcatraz".
Good catch, @Daniel; I had noticed that, too, but I had (wrongly) thought Mellish was from "Take the Money and Run."
Giving the bad guy an extremely dangerous weapon in (possible) exchange for one person's life isn't taking the moral high ground; it's being stupid. If Snow White can't see the difference between making hard decisions and going over to the dark side, she's even dumber than she looks.
The mob boss's daughter loses her drug-dealing husband, possibly because her greedy drug-dealing brother pissed off the wrong guy. Boo hoo. Sympathizing with this woman is morally degrading. At least the guy in "Breaking Bad" -- which I don't watch -- didn't start out as a privileged vampire.
I enjoyed the episode but am not thrilled to learn that Castle's deadbeat dad is a Bond-style secret agent -- it's just too unlikely. Remember when one of the guys compared Castle to Ashley Judd? This whole scenario barely makes more sense than the premise of Judd's "Missing" (also an ABC show). On the other hand, having Brolin in the mix to return as a recurring guest is not a bad thing.
Blah episode. Several things were set up for the next episode -- Rick, Michonne, and Carl are going to take a day trip; the Woodbury Army is gearing up; Tyreese and friends are in Woodbury -- but Andrea's visit was not especially consequential.
I would have been shocked had Andrea actually killed the Governor. She's not an assassin and, more importantly, she feels affection for him and she doesn't fully believe that he's as evil as they say. She may be in denial, but she doesn't want to believe that a bloodbath is inevitable. Which, frankly, makes the whole visit thing a waste of time.
As for Rick's run ... what is he hoping to find? A few more rounds of ammo are not going to make a big difference.
We know that at the end of season 2, the quest to kill the Garuda awakened a darkness inside of Bo. We saw that darkness come out when Bo fed on that dark fae and left him in a coma, and again when she nearly went medieval on everybody in the satyr's club.
One thing we need to know is whether Bo's early-onset Dawning and her problem with the darkness are one and the same. I hope they are.
As for Tamsin deciding to overlook coma guy's last words ... it's difficult to accept her changing sides so quickly and easily. She's been trying to nail Bo for the assault on coma guy since she first appeared. Is it because she decided she really just wants to nail Bo, period?
As for the kitsune Inari, we still don't know whether she murdered Bo's casual bedmate or was instead a witness to Bo murdering her. Let's hope it was the former.
First, Gibbs was just helping the director lie to himself. Buying life insurance is a perfectly valid response to worries about your spouse's death; creating separate bank accounts and so on is not. Joint accounts do not disappear or get locked when one of the spouses dies. I don't see how the wife's actions can be interpreted as anything but preparation for divorce or separation.
Second, while it's credible that a traumatized man like the CO would take out his anger and grief on others, it's not credible that the whole unit would let their CO stab them repeatedly. A three-inch-deep wound?! I realize that a large part of military training is about instilling unquestioning obedience to authority and destroying individual initiative, but I don't think it's usually THAT effective.
1. No mentions of how Olivia, charged up with cortexipham and fired up by her love for her daughter, turned out all the lights in Manhattan and flattened Windmark with a pickup truck?
2. The father-son love thing was laid on way too thick this season, and especially in this episode. If there was one thing I could change, it would be that.
3. No mentions of how callously our heroes slaughtered the loyalists using the hydra-creature-gas? They might not have had a choice, but there wasn't a hint that they minded. And treating the anti-gravity bullets as a joke was sick.
4. It wasn't a great finale, and it wasn't a terrible one. Given the unnevenness of the series, especially in the first half of Season 4, I'm thankful that I didn't walk away disgusted.
@JI360: The "going back in time" thing is best regarded as a vision. A & N weren't really there; they didn't leave the barn.
As to "kill your true love, cure the troubles," I think you need to look to "Once Upon a Time" for logic. It only makes sense if Audrey has been cursed by an evil sorcerer. And no, I'm not kidding.
3. "Haven" is a fantasy show. It doesn't have to make sense. But seriously, writers, you could have come up with any number of cool explanations for why the troubles come and go and why Audrey comes and goes ... and THIS is what you go with? The troubles only exist when Audrey needs to recharge her LOVE BATTERIES?
4. None of what we saw tells us anything about where the troubles come from, what Audrey is, what the barn is, or how any of this craziness got started in the first place.
5. If Audrey can end the cycle by killing the one she loves ... That makes the whole thing sound like a witch's curse. "You are condemned to sustain your wretched town with your love forever, dearie! Unless you choose to kill the one you love. Then you will have suffered as much as I have. (Cackle, cackle)" Really?
1. I was wondering how they were going to paint themselves out of the "Audrey enters the barn and the troubles go away" corner. I'm still wondering. If she and the troubles go away, there's no more show. If she stays and the troubles go away, there's still no more show. And there's no way the show is going to fast-forward to 2040 -- when everybody gets around in flying cars and jet packs -- for Audrey's return.
2. Obviously, the barn is going to reappear soon. It has to. The death (or destruction) of "Agent Howard" is probably the reason for the weird way the barn disappeared and the continuation of the meteor strikes. Or maybe the problem is that the barn doesn't like the extra passengers it sucked in. Presumably, the next episode mostly involves Audrey exploring the barn and finding the "off" switch. This will bring her back, end the meteor shower ... and fail to fix the troubles.
3. "Haven" is a fantasy show. It doesn't have to make sense. But seriously, writers, you could have come up with any number of cool explanations for why the troubles come and go and why Audrey comes and goes ... and THIS is what you go with? The troubles only exist when Audrey needs to recharge her love batteries?
1. Agree about the school violence. It was directed against adults and wasn't random or (mostly) involving guns. I'm not sure anybody would have made a connection to Newtown.
2. "to see Dave bash Vince over the head to discover the secret of the barn from Arla was shocking."
It was slapstick. It's what you expect with those two. Much like what happens between the two of them in the following episode.
3. Agree about Arla. The resolution of the mystery is surprising, but it's also pathetic. Were hoping for something grander, even if it was evilly grander.
While I have no complaints about Cote de Pablo's acting, I didn't think her very vocal response to her father's death was in character or in keeping with their history. Tears and sorrow, certainly, but not running and shouting.
I also agree with those who found Jackie's death gratuitous.
To me, however, the low point of the episode was Eli's casual murder confession. That Eli would kill a man for taking his photo and then pass it off as a trivial act, and think that Ziva would not mind ... it's simply not credible. Eli may be a psychopath, and he may be used to passing off the murders of Palestinians as necessary for Israeli security, but he's not that clueless.
It also bothers me that Israelis are being portrayed in increasingly dark and cynical terms on NCIS and elsewhere (e.g., Covert Affairs). I don't support Israeli policy at all, but that doesn't make Israelis ruthless, duplicitous killing machines.
Comments by WatchesTooMuch (Page 4)
Lost Girl Review: Through the Dawning
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
The episode just seemed a bit patched-together and didn't make thematic sense. But maybe that's just me.
Lost Girl Review: Through the Dawning
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
Lost Girl Review: Through the Dawning
The second weirdness is the "key". It's clear that the big issue is Mommy Aife. (Aren't many of the pictures scattered around portraits of Aife? I mean, the ones that aren't Bo, of course.) How exactly does killing Dyson amount to Bo overcoming her rather substantial mommy issues? Dyson isn't a major obstacle to Bo moving forward as a fae or a person. It doesn't make sense. And what about the dark fae that Bo put in a coma at the beginning of the season and that Tamsin killed to protect her? Is that just going to drop? (Perhaps that act is why Tamsin had blood on her hand when seen as the next door neighbor.)
The third weirdness was mentioned in the review. Dyson says that maybe he and Bo can get together in 100 years. Maybe he was just trying to be comforting, but, given the context, that doesn't really fit. It's a lie at a time when there's no need to say anything.
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
Lost Girl Review: Through the Dawning
Still, there were a number of odd things about the episode that suggest that it was substantially rewritten during or after the conclusion of shooting.
The biggest weirdness was Bo going all deep-voicey and declaring "I will reign as he did. I am his daughter." Then said she would decide who lived or died, drained life from the whole crowd, and resurrected Dyson. If that's not scary and portentious, I don't know what is. Yet the next scene after commercial is Bo drinking with Kenzi as if this was no big deal. Oh, she has control over it now -- that major succubus power that corrupted her mother being "it". If she has control over it, why is she saying that she rules the world and decides who lives and dies? Are we supposed to believe that even the fae who were present see this as a non-issue?
The second weirdness is the "key". It's clear that the big issue is Mommy Aife. (Aren't many of the pictures scattered around portraits of Aife? I mean, the ones that aren't Bo, of course.) How exactly does killing Dyson amount to Bo overcoming her rather substantial mommy issues? Dyson isn't a major obstacle to Bo moving forward as a fae or a person. It doesn't make sense. And what about the dark fae that Bo put in a coma at the beginning of the season and that Tamsin killed to protect her? Is that just going to drop? (Perhaps that act is why Tamsin had blood on her hand when seen as the next door neighbor.)
The third weirdness was mentioned in the review. Dyson says that maybe he and Bo can get together in 100 years. Maybe he was just trying to be comforting, but, given the context, that doesn't really fit. It's a lie at a time when there's no need to say anything.
The fourth weirdness -- and this may just be bad editing -- comes when Trick is looking into his strongbox and uncovering the book or engraving or whatever it is. As he unwraps it, you see initially see a J-shaped image for a few frames, then it cuts away, and then it comes back to a larger engraved scene. The J-shaped image looked like a dragon's head. Did the writers change their minds about what Trick saw?
Fifth, and least important, that Stella would convince Bo to chase someone in order to lure her into a fake modeling gig (apparently she was touted as a talent agent from Rio or something) ... it makes no sense. Stella could easily have told Bo "Meet me at this address; there's something important I have to show you about the Dawning." Why the extra trouble?
Finally, when Dyson was lying on the floor dead, Bo asked if this was "real" or not. This is understandable, given where she just was. I wouldn't rule out the possibility that it's not real, although the subsequent scene with Trick where Bo isn't present suggests that it was real.
The Walking Dead Review: Running Scared
"Prey" doesn't move the story along very much, nor does it reveal much of anything that's new, and that's too bad. Lack of ideas. What it did do, however, was move. Laurie points a gun at the Gov, marches around town, marches through the forest, plays cat and mouse with the Gov, and makes it almost to the prison. It's mostly filler, but at least it's *tasty* filler.
Like everybody else, I was ready for the final confrontation several episodes ago. Guess I'll have to wait a couple more ...
Lost Girl Review: Is Bo the Wanderer?
Uh-oh. Is the show on the verge of cancellation?
Veronica Mars Movie: It's a Go!
The Walking Dead Review: Deal with the Devil
The Gov wanted to present Rick with a real moral dilemma. Can you intentionally sacrifice one life in order to save a dozen? But we know this isn't going to happen. Michonne may be surly and not 100% reliable, but she's helped the group and never done anything to harm them. Asking the group to hand over Merle would have been a bit different, but the writers are probably saving the next Merle debate for later in the season when he doss something extra-stupid/evil.
The Following Review: Rise of the Followers
7. The sex=violence=killing=sex equation in the show is creepy. It is not as creepy however, as people talking about how "hot" Joe and Emma are, or how sexy Roderick is. Jeez!
The Following Review: Rise of the Followers
5. (Continued) I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
The Following Review: Rise of the Followers
3. (Continued) When Joe introduced Roderick to murder and told him to savor the moment before the skin "gives," I was sure that the writers would have said "before the knife penetrates" if they thought they could get it past the censors. The sexual undertones of the moment were quite clear.
4. Ditto for Charlie's execution. I understand why people didn't like it. His mistakes were not great, and, furthermore, Joe doesn't seem like the slaughter-the-henchmen kind of cult leader. A suicide mission would have made a lot more sense. However, the writers obviously wanted to use Charlie to drive home the sex/violence connection and, gratuitously, again make a connection to homoeroticism. (Thanks, obviously-straight writers.)
5. Not satisfied with Charlie's execution, they further have Roderick attack Louise while Joe and Emma are preparing much more peaceably but almost as creepily to jump into the sack. I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
The Following Review: Rise of the Followers
2. I tuned into "The Following" thinking that it was a crime drama. It's not. It's a horror show. It's about the ubiquity and inesapeability of evil. Evil can strike anywhere. It can come in the form of the charismatic professor, the sweet gay couple next door, the demure and reliable nanny, or the friendly local sheriff.
3. It's also about the sensuality of evil. I can't recall an episode of television, not even of "True Blood," that probed (pun intended) the sensuality/sexuality of murder and bloodshed as deeply as this one. When Joe introduced Roderick to murder and told him to savor the moment before the skin "gives," I was sure that the writers would have said "before the knife penetrates" if they thought they could get it past the censors. The sexual undertones of the moment were quite clear.
4. Ditto for Charlie's execution. I understand why people didn't like it. His mistakes were not great, and, furthermore, Joe doesn't seem like the slaughter-the-henchmen kind of cult leader. A suicide mission would have made a lot more sense. However, the writers obviously wanted to use Charlie to drive home the sex/violence connection and, gratuitously, again make a connection to homoeroticism. (Thanks, obviously-straight writers.)
5. Not satisfied with Charlie's execution, they further have Roderick attack Louise while Joe and Emma are preparing much more peaceably but almost as creepily to jump into the sack. I would have been a lot happier if Roderick had followed through -- these guys are killers, not lovers! Real life serial killers may not be as insane or dysfunctional as we like to think, but a harmonious conclave of serial killers is about as likely as a friendly gathering of grizzly bears.
6. Back to my point about this being a horror show: It's clear that we cannot rely on anybody being "safe." It seems highly unlikely now that Claire or Mike or Debra are agents of the Dark Side, but there really aren't any rules. If the writers want to make any character a sleeper agent in deep cover, they can and will. In fact, they MUST, because a long stream of betrayals by new/marginal characters can only carry the show so far. An essential element of horror is paranoia; if you don't suspect everyone of harboring evil and you don't suspect that a bogeyman is hiding under every bed, the writers are doing something wrong.
Psych Review: So Much Love
It was good to see Parminder Nagra again -- last seen in "Alcatraz".
Good catch, @Daniel; I had noticed that, too, but I had (wrongly) thought Mellish was from "Take the Money and Run."
Once Upon a Time Review: True Hearts Can Lose
Red Widow Review: The Mob Wife
Castle Review: Depending on Dad
The Walking Dead Review: Behind Enemy Lines
I would have been shocked had Andrea actually killed the Governor. She's not an assassin and, more importantly, she feels affection for him and she doesn't fully believe that he's as evil as they say. She may be in denial, but she doesn't want to believe that a bloodbath is inevitable. Which, frankly, makes the whole visit thing a waste of time.
As for Rick's run ... what is he hoping to find? A few more rounds of ammo are not going to make a big difference.
Lost Girl Review: Happy Sunshine Gang
One thing we need to know is whether Bo's early-onset Dawning and her problem with the darkness are one and the same. I hope they are.
As for Tamsin deciding to overlook coma guy's last words ... it's difficult to accept her changing sides so quickly and easily. She's been trying to nail Bo for the assault on coma guy since she first appeared. Is it because she decided she really just wants to nail Bo, period?
As for the kitsune Inari, we still don't know whether she murdered Bo's casual bedmate or was instead a witness to Bo murdering her. Let's hope it was the former.
NCIS Review: Misdirection and Wrong Assumptions
Second, while it's credible that a traumatized man like the CO would take out his anger and grief on others, it's not credible that the whole unit would let their CO stab them repeatedly. A three-inch-deep wound?! I realize that a large part of military training is about instilling unquestioning obedience to authority and destroying individual initiative, but I don't think it's usually THAT effective.
Fringe Review: Love, Fate and The White Tulip
2. The father-son love thing was laid on way too thick this season, and especially in this episode. If there was one thing I could change, it would be that.
3. No mentions of how callously our heroes slaughtered the loyalists using the hydra-creature-gas? They might not have had a choice, but there wasn't a hint that they minded. And treating the anti-gravity bullets as a joke was sick.
4. It wasn't a great finale, and it wasn't a terrible one. Given the unnevenness of the series, especially in the first half of Season 4, I'm thankful that I didn't walk away disgusted.
Haven Review: And The Skinwalker Is...
As to "kill your true love, cure the troubles," I think you need to look to "Once Upon a Time" for logic. It only makes sense if Audrey has been cursed by an evil sorcerer. And no, I'm not kidding.
Haven Review: The Sky Is Falling!
3. "Haven" is a fantasy show. It doesn't have to make sense. But seriously, writers, you could have come up with any number of cool explanations for why the troubles come and go and why Audrey comes and goes ... and THIS is what you go with? The troubles only exist when Audrey needs to recharge her LOVE BATTERIES?
4. None of what we saw tells us anything about where the troubles come from, what Audrey is, what the barn is, or how any of this craziness got started in the first place.
5. If Audrey can end the cycle by killing the one she loves ... That makes the whole thing sound like a witch's curse. "You are condemned to sustain your wretched town with your love forever, dearie! Unless you choose to kill the one you love. Then you will have suffered as much as I have. (Cackle, cackle)" Really?
Haven Review: The Sky Is Falling!
2. Obviously, the barn is going to reappear soon. It has to. The death (or destruction) of "Agent Howard" is probably the reason for the weird way the barn disappeared and the continuation of the meteor strikes. Or maybe the problem is that the barn doesn't like the extra passengers it sucked in. Presumably, the next episode mostly involves Audrey exploring the barn and finding the "off" switch. This will bring her back, end the meteor shower ... and fail to fix the troubles.
3. "Haven" is a fantasy show. It doesn't have to make sense. But seriously, writers, you could have come up with any number of cool explanations for why the troubles come and go and why Audrey comes and goes ... and THIS is what you go with? The troubles only exist when Audrey needs to recharge her love batteries?
Haven Review: And The Skinwalker Is...
2. "to see Dave bash Vince over the head to discover the secret of the barn from Arla was shocking."
It was slapstick. It's what you expect with those two. Much like what happens between the two of them in the following episode.
3. Agree about Arla. The resolution of the mystery is surprising, but it's also pathetic. Were hoping for something grander, even if it was evilly grander.
NCIS Round Table: "Shabbat Shalom"
I also agree with those who found Jackie's death gratuitous.
To me, however, the low point of the episode was Eli's casual murder confession. That Eli would kill a man for taking his photo and then pass it off as a trivial act, and think that Ziva would not mind ... it's simply not credible. Eli may be a psychopath, and he may be used to passing off the murders of Palestinians as necessary for Israeli security, but he's not that clueless.
It also bothers me that Israelis are being portrayed in increasingly dark and cynical terms on NCIS and elsewhere (e.g., Covert Affairs). I don't support Israeli policy at all, but that doesn't make Israelis ruthless, duplicitous killing machines.